Every time I’m ready to declare alternative rock dead, someone
has to come along and screw with the announcement. This time
around, it’s Boston-based Godsmack and their debut album that have
me holding off the declaration. Their self-titled release captures
the energy of alternative, clever sampling and powerful lyrics to
make for a solid first major label effort.
(Caveat: The tape I was sent to review was a “white label” that
did not have the final mixes or song order. Readers are asked to
take any comments of sound with a grain of salt.)
The band – vocalist Sully Erna (who also played drums on the
record), guitarist Tony Rombolo, bassist Robbie Merrill and drummer
Tommy Stewart (the band’s original drummer, who rejoined the group
after the completion of the album) – is a tightly knit group of
musicians who have a solid knowledge of harder-edged alternative
rock. Lightly peppered with obscenities (which actually bring out
the messages more) and heartily seasoned with samples at
instrumental breaks in the music,
Godsmack is an album that will deliver a well-needed slap in
the face from the get-go.
When it comes to solid rockers, Godsmack know how to deliver the
goods. Tracks like “Whatever,” “Keep Away” and “Bad Religion” all
center around a powerful lyrical delivery from Erna and a solid
rhythm backbeat from the rest of the band. (Merrill’s bass lines
don’t seem to vary much in a song, but they still provide a decent
anchor for Rombolo’s six-string work.)
Where Godsmack succeeds is in their willingness to take chances
with the music. Unfortunately, they only do this one, on the track
“Voodoo”. The different approach to this song makes all the
difference in its execution, and it remains one of my favorites on
the album. (I do, however, hope that it wasn’t moved to the end of
the album to be the closer; it is far more effective as a “relief”
moment during the course of the album.)
Godsmack only falters slightly in the songwriting, as some
of the tracks tend to blend together a bit. Tracks like “Someone In
London” and “Now Or Never” tend to fall into this trap. Also, the
opening track “Moon Baby” needed a little more lyrical development;
it didn’t seem to be a completely cohesive piece. Still, these are
not major complaints, especially for a first effort.
I don’t see how the mixes of the songs could be made any better;
the overall sound is crisp and comfortable, yet at the same time
challenging the listener to expand past the four instruments and
into the wall of samples that some songs utilize.
Godsmack is a decent first effort from a band whose sound
shows a lot of promise. With a little work in their weak areas (and
there aren’t many), this band should be a force to be reckoned with
in the very near future. Until then, let this album serve as the
world’s largest taste spoon.
