Looking back at System of a Down’s self-titled debut from 1998, and man, this is where it all started for these Armenian madmen. Most people jumped on the SOAD train with Toxicity, hell, I did too initially, but going back to this raw, unpolished gem reveals just how much potential was already bubbling under the surface. This isn’t the refined, world-music-infused masterpiece that would come later, but it’s got all the DNA right there waiting to explode.
Right off the bat, “Suite-Pee” kicks you in the teeth with that signature Serj Tankian vocal gymnastics over some seriously chunky nu-metal riffing. But even here, you can hear those ethnic flourishes creeping in, this ain’t your typical Korn or Limp Bizkit wannabe stuff. The track’s got bite and that slightly unhinged energy that would become their calling card.
“Know” is where things get interesting, Shavo’s bass work is killer here, and the track does this cool thing where it starts all punk-aggressive, then shifts into nu-metal territory before throwing in some of that Middle Eastern flavor that would become their trademark. It’s catchy as hell and shows they weren’t afraid to mess with the formula right from the start.
“Sugar” was the single, and honestly, it’s weird as shit but in the best possible way. Makes absolutely no sense lyrically, but that breakdown at the end? Pure gold. Shows they were already comfortable being the odd ducks in the metal pond, and that confidence pays off big time.
The slower tracks like “Spiders” prove these guys could write actual songs too, not just heavy riff compilations. Serj’s voice is hypnotic here, and even though I’m usually not big on ballads, this one works because it’s got just enough heaviness to keep it interesting.
But let’s talk about “War?”, damn, this could’ve been a monster single. Heavy as hell, more straightforward than their usual quirky stuff, but still undeniably SOAD. And “Peephole”? It’s like a demented circus went metal, especially that epic ending that comes out of nowhere and just destroys you.
The thing about this album is that while it’s definitely more nu-metal than their later stuff, all the seeds of greatness are planted right here. The Armenian influences, the stop-start dynamics, the vocal acrobatics, the willingness to be completely fucking weird, it’s all present and accounted for. Sure, it’s not as diverse or ethnic-flavored as Toxicity or Mezmerize, but it’s way more cohesive than some of their later work that felt a bit scattered.
Unlike their follow-ups which sometimes felt like collections of great songs rather than complete albums, this debut flows really well. Less filler, more focused energy. Each track serves a purpose, and even the “weaker” songs like “CUBErt” still pack enough punch to justify their existence.
If you’re into metal with an eclectic twist, this album deserves way more love than it gets. Yeah, Toxicity might be their masterpiece, but this raw, hungry debut shows a band ready to take on the world with nothing but talent and complete disregard for what metal was “supposed” to sound like. It’s essential listening, especially if you want to understand how these crazy Armenians became one of the most important metal bands of the late ’90s.