ARTIST: Godsmack
ALBUM: The Oracle
LABEL: Universal Republic Records
RELEASE DATE: May 4, 2010
Godsmacks Back
Photo by Paul Brown
Written by Lindsay Murphy
Four years after their fourth album IV, Godsmack prove their ability to construct hard-hitting music is better than ever. With The Oracle, the Grammy-nominated gods of hard rock have delivered a strong album chockfull of catchy, radio-ready songs.
On The Oracle, they stay true to their songwriting roots instead of attempting forced musical progression. The band consequently emerges sounding like classic Godsmack, heavy with melodic guitar-driven tracks, which will likely please fans. Although such formulaic tracks have the propensity to appear stale, Godsmack manage to animate each song with exciting new riffs and melodies.
Frontman Sully Erna sings with his usual gravely vigor that defines the band. Lead guitarist Tony Rombola offers catchy distorted guitar riffs characterized by stop-start aggression and somewhat standard wah-wah–imbued solos. Bassist Robbie Merrill lays down some of his best bass lines yet, and drummer Shannon Larkin punches listeners with percussion. Erna’s testosterone-laden lyrics span topics from alpha-male machismo to struggling with personal demons.
The first single “Cryin’ Like a Bitch” is an aggressive, pummeling track that begins the record with a bang. “Saints and Sinners,” the second song and original album title, launches with a thunderous bass line and continues with strong melodic hooks. Military-inspired rhythm guitar drives “War and Peace,” a real headbanger that features an infectious chorus.
Sully croons in the vein of Layne Staley, the late singer from Alice in Chains, in key track “Love-Hate-Sex-Pain.” Deviating from the mostly upbeat album, it contains slow, minor harmonies aurally conveying his complex agony. The song provides a nice departure from its peers and ends with a sprinkling of piano that beautifully contrasts with the band’s metal underpinnings.
A dueling harmonica/guitar solo anchors “Devil’s Swing,” a zippy, grooving standout. “Good Day to Die” sounds strikingly similar to Metallica’s “Master of Puppets,” both in Rombola’s guitar riffs and Erna’s Hetfield-esque snarl.
Godsmack close out the album with title track “The Oracle,” a long instrumental scattered with sound bites and replete with galloping rhythm guitars, soaring solos, double bass drums, and supplementary strings. It’s a haunting epic reminiscent of old-school Metallica and ends the album on a strong note.
The Deluxe edition includes a DVD with two bonus tracks: “Whiskey Hangover” and “I Blame You,” and the iTunes edition contains extra “The Departed.”
Every song on the record has single potential, and finding an album lacking filler is rare. While Godsmack don’t reinvent themselves, they present a powerful metal offering with The Oracle.