It seems hard to believe that it has been four years since System of a Down exploded onto the modern rock scene with Toxicity in 2001. It's even harder to believe that in many ways, the B-sides collection following that strong album (and the equally wicked self-titled CD first released in 1998), Steal This Album, is in many ways as good if not better than the new disc Mezmerize. Mezmerize seems to be the weakest SOAD album currently available in stores, and despite the fact a second half, Hypnotize, will be following around later to complete the double-disc set, Mezmerize does little more than distract as opposed to completely immerse as the title seems to apply. Why is this? Little on Mezmerize covers new ground for SOAD. The expectations were exceedingly high, and the band's short, cryptic, interviews hinted at new influences ranging from Kraftwerk to Darkthrone to The Beach Boys of all people. Daron, the SOAD guitarist, was supposed to take on more vocal duties, and frontman Serj declared in several pieces I read to be playing keyboards for the first time.
After having pretty much four to five spins of this disc, little of these lofty musings were met. Does Daron sing more? Yes, and his vocals are stark, passionate, and inspiring when clean, and frantically deranged like the Daron of old. Despite this, Daron doesn't sing as much as one would expect; it still sounds like Serj is the top lion for the most part in the vocal department. Speaking of Serj, very little is brought to the table with his newfound keyboard parts. And what about all those influences? For the most part, SOAD sounds like a carbon-copy of itself circa 2001, with only a few songs showing truly fresh change.
None of this is entirely a bad thing mind you. SOAD was awesome back in 2001, and regardless of any changes made, the sound remains intact and thus should be (in theory) awesome now. Sadly, Mezmerize offers little in the way of excellent new songs and more often opts for filler. The intro "Soldier Side" is a quiet and dark ballad that does nothing to help the album. "B.Y.O.B." sounds more like the SOAD of old, except it's leaner, faster, crazier, and Daron has lost his mind with his insane yowls. This sound track's chorus has a biting pop rock chorus that sounds made for clubbing, and it's political overtones are as biting and sharp as ever.
"Revenga" is where things start to sound dated. The heavy, galloping intro riffs sound promising, but then it sounds like any other song on any other SOAD album, complete a quiet little interlude mid-song led by Daron, and a moody guitar, all of which is oddly familiar.
"Cigaro" is simply "Bounce" with a lot less subtle crass, and despite some nice riffing, the joke wears off fast and this song just kind of falls flat. Thank the rock Gods for "Radio/Video." A quiet folk/jazz intro leads into glaringly sarcastic satire and sound SOAD rocking, and the new Daron/Serj vocal duo outdoes itself with some simply breathtaking vocals over folk chords, ska riffing (of all things), and even a weird solo of sorts towards the end. This is the SOAD I was waiting to hear.
"This Cocaine makes me feel like I'm on this Song" is just old-SOAD filler with Serj's normally entertaining vocals becoming way too forced and feeling a bit mundane. The anti-TV rant "Violent Pornography" is dripping with still sophomoric wit that makes the whole band's formula sound fresh all over again. Its lyrical content also seems to be drawing a few Zappa references, so all you Zappa fans take that for what it's worth.
"Question!" glides in on wings of intricate, clean guitars and adds grace to the emotions a SOAD song can convey. "Sad Statue" is balls-to-the-wall System rocking out, and it's a quick shot of caffeine to this album.
"Old School Hollywood" sounds like a synth-bastard on crack. Spacey yet herky-jerky, again, this is the SOAD I was craving. "Lost in Hollywood" is Daron's chance to shine, and his quiet ode to Hollywood's evil-side is the best SOAD can offer in the somber and slower-paced songs department, save perhaps the grand "Mr. Jack" off of Steal This Album.
This album is (like most double-albums of yore) a tad bloated, and despite it's very short-winded length, a little trimming off of some songs might have made this another totally sound album along the line of SOAD's earlier work. The consensus here is solid but not career-defining. Older SOAD fans should pick this up out of sheer loyalty and maybe "Radio/Video," the "Hollywood" duo, and "Violent Pornography" only. New fans or curious listeners check out the older stuff first---I promise, it's a lot less repetitive and more Mezmerizing to be sure.
