Godsmack
Faceless

THE REVIEW

“Faceless” is the third work by a U.S. quartet from Boston, which manages to impress me more than some of their better-known colleagues do, such as those failures, Nickelback. Starting off as an Alice In Chains cover band, Godsmack derives their name from a track on the album “Dirt”, and have already been immortalized by some as the heirs of the famous Seattle combo, if only for the group’s chosen name and the tribal sun, which they reclaimed and reused as their trademark.

In reality, from a musical point of view, they have quite distanced themselves, except for the constant presence of certain metallic riffs and the series of songs formed by “Releasing The Demons”, “Dead And Broken”, and “I Am”, where the often slow, twisted, and perverse atmospheres seem to stand out as a true tribute to Layne Staley. The solos are not missing and do not disappoint, rightly curated and executed. Their style, particularly in the choruses, makes extensive use of a blend of powerful guitars, split by Sully Erna's strong, deep, and direct voice, as well as being adorned with fierce, pessimistic, and anything but banal lyrics. The singer's voice finds a way to assert itself, resounding when it accelerates and captivating when it flows harmoniously in the softer sections, namely those intervals that serve solely to bridge expressions of genuine anger.

Violent enough, which, although capable of being sporadically melodic (a melody always magnificently ambiguous), are not afraid to get serious when the time is right. Indeed, the album showcases a hard repertoire, starting from the opening track “Straight Out Of Line”, truly heavy but absolutely engaging, leading immediately to traditional Hard Rock, more than Grunge. “Faceless” further inflicts with its distorted and chaotic nature, while the tones soften with “Changes” and “Re-Align”, more relaxing, yet not without creating disquiet. The hit “I Stand Alone” seems to emerge from a chasm, so resounding, and not least of all is the following “I Fucking Hate You”, exhausting, destructive, and impulsive, to the point of expanding into a leaden impulse of instincts.

To not leave an excessive bitter taste in the mouth, the album closes with the ritual of “Serenity”, where the seductive music materializes a fresh and bright dawn, a rebuilding of the spirit after a stormy night dedicated to confusion and the unleashing of hate.

“My fears come alive in this place where I once died.”