Serj Tankian - Elect the Dead Symphony Review
Posted by Chris Crowing on 03.12.2010
Former System of a Down frontman adds orchestral backing and a few new songs to his acclaimed debut album - does it turn add to his idiosyncratic vision or dilute the impact?
Serj Tankian - Elect The Dead Symphony
1. Feed Us - 7:29
2. Blue - 3:16
3. Sky is Over - 3:09
4. Lie Lie Lie - 3:58
5. Money - 3:29
6. Baby - 3:41
7. Gate 21 - 2:49
8. Charades - 4:31
9. Honking Antelope - 3:49
10. Saving Us - 4:55
11. Elect the Dead - 3:08
12. Falling Stars - 3:24
13. Beethoven's Cunt - 3:29
14. Empty Walls - 3:57
As a big System of a Down fan, I've been a keen follower of Serj's solo career regarding the original Elect the Dead as comparable to SOAD's best work and markedly superior to the jaded nu-metal of Scars on Broadway.
So, with one of my favourite vocal talents (not to mention a songwriter I admire for is articulate and insightful touch) expanding his solo project with the potentially epic backing of an orchestra, I was more than interested. The question is, does it add a whole new dimension to Serj's canon, or detract from the impact?
Opener "Feed Us" certainly benefits from some rousing strings, especially through the chorus but also with an expanded instrumental passage at the end, aided by a sweetly picked Spanish guitar. Breathtaking.
New song "Blue" evokes a sense of being part of the soundtrack to some East European art house movie. The orchestra is in full effect throughout and the song adds some sweet, if melancholy contrast to the rockier moments. Given what Serj originally said about his solo work being more folksy and experimental before Elect the Dead came out and proved to be quite rocky, I think this is pretty close to his original idea...
The orchestra takes a supporting role in "Sky is Over" merely adding texture to a song which will always be about Serj's awesome voice. That said, the extra weight during the middle section is very effective indeed.
"Lie Lie Lie" is similar, and given the live nature of the recording, Serj displays even more of his character and dark humor than on the original record, occasionally conjuring a mental image of a cigar-chewing Groucho Marx style impressario before the orchestra swells towards the sogs impressive and infectious conclusion.
"Money" is one of the most direct (and a personal favourite) from Elect the Dead and while the orchestra again adds pleasant texture to the verse and rising pre-chorus, the overly-bombastic backing to 'Money, fuck your money...' refrain somewhat detracts from the impact, and I do feel that this song would be more effective if stripped back a little to an old school power trio as backing... That said, Serj seems to sense this and brings everything back to the awesome with an impromptu falsetto which draws a howl of appreciation from the crowd.
"Baby" benefits from some sweet and soaring strings as needed, but is not markedly different to the original.
Next up, another new song "Gate 21" is largely driven by Serj's voice and a solo piano, which in my humblest opinion is entirely sufficient to provide chill-inducing wonderment!
"Charades" is also new, with the orchestra back in full effect to add to some characteristically striking Serj vocals before some almost Broadway-style breaks and an extended instrumental passage including a trumpet solo. Different, characterful, awesome...
"Honking Antelope" rests on Serj's voice, piano and a supporting fiddle before the orchestra adds weight to the chorus and onward. This song also contains one of my favourite lines from any songwriter ever...
"...wouldn't it be great to heal the world with only a song?"
"Saving Us" was already an orchestra supported song in it's original incarnation and does pretty much what you would expect it to, with the oboe heavy outro suitably menacing...
Title track, "Elect the Dead" is an awesome, experience with the orchestra again taking a back seat to our centre stage players - Serj's voice and paino.
Moving on to the last new song "Falling Stars" doesn't seem to add anything particular to the set until Serj embarks on an epic, demagogic rant in the middle which lifts the song to a new level, in my eyes at least.
The awesomely titled "Beethoven's Cunt" is a true homage to the late, half-deaf mastro as the orchetsra lifts it into an infectious, bombastic piece of music.
On to the last song, which is the opener from the original Elect the Dead and "Empty Walls" closes proceedings in a wash of orchestral splendor like the overture to a Ridley Scott epic. Serj even changes the pace & tone of his vocal delivery to suit the epic setting and the effect is rousing, stirring and evocative.
All in all, this symphonic experiment is a successful one, and arguably improves the songs from Elect the Dead and makes them palatable to a whole new audience.
However, while it's fun to see Serj in such an epic setting, I have a nagging feeling throughout the record that his awesome voice and character can soar without such elaborate orchestration and backing. While the orchestral flourishes are fun, the star is and always will be Serj's voice. Indeed it makes me want to hear Serj produce a very stripped back record, perhaps a collaboration with an acoustic maestro like Nuno Bettencourt or a folk artist like Seth Lakeman.
In any case, this record only adds to my growing regard for Serj's talent and personality and I can't wait to hear what comes next, whatever that may be.
The 411: While not a landmark release, this is an interesting listen for any existing fans of Serj or indeed anyone who likes emotive, passionate music. A copy of this record would be an excellent education in invention, passion and creativity for any kids who are getting sick of their cookie cutter corporate idols...
