REVIEW: SERJ TANKIAN AND THE APO
By Chris Schulz
Stuff.co.nz
ew-Serj-Tankian-and-the-APO/
March 17 2009
New Zealand
OPINION There were nothing but highlights as Serj Tankian teamed up
with the Auckland Philharmonia Orchestra.
Serj Tankian and the Auckland Philharmonia Orchestra Where: Auckland
Town Hall When: Monday, March 17
It wouldn’t be often that a tuxedo-clad member of the Auckland
Philharmonia Orchestra gets the opportunity to "throw up the goat"
– the international hand gesture for metal fans – to a crowd.
But when the APO teamed up with Serj Tankian – the big-voiced System of
a Down singer who is now performing solo – it wasn’t just appropriate,
it was almost compulsory.
That’s how the night began as the APO took to the stage at Auckland’s
majestic Town Hall, and the grinning member of the APO’s horn
section received plenty of cheers – and returned "goats" – from the
surprisingly large, and varied, crowd.
It was an odd beginning for a wonderfully odd performance.
It might seem a strange mix on paper, but – over five System of a
Down albums and one of his own, 2007’s Elect the Dead – Tankian’s
booming voice has become an instrument of its own.
His operative howls give focus to the frenetic metal riffs that
usually accompany his voice.
But, when paired with the intricate melodies and stunning musicianship
of the APO, Tankian’s vocal range stood out even more.
That was evident from the opening track, his first solo single Empty
Walls, as Tankian’s recognisable Armenian-tinged hollering was given
extra melodrama and poignancy from the soaring strings.
If you were getting chills from the orchestra and their perfectly
executed, and frequent, instrumentals, that’s because they know
exactly what they’re doing.
As a result, there were plenty of highlights, like the thrilling
cresendo at the end of Feed Us, and the dramatic elements that
punctuated Sky Is Over.
Then there was Blue, a non-album track that saw Tankian impressively
matching the APO’s sonic delivery with a pinpoint falsetto.
The combo didn’t mesh quite as well when the rave lights were brought
out for the overly frenetic Money, as the intricate flourishes of
the orchestra got lost in a sea of noise.
And Baby was a little too wacky, but it was a good opportunity for
Tankian to unveil some comical facial expressions and a piercing
metal scream like the days of old.
It was a nod to Tankian’s rock fans in attendance, but if they wanted
a Monday night moshpit fix they would have left disappointed.
For those wanting to be pushed out of their comfort zone, by a
performer willing to do just that to himself, there were nothing
but highlights.
When Tankian and the APO received a standing ovation, they deserved
every second of it.