Though addictions are triggered early on they seem to put on truly inescapable nagging shackles over time but there is one for us which was immediate, thickly gripping and has just squeezed the life out of free will ever since and that is the new album from Scottish outfit Stoor. Admittedly the seeds had been sown and blossomed already for the Dundee quartet’s unique sound through their 2015 uncaged self-titled debut album but a craving Fleam has now escalated to all devouring heights. Like the last and first thought around sleep will be of a true if maybe unattainable love, right now our every musical urge starts and ends with Stoor.
It is hard to believe that Stoor is still not a band eagerly on the lips of thick waves of indie, rock, and post punk fans after their striking first full-length but surely a puzzle going to be solved through the aberrantly extraordinary Fleam. Again bred in a sound which has echoes and inspirations of seventies/eighties post punk and rawer new wave antics, Fleam has discovered a whole new level of virulence in the hooks, melodies, and imagination which made up its predecessor. It is a mischievously multi-flavoured experience though which leaves predictability and expectations barren on the kerbside of its compelling adventure.
Released through Stereogram Recordings who are ever reliable to bring fascinating proposals to the ears, Fleam opens with the appetite securing instrumental simply called Stoor Theme. As the album’s title represents, the band’s fresh sound strikes at the heart and cuts through the thick, wasteful but deceptive excesses which fatten the success and manipulate the common ear into providing undeserved attention and through the simple but incisive groove ‘n’ roll of its initial offering makes the first hook loaded score.
It is an imagination sparking, body twisting coaxing quickly matched in craft and temptation by successor, Pain. Instantly there is an air of sonic vexation from which a bold and boisterous stroll swings forth wrapped in the wiry enterprise of guitarists Ross Matheson and Davie Young whilst driven by the tenacious rhythms of drummer Scott McKinlay and bassist Stef Murray. The track was soon scooping up lusty attention and even more so as it twisted through a great and devilish pop infested post punk escapades within its undiluted rock ‘n’ roll. With Murray’s lead vocals just as magnetic and persuasive to participation, the track easily stole the passions.
It is a success soon shared across Fleam starting with the pair of Lovebombing and Dig. The first comes equipped with danger and threat as well as another dose of pure musical contagion that infests ears and instincts. Nurtured in punk ‘n’ roll ferocity and armed with a lyrical prowess which grips as effortlessly as the feral sounds surrounding it, the track simply enslaved before the second of the two sauntered in and exploded in a flame of melodic discord and eccentric invention. With a breath akin to The Nightingales in league with Television Personalities to it, the track burrowed under the skin laying bait and temptation which for just over two minutes feasted on any possible resistance to its esurient endeavour.
Ark follows, its opening lure loaded croon posted in a dusty mono background before eventually leaping through ears with Murray’s tones riding its undisturbed stride. Within, the primal edge to his bass is just as appetising but equally so are the strands of sonic thread igniting the senses courtesy of the rapaciously enterprising guitars; it all seemingly imposing greater temptation as the track’s volatility ignites and erupts in a predatory trespass.
Dancing around as the world crumbles, new single Atrocities is next and immediately has the body bouncing and imagination flirting with its XTC/ Orange Juice-esque celebration bred in a Fire Engines tuned jangle cast amidst the howl of windy discordance and apocalyptic corruptions. Haunting and rousing from its first sonic rattle, its uninhibited dust finally settles as the adventurous exploits of Agags Groove steps forth. As ever the persistently captivating and manipulative beats of McKinlay steer an inescapable quest for band and listener, the instrumental simply a web of intimation and temptation spanning past decades of flavouring woven into its own unique espionage.
McKinlay is even more a puppeteer within Founding Father, straight away directing body movement with provocative craft which soon invites guitars and bass to add their own similarly devious ideation and touch. Celestial melodies subsequently escape to expand the fascination and draw of another sublimely delicious moment within Fleam, the track as seductive as it is a cauldron of disquiet and dark suggestion before the following Unlike Them brings a declaration of defiance, anarchy and musical insurrection to bear on an apathetic landscape.
The album concludes with the incendiary magnificence of Chivers; a tapestry of rhythmic stalking, carnivorous basslines, and melodic friction united in irresistible incitement further loaded by thought grabbing vocals. Lure and challenge, a term which can be applied to the whole of the release, the song is unapologetic slavery and a glorious close to the album, its mercurial but always agitational and rousing body pure inspirational pleasure.
If Stoor had been there helping drive the Scottish post punk/postcard scene way back they would be cited as an inspiration for so many just as Orange Juice, The Fire Engines, and Josef K but do not confuse that suggestion with thoughts that the band is not one of music’s most fresh and exciting propositions right now and with releases like Fleam you can be sure they will be inspiring the creativity in numerous propositions to come.
Fleam is released on white and black vinyl, CD, and download via Stereogram Recordings March 30th across numerous online stores including https://stoor1.bandcamp.com/ with a special album launch show at Dundee’s Beat Generator Live! the release night.
https://www.facebook.com/stoormusic/ https://twitter.com/STOOR44 http://www.stereogramrecordings.co.uk/artists/stoor/
Pete RingMaster 26/03/2019
Copyright RingMaster: MyFreeCopyright
From its opening bait of bass, the first of the pair had the body swinging; its temptation instantly escalated by the vocal collaboration of Mears and band around Tollefson‘s lone and as potent lines. The guitars of Chris Munford and Corianton Hale again almost tease as they melodically entice but it is Mear’s melodic cries which made for the greatest seduction in a song and particularly chorus which made for increasingly mischievous aural manna. Its successor with its jovial jangle and frisky rhythms allowed for no relaxation of feet and body swerves, its flirtatious vocals and melodies a pleasing mix of comforting warmth and playful unpredictability.
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Next up is Walls away, a far calmer affair with a melodic temperament which captivated from its initial lure. It has a raw undercurrent though which accentuates its elegance breeding, that aforementioned unpredictability lurking at every corner while Slaínte (Salud, dinero, amor) has a Celtic lining to its infectious festivities; an Irish Gaelic inspiration which again had the body bouncing across its primarily instrumental canter sharing “good health”.
The excellent opener is quickly followed and matched by the bouncy saunter of Greek Fire, the resonating thud of rhythms alone a potent lure behind the boisterous and flirtatious exploits of voice and guitar. With each passing second each aspect accelerates its lustful gait and appeal, only relaxing to repeat the irresistible cycle with even greater enterprise and energy. Superb in every essence, the song sets a marker to be regularly worried across the release if maybe not quite by next up Trattegio. In saying that, the song only has attention and appetite keen with its calmer and eagerly infectious endeavours featuring guitarist Thayer McClanahan and drummer Matt LeMay alongside Smith.
Dig Tree comes next, the track a bewitching slice of punk pop initially, nostalgically recalling bands such as The Chefs and 4 Non Blondes. It floats across the senses but has a sonic causticity which just adds to the song’s bait again headed by Grimm’s engagingly manipulative presence. Whilst adding a new hue to the album broadening adventure, the song has feet and hips involved just as easily as rock ‘n’ roll instincts.
New single Beast of our Babylon brings a more sombre breeze to the adventure but with no less captivation and pleasure involved. It is a folk nurtured ballad with melancholic strings and acoustic elegance round the emotive tones of Montyro which just thickens and captivates second by second, maybe missing the mischief of other encounters within the album but rich in creative beauty to spark just as much pleasure.