System of a Down (SOAD), the Armenian-American band hailing from Glendale, California, has carved a unique space in the music world since their formation in 1994. Comprising Serj Tankian (lead vocals, keyboards), Daron Malakian (vocals, guitar), Shavo Odadjian (bass, backing vocals), and John Dolmayan (drums), SOAD is renowned for music that defies easy categorization. As Dave McKenna of the Washington Post noted in 2005, their sound is “far more complex than most metal,” extending beyond mere musical composition to encompass potent lyrical messages, often tackling political and socially conscious themes. This exploration delves into one of their most famous works, the “Chop Suey Song,” to understand its musical intricacies and enduring appeal.
Originally titled “Self-Righteous Suicide,” the track we know as “Chop Suey” from their 2001 album Toxicity, faced label pushback, leading to the name change. The band playfully adopted “Chop Suey,” drawing a parallel between the diverse ingredients of the Chinese-American dish and their eclectic musical style. This “Chop Suey song” quickly became a defining anthem for SOAD, boasting over 252 million streams on Spotify and a staggering 671 million views on YouTube. For many, including myself, “Chop Suey” served as an entry point into the captivating and often frenetic world of System of a Down. The song’s emotional depth and dynamic shifts create a truly mesmerizing listening experience.
System of a Down band members Serj Tankian, Daron Malakian, Shavo Odadjian, and John Dolmayan performing live
Deconstructing the Form of Chop Suey
The “Chop Suey song” follows a relatively conventional song structure, incorporating an intro, verse one, chorus, pre-verse riff, verse 2, chorus, pre-bridge riff, bridge, and outro. However, what sets its form apart is the stark contrast between each section. While the intro and chorus share a chord progression, the verse introduces a distinct shift, creating a sense of key change and dramatic variation. Adding to this dynamic interplay, the vocals oscillate between frantic, almost screamed delivery and eerie, Gregorian chant-like harmonies.
This formal structure might initially appear chaotic, with perceived shifts in key and tempo between sections. The rhythmic guitar strumming and powerful drum work contribute to an almost rubato feel, suggesting fluctuations in speed during transitions. However, the underlying tempo remains consistent throughout the “Chop Suey song,” highlighting the band’s masterful control over perceived musical chaos.
Timbral Contrasts in Chop Suey
The sonic landscape of the “Chop Suey song” is built upon two primary timbral palettes: electric and acoustic guitars. These contrasting tones are skillfully interwoven to create a dynamic and emotionally charged listening experience. The gentler side features slower strumming patterns, arpeggiated chords, and clear, melodic vocals. In stark opposition, the heavier sections erupt with heavily distorted guitars, driving open hi-hat rhythms from the drums, and aggressive, yelled vocals.
The intro begins subtly, with guitar and drums gradually building in intensity, culminating in a climax that extends through the turbulent verse. The verse itself is characterized by a staccato articulation, almost sharp and percussive, with deliberate silences punctuating chords and vocal phrases. This tension resolves in the chorus, where layered vocal harmonies and cleaner guitar and drum textures create a smoother, more accessible sound. The bridge amplifies the sonic intensity by combining distorted guitars and intense drumming with the return of Gregorian-style harmonies, resulting in a haunting and angst-ridden timbre.
The diverse timbral shifts within the “Chop Suey song” are a key element of its emotional impact. As one reviewer aptly described, “if you listen to [the song] while you are working out, you can pretty much bench press about 3,000 pounds when it hits its crescendo” (Serrano, 2012). This eclectic sound, blending raw energy with moments of melodic beauty, was also noted by Piers Martin of NME, who described “Chop Suey” as “at least 50% unrefined rock-opera balladry” (Martin, 2005), highlighting its unexpected blend of aggression and operatic elements.
Daron Malakian playing guitar with System of a Down
Chordal Harmony and “Key Change” Illusion
The “Chop Suey song” is grounded in the key of G minor, a less common key choice in popular music, contributing to its distinctive sound. System of a Down employs drop C tuning for their guitars, lowering the standard tuning to CGCFAD, which results in a heavier, more resonant tone.
Within the key of G minor, typical chords include Gm, Bb major, Cm, Dm, Eb major, and F major. “Chop Suey” primarily utilizes Gm, F major (with a G bass note), and Eb major – relatively simple chord choices. The musical intrigue arises from the strategic inclusion of F#5 and C major 5 chords in certain sections. These chords create the illusion of a key change, a sonic sleight of hand that adds to the song’s dynamic and unpredictable nature.
However, these seemingly out-of-key chords are actually derived from the A diminished scale (or A minor seventh flat five), which is the second mode of G minor. The A diminished scale contains A, C, Eb, and F#, thus encompassing both the C major and F# notes. Furthermore, F# functions as the dominant seventh of G minor. The use of the A diminished chord, and the emphasis of specific notes within it, creates a sense of harmonic tension and unexpectedness, contributing to the “Chop Suey song’s” unique sonic identity.
Melody, Texture, and Vocal Delivery
In the verses of “Chop Suey,” the melody is intentionally simple and repetitive, almost chant-like. The notes are delivered in a staccato fashion, creating a sense of urgency and fragmented thought. The texture during the verses is primarily homophonic, with the vocals clearly dominating over the guitar and drum accompaniment.
The chorus marks a shift towards greater melodic complexity. Two-part vocal harmonies emerge, creating consonance and a fuller, more melodic texture. While still homophonic, the guitar accompaniment transitions to arpeggiated chords, adding melodic interest beneath the vocal lines. The bridge introduces a more antiphonal texture, with two vocal lines echoing and responding to each other, building tension before resolving back into the homophonic texture of melody and instrumental accompaniment.
Serj Tankian singing Chop Suey live
Lyrical Interpretation and Meaning of Chop Suey
The chaotic musical landscape of the “Chop Suey song” mirrors the angst and ambiguity present in its lyrics. Interpretations of the song’s meaning vary, with some suggesting themes of drug addiction, while others see it as a commentary on societal views of Christ. Another compelling interpretation, and one that resonates personally, is that the “Chop Suey song” explores the complexities of mental illness.
The repetitive verses, with their seemingly rambling yet rhyming phrases, can be seen as reflecting a fractured mental state. Lines like “Grab a brush and put a little makeup / Hide the scars to fade away the shake-up” evoke imagery of masking internal struggles and presenting a false facade. While the Christ interpretation gains traction from the bridge’s allusions to Christ’s last words, the verses lend themselves more readily to a reading about individuals struggling with inner turmoil, perhaps mirroring bipolar disorder, masking internal scars, experiencing memory lapses (“leaving keys upon the table”), and constructing “fables” to conceal imperfections. This duality in lyrical interpretation contributes to the “Chop Suey song’s” lasting impact and relatability.
The lyrics, while thematically complex, are delivered in a straightforward and memorable manner, making them easy to sing along to. This singability, combined with the song’s raw emotionality, is a significant factor in its widespread appeal. The “Chop Suey song” provides an outlet for expressing angst and despair, inviting listeners to join in the cathartic release of yelling, screaming, and chanting along. This shared emotional experience is a powerful element of the song’s enduring popularity.
References Cited
Grow, Kory. “Rick Rubin: My Life in 21 Songs.” Rolling Stone, 11 Feb. 2016, http://www.rollingstone.com/music/lists/rick-rubin-my-life-in-21-songs-20160211/system-of-a-down-chop-suey-2001-20160209.
Martin, Piers. “System Of A Down : Chop Suey.” NME, NME, 12 Sept. 2005, http://www.nme.com/reviews/track/reviews-nme-5731.
McKenna, Dave. “System of a Down: Some Very Heavy Metal.” The Washington Post, WP Company, 13 May 2005, http://www.washingtonpost.com/wp-dyn/content/article/2005/05/12/AR2005051201773.html.
Serrano, Shea. “System of a Down’s “Chop Suey!”: Why This Song Sucks.” L.A. Weekly, 29 Feb, 2012, http://www.laweekly.com/music/system-of-a-downs-chop-suey-why-this-song-sucks-2410359.
