“AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.”
Are people really allowed to call albums Loveless still? One brave man from Poland, Bobek Bobkovski, seems determined to strike in the face of that shoegaze classic with his own downcast escapades of a far more metallic nature. Siren Oath, with a love for amp tones and a distance from happiness, seeks to explore every creative wile that Bobkovski has to offer, all of which fall in post, black, and riff-centered shapes. And unlike some solitary acts, the mastermind of Siren Oath relies on his proficiency in real instruments to construct his works. So with talent enough to fuel his passion, can Loveless make lovers of our discerning Rodeö crew? – Dolphin Whisperer
Siren Oath // Loveless [September 27th, 2024]
Dolphin Whisperer: Conjuring the big sad requires some level of earnestness in performance. And for an act like Siren Oath, a one-man project, that truthful pathos that adorns every crack of Bobek Bobkovski’s post-grunge-y, lightly accented drawl goes a long way across Loveless. Whether conjuring the reverb-heavy clean to bone-crushingly heavy depressive assault of Ghost Brigade (“Nothing to Be Afraid Of,” “Praying for Your Life,” “Gone Forever”) or the waltzing black metal lament of early Shining (“The Inside,” “The Saviour”), his rough but full mid-range croon—or scattered array of harsh vocal techniques—land fitting enough to his missions of sadness. And when the goal shifts toward aggression, like the bridge-to-breakdown tearing of “If I Leave You” or the groove/nu leaning harmonic scuttle of “Forced to Live”—complete with the bounciest drum performance of the album—Bobkovski hits a proper throaty howl that fills the stage as wide as his pleasantly crunchy guitars. In a curious decision, and I’m entirely unsure it’s intentional on Siren Oath’s part, many of the shortest run songs on Loveless, despite having choruses (and rather big ones at that), end not with a chorus reprisal at close but some other musical intensification like a breakdown or heavy modulation. On occasion though, certain tracks wade to heavy into post-genre guitar textures and lose the pace against the urgency that persists elsewhere. And closing track “Christantemum” plays as nothing but an exploration with a saxophone and shoegazing guitar waves. But these quibbles do little to detract from what is overall an enjoyable experience. 3.0/5.0
Thus Spoke: I consider myself a reasonably big fan of “sadboi” metal.12 With this tongue-in-cheek descriptor presented as a selling point of Siren Oath’s sophomore record, Loveless, with an additional promise of black metal, I was sold. But Siren Oath caught me by surprise by sounding absolutely nothing like I anticipated. That’s not (entirely) a bad thing. There is indeed many a tremolo riff and plenty of rasping snarls, tendencies towards the mellow that follow the hazy, almost folk-like scale progressions over shuffling drums that associate most strongly with atmo-black (“The Inside”). Even the ringing atmospheric sections (“Becoming,” “Saviour”) would be at home in most modern blackened albums, “post-” or not. What sticks out, however, are the pretensions to sludge, post-hardcore, and rock. Sometimes, even though confusing, it’s great nonetheless, like the angsty “wooahhs” on opener “If I Leave You,” the gaze-y moodiness of “Nothing to be Afraid of,” or the aggressive grooves laid down on “Forced to Live.” Yet, as the album progresses, it’s difficult not to feel the tonal whiplash. It begins to detract from the strength of the whole, in spite of the individual strengths of each track. There’s a lot to like, but Siren Oath needs to pick a lane, or more seamlessly integrate their many stylistic leanings, the next time around. Mixed.
Remember, the artists you support are people! And they like burgers!
Alekhine’s Gun: As the winter finally descends upon us, Siren Oath arrives to escort us into the cold. Loveless is a post-metal sadboi release, flirting with everything from shades of blackened ’80s ballads to modern rock sensibilities. Loveless doesn’t lack for ambition, with cuts like “Forced to Live” heaving serious scrape-picking riffs under harsh vocals, and “Praying for Your Life” operating under crooning delicacy. Too heavy to be classified as shoegaze, but not black enough to be called black metal in any real sense, Loveless seems to be unsure of what kind of listen it wants to be. Highlight “Nothing to be Afraid Of” shows Siren Oath at their most potent, with sole member Bobek Bobkovski layering his vocals, emulating Life on Venus atmospherics. While all of the music is passable, it seems he struggles to write in his vocal range. The heavier cuts feature harsh vocals which sound pained and strained, and many of the clean sections hear him reaching for notes and sounding at odds with the music. “If I Leave You” is a key example, with a verse that sounds curiously out of tone, only to hit a chorus that sounds well executed and ripped right from classic rock. This tonal inconsistency is Loveless’s biggest stumbling block. A more focused direction in either direction, and writing more in his vocal range will strengthen future releases. 2.5/5.0
Killjoy: N00b feeding times with Dolph were a tender bonding experience. He often tied us up, stuck funnels in our mouths, and poured in the foulest concoctions he could find.3 I thought such moments were behind me after recently escaping n00bhood, only for him to press me into Rodeö service on my very first day as a staffer. So it was that I became acquainted with Siren Oath, the solo project of Bobek Bobkovski from Poland. Compared to my prior meals, the quality has dramatically improved but the consistency has not. Loveless predominantly flip-flops between somber post-black (“The Inside,” “Gone Forever”) and depressive goth rock that reminds me a bit of the recent Tribulation album (“If I Leave You,” “Praying for Your Life”). The most aggressive track, “Forced to Live,” dips its toes into sludgy waters. There’s even some saxophone to close out the album, but after test-driving so many styles it feels less novel and more like another piece of spaghetti to throw at the wall. That said, no matter the direction, Bobkovski proves adept at setting the tone through gentle guitar picking, dynamic riffs, and a surprise guitar solo in “Becoming.” With a more focused approach to songwriting, Siren Oath has potential to land the emotional punch it’s swinging for. 2.5/5.0
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