ALBUM: Oaths – Daydreamer

Release Date: May 31st 2017
Label: Unsigned
Website: None available
Twitter: None available


Coming at us like a double-edge sword for cause of both celebration and commiseration, ‘Daydreamers’ is both the first and the final studio album to come from the now defunct Mancunian post-hardcore quintet, Oaths.

‘Daydreamers’ starts off with a synthy Attack Attack! style interlude intro in ‘Ascension’ before we drop right into the record’s first track proper, ‘Dictator’. The track screams banger, and mixes in the best attributes of the band’s hardcore and rock ‘n’ roll influences before spitting them straight out into one awesome flurry.

The record’s title-track is one of the heavier songs being showcased on 9-track offering, and arguably even one of the strongest. Starting off with a huge lead line and ear shattering vocals from vocalist Martin Day, it’s not long until our ears are fed with some amazing guitar work from both Michaela Byron Hehir and Curtis Wilson, which sounds like it’s leading up to one of the heaviest breakdowns on the album, but instead, and disappointingly, it sort of just fizzles out and goes full circle back into the song.

‘Binary Star’ takes the title of the longest track on the record, and indeed of Oaths‘ entire back-catalogue. The aforementioned great fretboard work brings us in, and when the track drops fully it develops into a fresh-faced beast. It carries a Northlane-esque groove to it thanks to the drum and bass work from Oskar Sutton and Jack Warbrick respectively, and these only resonate and envelop the track as it gets heavier.

As both an establishment and declaration of the band’s sound and presence being their debut, and also regrettably their swansong, ‘Daydreamers’ carries it’s fair share of strengths and replay qualities, namely in the guitar and vocal work, but there’s notable room for improvement dotted about the 33-minutes on offer here. All too often there area moments that build-up to where it sounds like a cataclysmic breakdown is about to devour us, but when it happens we’re ultimately consumed by an anti-climax instead.

Written by Callum Griffin (@CalGriffinn)