Scars On Broadway

Written by Fantasma el Rey

As System Of A Down takes a break and we all await their comeback album we have three separate projects from the four men who propelled System to hold us over. System front man Serj Tankian has his solo career, bassist Shovo Odadjian has his side band, Achozen, and guitarist Daron Malakian and drummer John Dolmayan have pushed forth with Scars On Broadway. As Serj’s solo work has him holding his roots and expanding upon them so has Scars On Broadway expanded and grown in many ways from seeds planted by System.

Scars On Broadway self-titled CD opens with “Serious” and sets the pace and tone of the album. The fifteen songs are fast and hover around the three-minute mark, hitting your ears and attacking your brain with a ferocity that will make your head spin. In what seems like no time at all, track four (“Stoner Hate”) is up and you’re still on your ass thinking what the hell has happened? Darin has said his piece and gone before you can turn the lyrics over in your mind but that’s perfectly fine because it forces you to play the songs over and over again, sorting all you’ve heard.

What sets Scars apart from System is heard right from the start as Malakian swings his metal-edged axe with a rock ‘n’ roll twist through every song. Relaxing, bending notes, and going a bit mellow on tunes like “Insane,” “Whoring Streets,” and “Babylon” while letting lose and running wild on romps like “Exploding/Reloading.” With Dolmayan behind him delivering a solid battery, the faster tracks give a running feel with repeated, sped-up chord progressions, flashy solo runs, and quick stops; Dolmayan follows Malakian closely laying down shuffling beats of thunder as well as jazz time skips.

Malakian’s vocals have matured as his songwriting skills have grown and his guitar playing expanded. This mature voice is best displayed on “Cute Machines,” where his vocals are damn near popish. At first you may think it’s a guest vocalist but he reassures us that it’s him as he raises his voice, unleashing that trademark high-pitched scream then into his wonderful soaring wail. His songwriting growth is evident in the fact that he wrote the entire album, music, and lyrics without the usual hand of Serj on either. Daron’s lyrics remain fresh, edgy, political, and concerned for the world around him while the music contains a more electronic vibe using not only keyboards but also organs and melotrons. Daron also handles the duties for all these instruments except of course the drums.

Every sound and influence works well, producing many odd gems such as “Chemicals” with its Alice In Wonderland chorus and nod to the electric weirdness of Devo. “Kill Each Other/ Live Forever” tips its hat towards latter-day Beatles songs while “3005” has a weeping, country guitar. Then there’s the funky darkness of “Enemy” that really mixes things together, opening with funky guitar licks and bass lines then moving into an almost southern rock mood and back to a steady drum driven dance beat. “Universe” keeps the funk feel as Malakian delivers his lines like a futuristic Bob Dylan and Dolmayan stomps out his rumble drums at a machine guns pace.

Scars On Broadway pull from all sorts of music fields and if you listen you can hear most of them as Malakian and Dolmayan look the direction of not only heavy metal, funk and punk heroes but ‘60s icons. It seems like it wouldn’t work but it does, and you can hear it all from Slayer-esque guitars to Arthur Lee and Love-like lyrics dealing with frustration and a world in chaos. Scars blends them well and comes out with something familiar yet completely unique, dark, moody, and intelligent. I can’t wait to hear what the sound of System’s next disk will be like with its members exploring and expanding their musical knowledge and wisdom.