For just over a decade, Serj Tankian has solely been seen as front man and political mouthpiece of US/Armenian cult metallers System Of A Down. However with SOAD on an indefinite hiatus, the skilled lyricist has taken advantage of his newfound spare time to release his solo effort; Elect The Dead. With a catalogue of five hundred unreleased songs, Serj has only used twelve for his first release but has he chosen the right dozen to grant a few more solo releases or can he put his other 488 into storage?
While the last two SOAD albums seemed to come with two massive question marks over their digipak cases, an aspect of that was believed to have been due to the added contribution of Daron Malkian as well as a collective belief of the need for progression among the band. Here, quite obviously wring a record for himself, Serj offers the most credible form of System's sound since the idealistic days of Toxicity with the albums first two songs; Empty Walls and The Unthinking Majority.… more »

For just over a decade, Serj Tankian has solely been seen as front man and political mouthpiece of US/Armenian cult metallers System Of A Down. However with SOAD on an indefinite hiatus, the skilled lyricist has taken advantage of his newfound spare time to release his solo effort; Elect The Dead. With a catalogue of five hundred unreleased songs, Serj has only used twelve for his first release but has he chosen the right dozen to grant a few more solo releases or can he put his other 488 into storage?
While the last two SOAD albums seemed to come with two massive question marks over their digipak cases, an aspect of that was believed to have been due to the added contribution of Daron Malkian as well as a collective belief of the need for progression among the band. Here, quite obviously wring a record for himself, Serj offers the most credible form of System's sound since the idealistic days of Toxicity with the albums first two songs; Empty Walls and The Unthinking Majority. However the tone is not one of consistency as he fluctuates to the acoustic mantra of Money albeit with the trademark quirky vocals erratically proclaiming seven ways to use the tracks title. Feed Us, the albums second longest track, which deals with political corruption in the third world, has an instantly grabbing guitar to open with neck flexing heavy chugging. However the song does has a well-suited cultural and ethnic rhythm to parallel the government's heavy hand with the poverty stricken sound of the deprived countries. Sadly though the album somewhat enters a stagnant period half way in. Saving Us and The Sky Is Over although a sound Tankian is likely much more comfortable with, lacks the virility of the openers but he seems to go through feelings in the album that is reflected in every two song block. Baby, tailing the melancholic block of the previous two songs, starts very similar to Soldier Side but chins up immediately with an optimistic burst of Tankian's 'hope is all we have' voice. Honking Antelope is reminiscent of Toxicity's Jet Pilot in the whole lyrical concept but musically they are poles apart. Irrespective of that it does impress with the 40 year olds piano input and profound musical structures giving the song another level of creativity. The albums final third is greeted with its third single Lie, Lie, Lie, an almost camp Cabaret number that wouldn't be out of place at a bar mitzvah but it welcomes a familiar happy, comical tone to Tankian's music that was once prominent in SOAD and this is followed up by the equally humorous Praise The Lord and Pass The Ammunition. A patriotic song written in reaction to the Pearl Harbour attacks and although quoted countless times in songs, never has it had such a spin as the Serj treatment, expect a lot of psychedelics, undeniable funk and a stupid smile on your face for four and a half minutes. Beethoven, the albums penultimate track, deals with the end of civilization - The arms of time are breaking off, Civilization is on trial, The Clocks eliminating time, Do you believe in Nothing? A fantastic final number that still keeps you enthralled forty minutes in. To close, the album's self titled track drags its heals to a melancholic plea from Tankian, only assisted by a piano solo.
Overall it might not be for the SOAD fan but there's classics sparks in the album that rekindle a much brighter day when the band were around and although it may become a slow affair at times, patience and concentration brings rewards where you least expect them.