Onstage, Serj Tankian is a tornado of energy, his intense passion and informed vitriol delivered pointedly in System of a Down songs like “Toxicity” and “Chop Suey!” His unique staccato vocal style, influenced by innovators including Frank Zappa and Mike Patton, is a potent accompaniment to System’s dynamic and powerful post-metal musicality.
Yet on his new solo EP, Elasticity, there’s a lovely piano-based song for his son Rumi that’s tender and heart-wrenching/warming. He then shifts easily to the punky EP closer, “Electric Yerevan,” where Tankian rails “we don’t want to be the bitch of any superpowers … We say no to corruption and no to plunder / Billionaire playgrounds are going under.” [Yerevan is the capital of Armenia.]
The singer/activist’s dedication to his Armenian heritage (he was born in Lebanon and grew up in Los Angeles), human rights, recognition of genocides and social justice permeates his art and daily life. And it all coalesces with Elasticity, whose tracks are also part of his recently released Truth To Power documentary film.
Tankian, who spent most of 2020 at his New Zealand home with his wife and son, returned to the United States in October 2020 and adapted to masks and distancing rules. (New Zealand has contained the virus and is even open for bands to tour.) Calling from his Los Angeles home, the Grammy winner, who got his start with SOAD on the Sunset Strip in the mid-’90s, has a warm easygoing manner that belies his onstage vehemence, though he’s no less passionate about his words.
SPIN: I understand the songs on Elasticity were originally meant for System of a Down. When did you first write them and how did you decide to use them in your Truth to Power film?
Serj Tankian: The songs were mostly written five to six years ago. And at the time, a couple of them, especially “Electric Yerevan” and whatnot; they had such a punk ethos that I thought that they might be good as a System collaboration, and at the time we were talking and kind of playing around with ideas of working together. [SOAD’s last album was 2005’s Hypnotize, though in late 2020 they put out two singles, “Protect the Land” and “Genocidal Humanoid,” to raise awareness and funds for Armenia.] Ultimately, not get into the nitty-gritty, we just couldn’t see eye to eye creatively and philosophically to move forward with the idea of a record. So we all just kept on doing our own thing, and I finished these songs.
In some ways you’re preaching to the choir; your fans are people who like your political messages. So how do you reach those who don’t?
It’s interesting. I don’t know. I mean, you know… [Laughs.]
Even on social media people either fight or block those who don’t share their views.
I have been blocked and I have blocked a bunch of people over political stuff, over negativity, over ethical rules on social media, if you will, because I’m unapologetic in terms of my activism and political views. And not just in U.S. politics, but Armenian politics and Israeli politics and French politics and Canadian politics, Venezuelan politics. You’re gonna piss off a whole area of people because you’re involved and usually the reaction is, “Why don’t you just stick to writing music?” So instead, I just made Truth to Power for those people. To just say, “You know, we can do more. We’re human beings on our way to enlightenment, hopefully, we can use a screwdriver and, I don’t know, paint at the same time; more than one thing we could do as beings.” But that’s gonna happen, the banning happens, unfortunately.