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- Released: April 8, 2003
- Originally Released: 2003
- Label: Umvd Labels
- $1.29 on iTunes1.Straight Out of Line
- $1.29 on iTunes2.Faceless
- $1.29 on iTunes3.Changes
- $1.29 on iTunes4.Make Me Believe
- $1.29 on iTunes5.I Stand Alone
- $1.29 on iTunes6.Re-Align
- $1.29 on iTunes7.I F****** Hate You
- $1.29 on iTunes8.Releasing the Demons
- $1.29 on iTunes9.Dead and Broken
- $1.29 on iTunes10.I Am
- $1.29 on iTunes11.The Awakening - (African Languages)
- $1.29 on iTunes12.Serenity
Song previews provided courtesy of iTunes
This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.
Godsmack: Tony Rombola (vocals, guitar); Robbie Merrill (vocals, bass); Sully Erna (vocals); Shannon Larkin (drums, percussion).
"Straight Out Of Line" was nominated for the 2004 Grammy Award for Best Hard Rock Performance.
Personnel: Robbie Merrill (vocals, strings); Sully Erna (vocals); Shannon Larkin (drums, sound effects); "Viggy" Vignola (programming).
Audio Mixer: David Bottrill.
Recording information: Soundtracks Recording Studio, New York, NY; The Hit Factory Criteria, Miami, FL.
Photographer: P.R. Brown.
Godsmack first came to fame with a seamless blend of Metallica-like vocals and hooks and seemingly Tool-inspired prog-metal sensibilities all combined into an unrelentingly aggressive sonic attack. FACELESS continues in that tradition, delivering blow after aural blow via hellfire guitar riffs, devil's-anvil drums, and a gut-wrenching sense of dynamics. As implied above, singer Sully Erna alternates handily between James Hetfield-style lion growl and more vulnerable Maynard James Keenan tones, singing of all that's gone wrong both in himself and in the world that surrounds him, while the rest of the band does a fine job of representing the mayhem of modern society.
Unlike many other nu-metal types, Godsmack doesn't feel the need to leaven their attack with crossover-potential ballads and orchestral/electronic interludes. FACELESS provides one breathless bash after another without fail, never giving an inch until the very end, when the percussion-and-chanting strains of "The Awakening" give way to the largely acoustic, rather Alice in Chains-sounding closing tune "Serenity."