Flummox – Siren Shock

Al brings us some manic metal from Murfreesboro…

[Video]
[7.62]Al Varela: The flurry of emotions that course throughout the furious thrashing and explosive drums is the kind of catharsis I needed this year. Deliriously passionate, angry, horny, and desperate to let everything out through the monstrous hooks and Alyson’s shrieks and roars. It’s chaotic and frenetic yet so tightly composed and performed so every hook claws into your brain and every raw emotion bubbling inside you starts to reach its boiling point. That primal yell at the end of the song as that final riff plays out the song makes every hair on my body stand up. Pure adrenaline. Pure trans excellence.
[10]

Nortey Dowuona: me, preparing to write a detailed blurb on an aspect of the song: hmm, i wonder what this will sound like.
me, 2 minutes into the song: yeah, this is great
me, still listening to the song: i should really write that blurb -oh dang, what are they doing with that little bass line near the end!!! that sounds amazing
me, still listening to the song: but seriously…maybe I’ll be able to blurb…after one more listen…
me, preparing to write a detailed blurb on the song: hmm, i wonder what this sounds like…again.
[10]

Claire Davidson: Well, I can confidently say that I’ve never heard anything quite like “Siren Shock,” an already-energetic metal cut that quickly morphs into something more akin to Southern rock, the bluesy snarl of its lead guitar leading the charge in a mix that transforms the song into a rollicking but no less potent experience. That initially imposing approach is a good fit for the track’s lyrics, which detail in very carnal terms the all-encompassing force of a toxic relationship that leaves its narrator alternately mesmerized and depleted, using energy that evokes visceral experiences of touch and smell that stretch far beyond the bounds of one person’s body to convey just how deeply this codependency evokes an inescapable agony. Yet far from being a pessimist, lead vocalist Alyson Blake Dellinger performs these words with an infectious brio, her winking theatricality proving so compelling that I almost wish her voice were more audible, even for as unconventional as that choice would be compared to metal’s standard wall-of-sound approach. That isn’t my only quibble with the production: the hyperactive drum work, too, is actually placed too high in the mix, becoming distracting in its kineticism while still sounding flat-footed. Beyond these stylistic choices, though, the biggest flaw of “Siren Shock” is that, while its swings from lighthearted grooves to a more cavernous, dread-inducing melodic streak actually land pretty seamlessly, Flummox’s attempt to blend the two styles for a chaotic outro leaves the song feeling more cluttered than even a band this skilled can navigate. Still, having never encountered Flummox before, “Siren Shock” definitely has me curious to explore what else they have to offer, if only because I’m fascinated to learn what kind of minds could dream up such eccentric genre fusions.
[7]

Will Adams: It seems like there’s a rousing rock anthem buried in there, but I can’t get past the mixing: muffled, cluttered, doing no favors for Alyson Dellinger’s high-octane performance. That brief electric piano solo feels like a gasp of air.
[5]

Alfred Soto: A sound this fetching would tempt me to add suffixes like “lust-damaged” or “guitar-damaged” but they’re not fair. I hear no damage in “Siren Shock” — I hear joy and anger commingled because that’s the only way they work.
[8]

Andrew Karpan: It’s nice that a song can still evoke the feeling of a weekend night in a wood-paneled dive bar, loud and resistant to artifice.
[7]

Ian Mathers: How does one score a song that does a very good job at things one personally finds deeply unappealing? The most damning thing I can say about Flummox from the perspective of what I, myself, would like to experience can be summed up by this from their Wikipedia page: “the band is also known for their theatrical live shows that incorporate comedic skits, musical improvisation, performance art, and audience participation.” I am glad this sort of thing exists! I would even say I go beyond tolerance about it. I am genuinely into how much fun and skill is on display here and how much people who love it are having a ball. I find myself agreeing with a line from the Bandcamp page for the record this comes from: “Flummox returns in 2025 with their most obnoxious album yet, during a time when we most need them.”
[7]

Claire Biddles: Thrilling to hear so many ideas and flourishes packed into such a short space — when this finished I presumed it had been eight minutes long. Obviously a lot going on but I like it best when it sounds kinda like The Runaways. More prog bands should have swag!
[7]