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System of a Down’s Daron Malakian strikes familiar, violent chords on new Scars on Broadway album

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Supporters of the alt-metal band System of a Down, who have been eagerly waiting for a new full-length album since their 2005 chart-toppers “Mezmerize” and “Hypnotize”, might find some comfort in the latest release from band member Daron Malakian. Titled “Addicted to the Violence”, this is the third album from his side project Daron Malakian and Scars on Broadway, even though it doesn’t feature the melodious vocals, provocative lyrics, or wild screams of System’s frontman Serj Tankian, its diverse structure, catchy hooks, harmonious vocals, and poignant themes bear a striking resemblance to System of a Down – this is because it shares the same DNA.

Malakian explains from his Glendale home that all of his songs could fit either Scars or System, as they reflect his unique style and carry his distinct mark. Interestingly, when composing for System, Malakian didn’t contribute guitar riffs to the band. For instance, ‘Aerials’, their 2002 breakthrough single, was a fully-formed song that he wrote from start to finish before presenting it to them.

Malakian, responsible for vocals, guitar, and bass, has spent the last five years creating “Addicted to the Violence” (out this Friday), drawing on songs he wrote spanning approximately two decades. The oldest track, titled “Satan Hussein,” with its swift guitar riff and sharp verses leading to a powerful chorus, was penned in the early 2000s when System’s second album, “Toxicity,” was rapidly approaching six-times platinum sales (which it achieved nine months after its release).

With Scars, Malakian doesn’t follow established spirits or strict timetables. He values spontaneity over consistency, and artistry often surpasses uniformity. The tracks across the band’s irregularly published three albums – the 2008 self-titled debut, “Dictator” from 2018, and “Addicted to the Violence” – don’t adhere to a linear or chronological sequence. Instead, each album offers an assortment of songs that seem almost haphazardly selected.

He describes his process as if he’s spinning a wheel and the spot it lands on determines where he begins. This results in a collection of songs from various stages of his life, each reflecting different emotions. He admits that it’s a self-centered approach. Everything he creates initially is intended for his personal enjoyment, not with the intention of pleasing others. For him, a song is like a new toy he enjoys playing with. Once he’s had enough fun, he decides to share it with others.

By chance or unconscious influence, “Addicted to the Violence” is a tumultuous, unexpectedly prophetic album for turbulent periods – a prickly, awkward mix of metal, alternative rock, pop, California punk, progressive, Mediterranean folk, alt-country, and psychedelia – sometimes all in one song. In terms of lyrics, Malakian touches upon school shootings, authoritarianism, media manipulation, infidelity, addiction, and stream-of-consciousness musings as disorienting as an hour of rapid-fire, random TV channel switching.

Is writing music your way of making sense out of a nonsensical world?

I view the process as merging seemingly disparate realms, often unrelated, into a cohesive whole. In my unique manner, music transforms and becomes an understandable entity. To put it simply, music serves as my confidant, offering solace even when unheard by others. The act of composing a song is therapeutic for me, helping me process emotions. Sometimes, the songs I create have a profound impact on me, stirring deep feelings or eliciting intense excitement. It’s almost as if I’m conversing with someone without actually speaking to anyone; it’s just me in an intimate dialogue with my own thoughts and feelings.

Is it unusual to transform private, emotional, and healing instances into melodies meant for everyone to understand and feel?

I’d rather listeners create their own interpretations of my songs, as those could vary greatly from mine. The inspiration behind the songs isn’t something I typically discuss, because ultimately, it’s not crucial for people to understand. My personal experiences and struggles aren’t necessarily relevant to them, and they don’t need to know about them. What matters is the public figure on stage, not the person behind the scenes.

Was there any aspect of “Addicted to the Violence” that you wished to approach differently compared to “Dictator”?

Each track on the album incorporates synthesizer, a hue I’ve yet to employ in my System or Scars series. Every artwork you create shouldn’t stick to the same shades. At times, I ponder, “Will this blend well with the other songs? This color is quite distinct.” Yet, I’m not hesitant to incorporate it.

[Warning: Video includes profanity.]

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The song “Shame Game” carries a psychedelic feel, blending elements reminiscent of Strawberry Alarm Clock and Blue Oyster Cult, while the main track echoes progressive rock influences similar to those found in Styx, Rush, and Mars Volta.

“Shame Game” has a psychedelic groove that combines aspects of Strawberry Alarm Clock and Blue Oyster Cult, with the main track showcasing progressive rock undertones similar to Styx, Rush, and Mars Volta.

I’m quite fond of everything you see here. In fact, I find myself immersed in music more often than strumming my guitar. Listening to music serves as a form of practice for me. The melodies and rhythms seep into my consciousness, influencing the tunes that emerge later on, unbeknownst to me, when I write songs.

In the year 2020, System unveiled the tracks “Protect the Land” and “Genocidal Humanoidz,” initially intended for Scars on Broadway.

Back then, I hadn’t produced “Genocidal Humanoidz” yet, but I had completed “Protect the Land”, and the vocal tracks I planned to include in my album were already set. Later, Serj walked in and added his vocals on top of it.

Why did you propose those songs to System, given that every attempt you made to collaborate on an album with them after 2010 resulted in a creative roadblock?

Due to the ongoing conflict between Artsakh (the Armenian breakaway state) and Azerbaijan in Nagorno-Karabakh at that moment, we felt compelled to express our thoughts. We all hopped on a call, and I suggested, “Hey, I have this song ‘Protect the Land,’ which perfectly encapsulates our sentiments about this situation.” Thus, I retrieved it from our album Scars and shared it with System.

In 2008, you put out the self-titled Scars on Broadway album, which was nearly two years after System took a four-year break. Was Scars created as a means for you to continue being creative during that time?

During that period, it became clear to me that in order to continue putting out music, I required a fresh avenue. Consequently, Scars was an essential development or else I would have spent all those years idle, with no one aware of my presence.

Prior to the release of your debut album in 2008, you performed at several concerts alongside the band Scars. However, you unexpectedly called off the subsequent tour and only produced one additional Scars track until 2018.

During that period, things felt incredibly unconventional for me. I yearned to progress with my music, yet our achievements within System were substantial, and not everyone shared my perspective on the direction we should take next. Frankly, I was hesitant about embarking on a tour with Scars at that moment.

Was it like trying to start a new relationship after a bad breakup?

It’s possible I didn’t take enough time to consider before entering my second marriage. Having John Dolmayan play with me may have been a signal that I wasn’t fully ready to let go of System of a Down, which added to my stress and anxiety.

Approximately four years after you mentioned working on a new Scars album intended for release in 2013, the song “Dictator” was finally published in 2018. Can you explain why there was such a significant delay between your initial announcement and the actual release of the track?

In my mind, I was composing songs that I thought were fantastic, yet I was uncertain about their direction. Questions like “Should I submit them to Scars? Is it too early? Would System be interested in collaborating on them?” constantly troubled me. This internal conflict persisted because Serj and I often clashed creatively. Eventually, I overcame that hurdle and produced the second album, but it took some time.

As a devoted fan, I’ve been thrilled to see that System of a Down rocked nine shows across South America this past spring! Now, with six stadium concerts lined up in North America for August and September, I can’t help but wonder… Could there be any possibility of a brand new System album on the horizon?

At present, I’m not entirely convinced about creating another System of a Down album. The bandmates and I are getting along wonderfully currently. Serj and I have a strong bond, and we thrive when performing together. Perhaps it would be more beneficial for us to continue touring as System of a Down, while also pursuing our individual projects.

The artwork on “Addicted to the Violence” album, featuring a woman’s silhouette against a blood-red backdrop with an over-sized bullet hovering above her head and standing in front of opium poppies, was created by your father, Vartan Malakian – an Iraqi-born artist. Did he significantly influence you?

The foundation of my artistic perspective, along with all my artistic knowledge, stems from my father. Our methods and approaches to our respective work share striking similarities. We both create primarily for personal fulfillment rather than external validation. My father has neither actively promoted himself nor participated in art exhibitions. Instead, he is recognized mainly for his album cover designs. Since my birth, he’s consistently been creating art within the confines of our home, never concerned about who might be observing his work.

Do you seek his approval?

As a movie buff putting it in my own words: Nah, I didn’t end up there. My dad is always backing me, but he’s one complex character. I deeply respect him and dream of being half the artist he is. If my parents hadn’t immigrated to this country, I wouldn’t have joined System of a Down – I would have been deployed during Desert Storm and the Second Gulf War instead. That’s an alternate life for me, hard to believe!

Have you been to Iraq?

At the age of 14, I spent two months in Baghdad visiting relatives, an experience that was a stark cultural contrast for me, having grown up in Hollywood. Dressed in a Metallica shirt, I was quite the smart aleck. Everywhere we went, Saddam Hussein’s images were omnipresent – on pictures and statues. I jokingly asked my cousin, “What if I approached one of these statues and said something like, ‘Hey Saddam, take a hike?'” Just saying that made him tense with apprehension. I had no idea the danger in speaking like that, it was a real eye-opener about what I could have gotten myself into. This encounter later inspired me to write “Satan Hussein.

Have you ever experienced what life is like under an authoritarian government? Does the manner in which the Trump administration operates, with certain instances resembling dictatorship, stir up any particular emotions within you?

I neither dislike nor admire him. I don’t align myself with either the conservative or liberal side. There are aspects of both perspectives that resonate with me, yet in public discussions about politics, I try to steer clear of taking sides because for me, it’s not a matter of team allegiance. I dislike the polarization in our society, and I believe that if one veers too far right or too far left, they ultimately end up in the same place.

Is “Addicted to the Violence” and specifically “Killing Spree” a critique or observation of political violence that exists within our nation?

It’s not only political violence we should be concerned about, but all forms of violence in general. The song “Killing Spree” may seem intense or dark, but I approach it with an absurd and almost humorous delivery, not to celebrate the violence, but to express the twisted perspective of a killer, a victim, and myself. A recent video on social media showed children laughing at a tragic accident where one child was hit by a car and killed. This raises concerns about desensitization to violence among many people today. However, I don’t wish to pass judgment; instead, it’s important to acknowledge this trend and its potential consequences.

Are you planning to launch “Addicted to the Violence” approximately six weeks prior to the last six System of a Down concerts in 2025? How have you managed to balance your work with System of a Down and Scars on Broadway respectively?

At one point, I struggled to manage both of them effectively, but now I’m more assured and at ease with how System and Scars are shaping up. I enjoy working with System, and I look forward to performing more shows with Scars. I can’t predict how either band will develop; the future is uncertain and that’s okay as long as it unfolds organically. All the experiences we’ve had have led us to where we are today, and today is all we truly possess because the past has passed and the future hasn’t arrived yet. Therefore, the crucial aspect is the present moment.

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2025-07-17 13:34

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