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GRAMMYs

Serj Tankian

Photo: Robert Sebree

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musical-explorations-serj-tankian

Musical Explorations With Serj Tankian

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GRAMMY-winning frontman of System Of A Down discusses the composition and narrative of his first symphony and following his muse wherever it takes him
Bryan Reesman
GRAMMYs
Jun 21, 2013 - 4:06 pm

Some people really know how to make use of their time. Vocalist/composer Serj Tankian has been going full force since System Of A Down went on hiatus in 2006. He has released three solo albums, in addition to a live orchestral adaptation of his first solo album, Elect The Dead Symphony. He co-wrote the rock musical "Prometheus Bound" with Tony Award-winning playwright/lyricist Steven Sater. And now Tankian is about to unleash his first symphony, Orca Symphony No. 1, on June 25, and an eclectic jazz-inspired album, Jazz-iz Christ, which is due July 23. Additionally, following a U.S. date in Los Angeles on July 29, System Of A Down will launch a tour in Europe and Russia in August.

While it sounds like Tankian is spreading himself thin across numerous genres, each new project offers something fresh and genuinely engaging. In an exclusive interview with GRAMMY.com, Tankian discusses Orca Symphony No. 1, his musical philosophy and what other styles of music he would like to explore in the future.

It's easy to listen to different styles of music back-to-back, but I imagine it must be harder to compose them at the same time.
Not really. I've always worked on all different types of music, some with specific project goals and deadlines and some not. Sometimes I would write a piece of music that is almost like a film score or weird electro pieces, wherever the muse took me, and I still do that. I write music when I'm free and for no particular project in mind. With Jazz-iz Christ, I basically combined all of the jazz-oriented music that I had over the years and got some really cool soloists involved and made a full record.

Orca [Symphony No. 1] started by accident. I was working on [my 2010 solo album] Imperfect Harmonies, and instead of three- or four-minutes song [that] were orchestral based, I ended up with two nine-and-a-half-minute diatribes, which were piano- and orchestra-based. They were so melodic and long that I couldn't really think of putting vocals on them, so I just put them aside and thought they would be cool bonus tracks on Imperfect Harmonies. Then a journalist friend from TV3 in New Zealand listened to it and said, "Oh, you've written the first two acts of your symphony." I was like, "Symphony!" I kid you not, I looked up symphony on Wikipedia and asked how many of these f***ers do I need for a symphony? (laughs)

I imagine some members of the classical establishment will read this and roll their eyes.
I've worked with some great orchestras and amazing classical musicians, but I don't like the conceptualization of classical music as an elitist form of art.

What did Austrian conductor Werner Steinmetz think of a metal singer coming to him with an orchestral work?
I met him a few years ago because we had done the Elect The Dead Symphony tour in Europe, and it was really well-received. We did some amazing numbers, and we played in Linz, [Austria,] with members of the Bruckner Orchestra called the Das Karussell [Ensemble]. We've been keeping in touch, and he's been wanting me to go there and record with the orchestra. I like the idea of writing all sorts of different things. I've been writing some chamber pieces, and I want to write a really cool choral piece and do a cool piano sonata. But more than anything, I want to use my compositional skills that have gotten better over the years to do more scores. I've been doing a video game called "Morning Star," which is coming out this year, and I want to do more film scores, TV and video games.

While the name Orca invokes the image of the killer whale from the movies, you see it more as a metaphor for humanity. This is a very majestic piece of music with a bit of darkness, but it doesn't overwhelm the piece. Is there a narrative behind this musical work?
Yes and no. I thought of Orca because of its symbolism for humanity. The four different acts always reminded me of earth, sky, water, and underground. Four different zones of the world, not all necessarily inhabited by Orca, but definitely controlled by men.

You have a jazz-influenced album, Jazz-iz Christ, coming in July. Is there any other style of music that you'd like to explore?
I want to do a full-on electro dance record. I wouldn't mind doing a dub record because I've always been into dub — Bill Laswell and a lot of New York underground stuff. I'll put out records as I see fit, but to me putting out records is passé at this point, to be honest, even though I'm putting out two records right now. I think it's about creating a moment around a project that's beyond just the music itself that tells a story or is part of a bigger story or bigger picture. Whether it's [music embedded] paintings or scoring for films or being part of more multi-sensory exhibitions, I want to do some really cool things in that regard. Touring and putting out records is fun and cool, but I've been doing it for a long time.

(Bryan Reesman is a New York-based freelance writer.)

Serj Tankian of System Of A Down performs at Download Festival 2011

Serj Tankian of System Of A Down performs at Download Festival 2011

Photo: Christie Goodwin/Getty Images

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Download Festival Confirms Lineup For Virtual Fest uks-download-festival-announces-lineup-virtual-festival-kiss-iron-maiden-system-down

U.K.'s Download Festival Announces Lineup For Virtual Festival: KISS, Iron Maiden, System Of A Down And More Confirmed

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The three-day online event, taking place June 12-14, will also feature performances from Korn, Deftones, Babymetal, The Offspring, The Pretty Reckless and others
John Ochoa
GRAMMYs
May 30, 2020 - 9:33 am

Download Festival, the celebrated rock festival in the U.K., has announced the lineup for its Download TV virtual festival. The three-day online event, running June 12-14, will feature headliners KISS, Iron Maiden and System Of A Down, who were all scheduled to headline this year's Download Festival before it was canceled in March due to the coronavirus pandemic.

Other confirmed Download TV artists and performances, which will broadcast exclusively via YouTube, include Korn, Deftones, Babymetal, The Offspring, The Pretty Reckless, The Darkness, Bowling For Soup and others, in addition to as-yet unannounced "special guests," according to the Download Festival website.

Viewers can tune into the Download TV online festival weekend via Download's YouTube, Facebook, Twitter and Instagram channels. 

Download TV will feature content blocks, split into daytime and evening programming, comprising "music, special interviews, unseen performances, and exclusive footage," according to the Download Festival website. 

All three headlining sets will comprise footage from previous performances. On Friday night (June 12), the festival will show footage of KISS's headlining set from Download Festival 2015. Saturday night (June 13) sees Iron Maiden sharing "nostalgic performances" and snippets from their ongoing Legacy Of The Beast World Tour, in addition to "something just for Download TV," according to the festival's website. System Of A Down closes the virtual weekender Sunday night (June 14) with footage from their performances at Download Festival throughout the years, including sets from 2005, 2011 and 2017.

Read: Recording Academy And MusiCares Establish COVID-19 Relief Fund

Download TV will also feature interactive content throughout the weekend, including tutorials, artist interviews, special live performances, mindfulness sessions, cook-alongs and more. The online festival will also share fan-created content via their social channels. 

Download TV is the latest virtual festival to come from the metal and rock worlds. This weekend, bands like Darkest Hour, Tesseract, Twelve Foot Ninja, O'Brother and Silvertomb, as well as members of GWAR, The Black Dahlia Murder, Anthrax and more, will be slaying the virtual stage at Slay At Home, a metal and art online festival benefitting MusiCares' COVID-19 Relief Fund and the GlobalGiving Coronavirus Relief Fund.

To view the full lineup for and to learn more about Download TV, visit Download Festival's official website. 

WATCH LIST: Online Concerts From BTS To COASTCITY To Catch During Coronavirus Quarantine

GRAMMYs

Serj Tankian

Photo by George Tonikian

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Serj Tankian Talks 'Fuktronic' serj-tankian-talks-fuktronic-working-jimmy-urine-pushing-boundaries-every-direction

Serj Tankian Talks 'Fuktronic,' Working With Jimmy Urine & Pushing Boundaries In Every Direction

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The GRAMMY-winning frontman of System Of A Down also talks to the Recording Academy about his film-scoring work and the "repercussions of being an activist musician"
Bryan Reesman
GRAMMYs
May 19, 2020 - 11:33 am

Serj Tankian has always been known for his impassioned, thought-provoking music and political activism. So upon first listen to Fuktronic, his dance-driven collaboration with Mindless Self Indulgence frontman/programmer Jimmy Urine, some might be taken aback. It's a nihilistic gangster tale told in 12 tracks where the main character liberally sprays out the C-word like bullets.

"Well, that was the point," responds Tankian when he speaks to the Recording Academy from New Zealand, where he lives with his wife and young son. "Our original idea is how many c*nt words can we put into one record? It's a good end game to go for." Many Americans might not know that the C-word used in the U.K. is derogatory towards men—not women like it is here. "Yeah, people do take it very offensively in the U.S. so that's part of it. We don't care. If people are going to be offended, that'll actually be enjoyable."

That sentiment should be no surprise given that this is a singer who called his solo backing band the Flying C*nts of Chaos.

The Fuktronic project started back in 2011 when Tankian and Urine were dining on sushi and waxing enthusiastic their love for British gangster films like Layer Cake, Gangster No. 1 and Sexy Beast. They loved how the movies were so over-the-top that they veered into dark humor.

"We both get the funniness of the genre which a lot of people may or may not," says Tankian. "We started collaborating with each of us bringing in different electronic tracks that we could work on together with different voiceover friends and artists and make it into Fuktronic. But I didn't think about the whole moral and/or sociopolitical implication of a British gangster soundtrack film, to be honest, but thanks for bringing it to my attention," he laughs.

Tankian has been friends with Urine for at least 15 years, going back to the days when genre-benders Mindless Self Indulgence toured with System Of A Down.

"We've been friends for so long, we're like family, so we're always at each other's places and families together," says Tankian. "When we did it, it was such a natural thing. It was like, hey, this is so f**ked up it could actually be cool. That's where fun art projects come from, whether it's music or otherwise—from the love of trying to do something that you think hasn't been done before with someone who you care about, would enjoy collaborating with, and respect as an artist. In that sense, it's perfect. We always kid that one of these days we're gonna get together and score a Guy Ritchie film because of this."

The music on the album energetically fuses electro, jazz, synth orchestral and rock sounds across numerous scenarios, with eight of the 12 tracks featuring hypertense dialogue and sound effects. (The tastiest track is the grooving instrumental closer, simply called "Credits.") In the official press release, the antagonists of Fuktronic have been described as "despicable but lovable characters." The main one is George (a.k.a. Prisoner No. W08304, voiced by George Sampson), an idiotic, low level gangster from Manchester, England who keeps desperately trying to rise up the ranks of the underworld and falling short. But while the bare bones of the story are there, the entire narrative is not fleshed out, allowing listeners to insert their own ideas and images into their mind's eye. Fans can watch the animated trailer created by ShadowMachine Studios ("BoJack Horseman," "TripTank," "Robot Chicken") to see if it looks how they imagined it.

"What's funny is that we've given enough building blocks for people to actually do their own film if they wanted to from this, or build their own story or make a comic book," elaborates Tankian. "It's endless because we provided audio and voiceover without visuals that leave a lot of room for interpretation and collaboration. I would be interested to see what people glean out of this."

Finally seeing the light of day after a flurry of other Tankian projects, Fuktronic might seem like it is coming out of left field given his extensive film scoring career as of late, but the project's earlier genesis came during a period where his solo career had expanded from heavy rock into other areas. In 2012, Tankian was simultaneously toiling away on his third solo rock album Harikiri, his classical Orca Symphony No. 1, the Jazz-Iz-Christ progressive fusion record, and Fuktronic while also touring with three different groups including System Of A Down. But the transition into film scoring was something he had been aspiring to do for many years. His first experience working with an orchestra came in 2009 with the Auckland Philharmonic Orchestra in New Zealand for his Elect The Dead Symphony CD/DVD release.

"That was the first opening of that door," recalls Tankian. "Then actually starting to work on video games and films got me into that world, which I thoroughly enjoy." Tankian's film scores include The Last Inhabitant, 1915, Intent To Destroy, Furious (Легенда о Коловрате) and Spitak, and the music spans stirring symphonic cues to delicate Armenian balladry. His video game soundtrack work includes the 2015 release Midnight Star.

There are two main things that Tankian has learned about film composing that he can impart to those aspiring to the craft. Firstly, one must completely understand the language of the director or producer, whichever partner is guiding one through the process.

"If you don't really fully understand what they want from the beginning, you're spinning your wheels and theirs for a long time and it's very frustrating," advises Tankian. "You get good at nailing down what they have in mind, even if they don't have the musical language for it. That's probably the most important thing of being a film composer. Second is the organization. Unlike playing rock instruments and recording everything live or using some electronic elements, with composing you've got to really, really think through what sounds you want and your palate, and develop them based on the likes and dislikes of the director and the sound that you're going for. Do trials and tests of pieces that you can send and see that you're creating something really interesting and new. You want the tone to be established."

Last year, Tankian scored three documentaries. I Am Not Alone has toured the North American film festival circuit and won numerous awards, and it is about the 2018 Armenian Revolution. Truth To Power is his own music film being released in the future with Live Nation. Then, he composed music for a film about famous wind surfer and kiteboarding pioneer Robby Naish called The Longest Wave, which was directed by Oscar-nominated filmmaker Joe Berlinger (Paradise Lost, Metallica: Some Kind Of Monster).

Truth To Power was supposed to have its premiere at this year's Tribeca Film Festival, but those plans changed when the coronavirus quarantine kicked in and the event went virtual. Not all of the enrolled filmmakers participated. "Other festivals are trying to do virtual stuff from what I saw," says Tankian. "But they're still trying to figure out the best way of doing that without losing worldwide streaming rights. Whether your partner's YouTube or Vimeo or whatever, once you put it [your film] out there and it's public, it's hard to sell it."

Of his three recent documentary efforts, Truth To Power is more personal for the singer and extends beyond scoring. "It's actually an activist journey through the world of music, which is basically my last 20-something years," explains Tankian. "It talks about some of the challenges of being an activist and some of the repercussions of being an activist musician. 'F**k you, dude, just make another record. I don't want to hear your political opinions.' You know, that world."

He says that Truth To Power builds up well. It starts with System Of A Down's first concert in Armenia in 2015 to commemorate the centennial of the Armenian Genocide by the Ottoman Empire of Turkey, which was officially recognized by the United States Congress in December 2019. "It goes back into our history, the community, how we grew up in L.A., the school we went through," describes Tankian of the film. "Very interesting building blocks to show where the activism comes from, why that truth resonates through the music, and how the music becomes a vehicle for incredible dissemination."

Despite the tumultuous times we live in, it feels like many rockers are less politically vocal than before. Old-school rockers were more agitators, but on a mainstream level it feels less imperative for the new guard. This sentiment applies to before the quarantine.

"I haven't done the tally as to whether we have more music-based activists now than before," says Tankian. "But part of it is that social media has become quite f**king useless because all it does is provide people a platform for their angst that they wouldn't say to anyone in person. It's become really a negative platform. Sure, it's also a marketing vehicle. It's many, many different things. But overall, I think we're living the death of social media in the next five to 10 years. I see other things on the horizon in terms of the digital connection world, but not what we've seen so far."

The singer thinks social media is too primal and judgmental, which might be discouraging other artists from speaking out due to potential backlash.

"It's never really dissuaded me because the truth is the truth, whether public opinion is on your side or not, whether people are ready to admit it or not, whether people like it or not," stresses Tankian. "Injustice is injustice whether they are on that side of the injustice or they're on the side of the just. It doesn't f**king matter to me. I don't care. I'm not trying to make more fans. I'm not trying to become a bigger artist. I'm just trying to do what I do which is express myself as an artist, and if I don't have the truth to express it with then the expression doesn't mean sh*t to me."

For fans missing Tankian's heavier side, he has a five-song EP of rock songs currently titled Elasticity which is planned for release later this year. He acknowledges that working on so many other projects has refreshed him for returning to rock.

"You just gain more tools and experience and sounds and ways of approaching things, and you have so many different outlets," says Tankian. "As far as the EP, these were primarily songs that I wanted to do with System. When we weren't able to see eye to eye I just went ahead and finished them. They have more synth flavors than most System songs do, more arpeggiated stuff like that, but they still have the heavy groove and also a lot of beautiful ballady stuff that is more like Elect The Dead and some of my earlier solo stuff. It's a really good EP."

A past project that Tankian is looking to revisit is Prometheus Bound, the rock musical he composed and collaborated on with lyricist/book writer Steven Sater of Spring Awakening fame. The show was directed by Diane Paulus and debuted at Boston's American Repertory Theatre in March 2011. Its stars included Gavin Creel (future Tony Award winner for Hello, Dolly!) and Uzo Aduba and Lea DeLaria (future "Orange Is The New Black" castmates, the former winning two Emmy Awards for her role on that Netflix series).

"The interest is still there,” says Tankian of Prometheus Bound. "Everyone who sees a clip or hears some of the music are like, 'Wow, what the f**k is that.' Steven Sater and I are looking forward to finding another opportunity to reintroduce Prometheus either internationally or within the U.S. with the right producers and outfits."

Given the non-existent state of theater right now, this is not the moment to contemplate reviving such a dynamic show. There are no concerts, sporting events, or any large groups of people congregating. Tankian says that this new paradigm changes the way he and other artists are looking at future projects. But the set-up for Prometheus Bound—an immersive theatrical experience where the actors move among the crowd, with only the band staying onstage—re-ignited a concept in his brain that he could not achieve during the show's original run.

"I thought it would be great to have 3-D cameras mounted on one person, the protagonist walking around experiencing the whole thing," explains Tankian. "You can then put it out there for people to be able to get into their shoes and walk around and enjoy this beautiful, theatrical, multimedia experience. I always wanted to do that with Prometheus, and we didn't get the opportunity. But I'm starting to think more in those realms as well. How can we experience more quality art not being able to congregate physically?"

It will be yet another adventure for Tankian to embark upon, but without the C-words.

Read More: Musical Explorations With Serj Tankian

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Serj Tankian

Serj Tankian

Photo: Roberto Finizio/NurPhoto/Getty Images

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Serj Tankian's Magical And Devastating Soundtrack serj-tankians-spitak-soundtrack-balances-inspiration-against-epic-devastation

Serj Tankian's 'Spitak' Soundtrack Balances Inspiration Against Epic Devastation

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The System Of A Down rock frontman shares his many musical inspirations
Philip Merrill
GRAMMYs
Dec 20, 2018 - 2:57 pm

When Serj Tankian isn't fulfilling duties as frontman of reunited GRAMMY-winning band System Of A Down, he's scoring movie soundtracks.

Tankian's latest project? Scoring Spitak, a film on the epic devastation of the 1988 Armenian earthquake that took 25,000 lives in 30 seconds.

The project was a uniquely personal and multi-layered experience for him, he recently shared in a Rolling Stone interview. "My problem is not adding emotion," said Tankian. "It's taking emotion away."

Born in Lebanon to Armenian parents, Tankian moved to Los Angeles as a young child but grew up with a strong sense of his Armenian heritage alongside the diversity of mainstream American life and media. Tankian covers issues pertinent to Armenia and its diaspora not just in his film work, but also the music he makes.

"I grew up listening to a lot of Armenian, Arabic and European music — all types of music," he said.

Scoring the film was special to Tankian as his wife actually lived through the quake, while attending school in the city of Spitak not far from the epicenter. A core plot element of the film is centered on a girl trapped beneath a building, hoping for rescue.

https://twitter.com/serjtankian/status/1068539757745983488

I am excited for the release of the soundtrack to “Spitak”, the award winning film about the devastating 1988 earthquake in Armenia that I composed the musical score for. Check it out at the link below. https://t.co/wNDGTnCMx7 #spitak #spitakfilm #спитак1988 #спитак #serjtankian pic.twitter.com/RR476jQpQM

— Serj Tankian (@serjtankian) November 30, 2018

"We wanted to have hope for a little girl in the film who survives and is trapped," Tankian shared. "Her world needed to be more magical, so there's that ethereal quality to some of the score, then the heavy scenes of the devastation of the city needed music that was darker in tone. It was an interesting balance."

Spitak is not the only film he's worked on with an Armenian theme. In addition to soundtracks in the works for The Last Inhabitant, music documentary Truth To Power and videogame Midnight Star, Tankian is working on the film I Am Not Alone about the Armenian revolution.

Scoring provides Tankian an opportunity to work with genres outside of what he makes with SOAD.

"I write in orchestral music, jazz and rock," he explained. "One reason I like composing for films is because every director wants something different, genre-wise, sound-wise, emotion-wise. It's fun. I get to make a different-sounding record every time."

'Score': Soundtracks Take Us On An Emotional Ride

GRAMMYs

Serj Tankian of System Of A Down

Photo: Kevin Winter/Getty Images

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System Of A Down Plot 2020 European Tour

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On the heels of a few overseas festival appearance announcements, the GRAMMY-winning band has revealed plans to tour Europe next June and July
Nate Hertweck
GRAMMYs
Oct 1, 2019 - 5:51 pm

System Of A Down's gradual return continues, as the band has announced a string of 2020 European tour dates. The run will kickoff June 3 in Amsterdam, Netherlands, and touch down in 12 countries in all, wrapping at VOA Heavy Rock Festival in Lisbon, Portugal one month later.

We’re happy to announce that headline dates have been added to our 2020 European Tour. General on-sale begins Fri., 4th October @ 10am local, which will include VIP ticket packages with proceeds going the non-profit charity, @MyStepFund. Visit https://t.co/tRgtViZ2sV for details pic.twitter.com/6xIHaT4p5E

— System Of A Down (@systemofadown) September 30, 2019

The new European trek comes just after the GRAMMY-winning band revealed they will make several major festival appearances overseas, including Download Festival in England and Nova Rock Festival in Austria.

In May of this year, the band reunited for Sonic Temple in Colombus, Ohio, and while it's been 14 years since their most recent album, the double-LP Mesmerize/Hypnotize, the band has reportedly been working on new music off and on since 2011.

SOAD earned their first GRAMMY nomination in 2001 for "Chop Suey!" for Best Metal Performance. Four years later, they took home their first GRAMMY win for "B.Y.O.B." from Mezmerize for Best Hard Rock Performance. Their most recent nomination came one year later for Best Hard Rock Performance for "Lonely Day" from Hypnotize.

Tickets for the newly announced shows go on-sale Friday, Oct. 4 at 10 a.m. local time. For more info visit the band's website.

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