sarah1000000
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(7/6/02 11:41 am)
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Wednesday, May 30, 2001
Wednesday, May 30, 2001
The follow-up to System Of A Down's 1998 self-titled debut -- tentatively scheduled for a mid-August release -- is undoubtedly one of this year's most highly anticipated albums. A band's sophomore effort is always important, and this release, which is currently in the final mixing stages, represents a crucial career juncture for the band.
But, despite so much riding on their next album, the mood at Cello Studios in Hollywood, where SOAD has been working since early March with producer Rick Rubin, is one of laid-back intensity.
At the time of our interview, guitarist Daron Malakian was out sick, but his three cohorts, front man Serj Tankian, bassist Shavo Odadjian and drummer John Dolmayan, were clearly making themselves at home. There was joking in the lounge and plenty of confidence in the control room when Dolmayan previewed a sampling of the rough mixes completed so far.
In addition to displaying tighter musicianship on the new album, Tankian says the songwriting process has evolved. "On the last album, my writings were a lot more cut from poetry," he explains. "On this album, it's more of a spontaneous flow. Lyrically, I've written more from a songwriter's perspective this time around."
Composing the music, by all accounts, was more of a unified effort -- which is evident even in the raw mixes. The distinctive combination of titanic rhythms, idiosyncratic vocals and sharp, agile guitar work is instantly recognizable as SOAD, yet these forces come together more coherently, in songs that are as eclectic as SOAD's first album.
"Inner Vision" and "Aerials" draw on the same kind of melancholy melodicism as "Spiders" from "the first album, unwinding with a lilting allure that never compromises the hard edge of the music. Other tracks shudder and grind with crashing waves of riffage ("X") and stunning displays of deft syncopation. Another song, "Pogo," or as it might be titled, "Bounce" (all of the song titles are still being finalized), opens with an elegant acoustic flute and percussion introduction based on an old Armenian prayer before erupting into exhilarating chaos. For his part, Tankian veers from hushed whispers to demonic howls, evocative straight-up singing and a kind of spoken-word approach that embraces the rhythms without sliding into hip-hop mannerisms.
Great albums rely on great arrangements, which is one of SOAD's strengths. Tankian credits Malakian with cultivating this aspect of the music. "Daron's one of the best arrangers I've ever met," he enthuses. "All of the songs are pretty well arranged but we make it sound like it's not. We just do it so fast -- it's kind of like a [sleight of hand]."
Tankian also emphasizes the important role Rubin has played. "Rick knows our vision really well and he complements it," Tankian explains. "He comes up with lyrics and ideas and just blows me away in how in-tune he is with where I'm thinking or where the band is thinking."
Since our visit, SOAD has finished mixing about 20 tracks and will now decide which ones will make the final cut. The tracks that don't make it may find their way onto movie soundtracks or other compilations. No creative effort is ever wasted in the SOAD camp.
"It's going to be very layered, very thick," says Tankian. "It's definitely a work-in-progress. We're just trying different things, trying to make an album that I'm happy with, that the band is happy with, because that's what it comes down to."
-- Sandy Masuo
http://pub27.ezboard.com/bsystemofadownboard91102
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