Finding someone at Über Röck who will openly admit to liking American rockers Godsmack is about as likely as finding some fish and chips in Mississippi that don't taste like an old exhaust pipe. So rather diplomatically it was decided that I should be the unlucky Über scribe on whom the axe should fall. I say diplomatically, it was more a case of the short straw being tied to a handy sized brick and thrown through my window in the dead of night. Still, being the professional journalist that I am (stop sniggering at the back) I decided I would be open minded about this potential cacophony of blandness and at least give it a few good spins before forming an opinion.

I'd only ever crossed paths with the oft perceived arrogant Boston based rockers once before, courtesy of a rather lifeless, and quite frankly crap, live performance some ten years ago. I never saw (and still don't see) what all the fuss is about, although a huge event stateside, Godsmack seem to have made about as much impact as a malteser sized meteor this side of the Atlantic. Often critisised for being lame, bland, Alice In Chains wannabes with over inflated egos I thought they came across as being pretty much exactly just that and a million miles removed from the fell out of Heaven super band that others would claim they are.

Anyway on with the job in hand. 'The Oracle' is album number five from the Massachusetts metallers, following 2006's 'Godsmack IV'. It's a bulldozer sized riff that kicks things off with the surging blunt force of 'Crying Like A Bitch'. As heavy as a sack of fresh spuds it's also about as interesting with precious little happening for the duration of the opening track. Following up swiftly with the seriously swinging groove of 'Saints & Sinners' an outstanding bassline instantly grabs my attention. A sublime production on top that captures perfectly the essence of the instrument and gets me a little more interested in the second of the first two songs. Certainly twice as mean as 'Crying Like A Bitch' and no mistake but I think the cigars will still stay in the box for now. 'War & Peace' keeps the greasy riffed pace of hard rock flowing freely yet I'm starting to get the feeling that although these songs aren't as bad as I'd originally feared they're sounding more and more like second hand Disturbed cast offs with frontman Sully Erna lacking David Draiman's charisma to pull them off convincingly.

It's not until song four, 'Love-Hate-Sex-Pain', that the Alice In Chains songbook comes out, and in all honesty it ain't a bad stab. An honest enough adaption of their influences lovingly smeared over their current output, it's a song that's got wings and flies effortlessly above the previous four tracks. Once again though it's only really the bass that makes it worth taking some time to get acquainted with the tune. 'What If?' shows some promise with a brooding, tension building intro but unfortunately it fails to crash into the blistering assault of rock hinted at, and instead just whimpers back into being another "Godsmack" song.
 

After that it's pretty much more of the same for "side 2". 'Devil's Swing' and 'Good Day To Die' offer little in terms of energy but plenty in terms of monotony. As do the other remaining tracks. I found nothing wonderful here except maybe the production. Sound wise Ugly Kid Joe's legendary guitarist turned producer extraordinaire David Fortman (Superjoint Ritual, Evanescence) is the guy responsible for rustling up the exquisite depth of sound that breathes life into 'The Oracle'. Combined with that I also feel it's ultimately former Amen drummer Shannon Larkin and long time bassist Robbie Merrill who steal the show here from Erna and guitarist Tony Rombola. The rhythm section totally rules this record, rumbling and rolling over the songs with a tight knit groove that shines continuously thoughout the whole album. Many a time, if not all times, totally eclipsing the guitar parts which on large are bland almost to the point of invisibility. Easily forgettable riffs with seemingly hardly any exciting lead work leaves the guitar parts dull and extremely laborious to get through.

44 minutes after starting I was left slightly surprised. I didn't hate 'The Oracle' like I thought I would but then again I didn't really enjoy anything on it either. Some average songs mixed with other average songs leaves me choosing the word 'Boring' to best sum up this album. But with over 15 million albums sold and 3 Grammy nominations (no wins, see Slayer and Motorhead for those ;-)) already in the bag there's no doubt that Godsmack's newie is gonna fly off the shelves left, right and centre. Just make sure you duck so one doesn't hit you, otherwise you could be in a coma for years. 

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