Wired (not “wide”) were the eyes of a horse on a jet pilot, one that smiled when he flew over a bay

My voice can sound most like Serj’s out of all Rock front men, if I do say so myself. Even at the age of 42. What can I say?

In seminary I used to put music on while writing and editing my papers, but I have recently fell away from the habit. Yesterday, however, I was feeling good (been lifting weights again for the first time in 5 years) and while the post-workout euphoria was in effect, I decided to put on music as I resumed some editing. I hadn’t heard Toxicity in a while, but I remembered loving that album and so searched it up.

One thing that I will never forget about the album is how seamless the entire thing is. One song flows right into the next. Whatever the actual production process felt like to the band, the Muse was clearly running the show. With my adult brain, I am very aware that these things are completely controllable, but in my child brain, I am to this day awestruck by how even the changing track on a CD, on every CD and every player, can happen at the right moment and in the correct and desired tempo. If you haven’t listened in a while, take the required 11 minutes to feel the special delight from the effect of the transitions from “Needles” to “Deer Dance” to “Jet Pilot” to “X”. Is it really four songs, guys? Be honest.

Whatever it is, it is perfectly sublime rock.

I remember being so enraptured by this album when I first heard it that I tried to have my dad listen to part of the album on our cool Bose speakers (like how I said “our”?) as a college kid, still living at home between semesters. But as is normal with spontaneous listening parties, he was not immediately impressed.

Over two decades later, the impression I gladly couldn’t shake at the completion of the album was how formative that album was for my current perspectives. One example should suffice.

In “Prison Song”, one lyric states, “All research and successful drug policy show that treatment should be increased/And law enforcement decreased while abolishing mandatory minimum sentences.”

Now, I can imagine that some folks might want to take this as a prescription. IE, some folks might say that, “the band is using its platform to call attention to the need for prison reform” blah, blah, blah.

No! I say again, H to the E-L-L’s No!

What they are saying is, “Burn it all!!”

The fact that the lyrics seem to make an argument is not to be interpreted as the band’s own intent to make that argument, no! The correct interpretation is to add the music and voice and realize they are calling out the entire system’s evident incongruence. Put another, less effective way, they could have sung, “You know it’s broken. You, yes you, know it’s broken! And you still are impotent. Even your supposed self-correcting design doesn’t work. It’s time to go!”

In a word, they “rock.”

And by giving us definitive boundaries to the meaning of Rock music, they help us fans understand that life doesn’t have to be a dog, which we train to stop eating our shoes by replacing them with a chew toy—no. Life can just simply be messed up. And the proper response sometimes is to call it out for what it is—period. Those in charge of the prisons, most immediately, and the rest of us in the society eventually, are forced by SOAD’s work (among others) to be uncomfortable at the least. And at the most, we find our calling and do something with our indignation. (Admittedly, this hasn’t yet happened for me, but after yesterday, I feel like it could any day now.)

In a glass-is-half-empty way, SOAD manifests the adage, “misery loves company,” but only if you also think any agent who forces you to consider that you are not almighty god does.

For the rest of us, SOAD’s contribution Toxicity extends life. Well done.