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It has taken a LONG time to do and many, many listens to interpret System of a Down’s longest album. This album was my first full experience with System, and represents their best work to many fans. Critics may disagree with that assessment, but one thing is for sure: this was their most complex work.


System of a Down grew from their heavy roots in their self-titled album and spent a significant amount of time in studio to produce one of the most eclectic metal albums ever: Toxicity. It was released on September 4, 2001, to general critical and popular praise. Three singles were released for the album, all which garnered significant radio play. If you were alive at the time and you didn’t hear “Chop Suey!” at least a few times, you were probably comatose. Despite the political backlash against System’s “subversive lyrics,” Toxicity remained relatively free of the subsequent political mire. The album debuted at #1 and has achieved multi-platinum status since.

Toxicity opens with perhaps the most politically charged song System ever recorded: “Prison Song.” It opens like an apocalyptic thriller, delivering powerful, heavy riffs at odd intervals while Serj Tankian plays the whispering narrator. After picking up in intensity, Serj’s snarls attack the listener while a spoken rebuke against the American penal system plays behind it. Shavo Odadjian’s very limited vocal work is given rein here as growling backup vocals before Serj finishes with melodic character. As the track fades into nonbeing, a swift fingerpicking riff yields yet another assault on the ears with “Needles.” John Dolmayan’s strong mechanical finesse is demonstrated early in the song with his chaotic drumming. During an interlude, Daron Malakian is given his first lead vocalization, providing dark imagery:

Following this, “Deer Dance,” a fan favorite, displays in full vigor Serj’s many abilities as a vocalist. One of Daron’s solos accompanies a glowing sitar which brings the emotion in Serj’s voice to a cusp, and then fades. Afterwards, “Jet Pilot” intervenes, which could at best be described as filler material; strong vocals and heavy metallic riffs keep the pace. “X” pursues this with fast tom drumming and Serj’s urgent screams (and a resurgence of his abominable howls). The album takes a new turn with System of a Down’s most widely recognized songs (and certainly a good one): “Chop Suey!” A small, four-chord acoustic intro yields to a simple electric riff, but it starts to build. John’s superb fills deliver an impetus while another electric guitar fosters the intensity still further. Accompaniment strings brew this until the intro breaks down into the metallic verse with unclenching ferocity. The verse is characteristic of System, but the chorus brings a sitar and piano (courtesy of Rick Rubin) into the mix. The song’s intensity builds further until the cataclysmic wails of Serj exclaim,

Thereafter, Toxicity becomes an altogether different album, starting with the punctured vocals of “Bounce.” The track itself is a farce, with little meaning to the lyrics (“ with just one Pogo stick”), but stays true to the metal ethic. Dolmayan’s mechanical aptitude on tabla introduces “Forest,” a truly remarkable track. The lyrics are misleading and challenging, but the song represents an overall impressive songwriting effort by Daron and cogent drumming by John. Subsequently, Toxicity grows with progressive talents, incorporating sitars and twelve-stringed guitars to deliver a multiple-layered feel, such as “ATWA.” The track begins with a small riff broken by very melodic vocals by Serj and Daron. It soon breaks down after the intro, but retains the melodic nature well into Daron’s straightforward solo. The song dissolves after a later chorus into “Science,” the most spectacular song of the album. It begins with another thrash riff which yields to Serj’s powerful vocal performance. At the bridge, however, the song becomes an entirely different song, incorporating sitars, twelve-stringed guitars, and an Armenian folk singer before resuming its heavy nature, an impressive songwriting effort by Daron.



Next, another thrash riff/vocal attack drives the album forward with “Shimmy,” a trite and simple song. Shavo gets a chance to make the best of his bass work with a small bassline towards the end of the song. As it adjourns, another sitar is brought forth, but this time, it’s the sitar that drives the song in “Toxicity.” Dolmayan’s brilliant fills are exhibited time and time again, and this track really brings his presence to light. Serj accents the shimmering guitar and sitar by delivering his most melodic vocals before the song grows with intensity at the chorus and he offers some of System’s most metaphoric lyrics:

The album ascends to glaring heights with the subsequent track, “Psycho.” As a small riff introduces the lyrics, Serj and John work in unison to deliver a staccato vocal and musical performance. The pre-chorus and chorus exhibit another of System’s metallic-to-melodic transitions, and again they are inflected by a sitar. The track takes a different path when Malakian’s guitar sings during an inspiring solo (accented by strings again), and closes as such. As System’s melodic composition draws to a close, they offer a new sitar intro in “Aerials,” which quickly becomes a melodic vocal effort by Serj and Daron accompanied by thrash riffs. The track increases in passion until the second chorus washes over with fruitful metallic ascension. Upon the last thirty seconds, the track closes by returning to the melodic vocal and sitar effort by Serj and Daron. There is a hidden track in Toxicity which can be accessed by skipping through a few minutes of silence. This is purely a Middle-Eastern folk song, given the name “Arto” (presumably because that was the artist that imparted his vocal efforts). It is nonetheless an excellent song which draws an incredibly complex album to a close.

Favorite Tracks: Science, Psycho, Deer Dance, ATWA
Favorite Verse: Hey you, see me, pictures crazy / All the world I’ve seen before me passing by / I’ve got nothing, to gain, to lose / All the world I’ve seen before me passing by
Rating: 4.25/5

Toxicity represented a major step forward for System of a Down, and remains the record for which they are most remembered. By spending more time in the studio, Daron was able to flex his progressive muscle, utilizing twelve-stringed guitars, sitars, as well as piano and string arrangements. The newest album reflected the band’s influences, steeped in Middle Eastern folk music. Rick Rubin’s excellent production on the album surpassed anything he had accomplished since his early Def Jam years, and the rest of the band was able to express their instrumental capabilities to the fullest.

System of a Down went on a tour with Slipknot following the success of Toxicity in late 2001. Their breakthrough success afforded them new fans and they earned a cult following across America. After the success of the tour, the band engaged a new tour (again, with Slipknot) and featuring Rammstein in 2002. While they toured, they recorded a little, and soon a few songs leaked onto the web, billed as tracks in Toxicity II. Although they were incomplete and yet to be mastered, the tracks were indeed part of a new project of System’s: Steal This Album!

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