Scars on Broadway

"Is this the end or a rebirth?" Daron Malakian asks during "Universe," a track from Scars On Broadway's self-titled debut. However, there's a more important question that needs to be asked. With that line, is Malakian referencing the end of his metallic juggernaut System of a Down, or is he talking about the end of something more cosmic? Only he knows the answer, but it probably involves a little bit of both. There are some big issues on his mind, and that's instantly apparent from the first note of this album. Scars dive deep into the seedy Hollywood underbelly that System only touched upon during their last two offerings. Malakian feels at home surrounded by freaks, but his sonic freakshow's quite entertaining. "Funny" broods with woozy instrumental textures and electronic flourishes. Malakian's stoned, creepy wail dominates the track's massive hook, enveloping the calculated clean guitar rhythm. In a nutshell, Scars have crafted the first great psychedelic rock release of 2008. John Lennon's influence is all over the choruses of "World Long Gone," "Babylon" and the aforementioned "Universe." However, Malakian adds an edge. He's grown into himself as a singer, and that comes through on all of the more melodic fare. In fact, he's almost more "Silverlake-Indie" than he is "Hollywood-Gutter Rock." Regardless, he's crafted some intriguing rock and roll gems.

The standout tracks showcase his musical schizophrenia. A serpentine riff drives "Exploding/Reloading" right off the rails once Malakian starts screaming, "I Like Suicide." However, the song still has that big ole hummable hook. The combination of "Chemicals" and "Enemy" are strange and devilishly inviting metal with some fantastically fun chemical references. Nodding a black-brimmed hat to the '60s, this is rock 'n roll in its purest form. "Stoner-Hate" brandishes another razor sharp riff and more of that kooky screaming, but the song hits like a sledgehammer. Rhythmic sensei John Dolmayan is bashing away at those big grooves behind the kit. His pounding is as zen as ever, keeping the tracks grounded. Then there's "Cute Machines" one of the album's deepest cuts. The track mashes up all of the styles that the band excels at. A bombastic drum beat kicks the song off and propels a staccato riff in synch with the big sing-song melody.

Meanwhile, "3005" shouts out Jesus Christ and Charles Manson, both of whom figure integrally on this record. The album winds up on "Whoring Streets," another dark trip down Hollywood's alleys. First single "They Say" concludes everything. Malakian strums his guitar somberly as everything ends. No matter how you cut it, eulogizing the end of the world is quite a way to finish a record. To answer Malakian's big question, this isn't the end after all. This is the start of something, and it could be VERY important.

—Rick Florino
07.27.08

Backing away from the chaotic time shifts and incredulous dynamics of the multi-platinum System of a Down, drummer John Dolmayan and guitarist/vocalist Daron Malakian (not the goateed singer, the other one) dial everything back for their self-titled debut, Scars on Broadway. The prog metal Eastern scales and operatic outbursts are left behind, replaced by typical modern rock song structures and straightforward chord changes. This isn't to say that it doesn't rock hard. "Stoner Hate" shares the machine-gun delivery and rapid fury of Mezmerize's "BYOB," "Cute Machines" would make Queens of the Stone Age blush, and "Serious" changes swiftly from a verse spit with the intensity of Johnny Rotten to a dazzling chorus in the high controlled register of Geddy Lee. While Malakian's style of singing is more subdued and, say, elfish than Serj Tankian's, he proves himself a strong vocalist with great capacity for developing a harmonious hook and a keen melody in the midst of a spastic beat. On the more restrained numbers, diverse arrangements keep the songs interesting. Retro synths and drum machines embellish key moments throughout, and slide guitar and organ turn "3005" into a pseudo rock ballad that mellows out the grit nicely. Unfortunately, campy lyrics will taint the experience for many, dividing listeners into two camps: those who get the joke and those who don't. "Chemicals"' "Fuck the world, let's get ready to rock/As I piss on your face, while you're sucking my cock" could easily be construed as misogynistic rather than satirical (for good reason), and "Enemy"'s "We're on drugs, we're on drugs, baby, we're all on drugs" could be taken as a sophomoric goof rather than a provocative statement (for good reason as well). That's OK -- fans of System's earlier work will be used to their unique brand of lyricism by now and will be more impressed with the band's ability to make a solid assortment of songs in a toned-down genre. Even with half the members. ~ Jason Lymangrover, All Music Guide