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
Across the pop ‘n’ roll of The Ad Hominem and the pop fray of Overton Window, band and album just accentuate their rich enticements, the first of the pair especially persuasive while Cognitive Dissonance eclipses both with its punk coated misbehaviour again hinting at the seventies and the antics of bands like O‘Level and Teenage Filmstars.
Having enjoyed success with their previous band through tours and festivals like Download and Sonisphere alone, in the words of Hendo, the band“…all really missed playing live and touring, so we finally got back in a room together and we couldn’t be happier about it. The whole purpose of this new band is to get together as friends, write songs that tell a story and play fun shows. We felt like that was similar to sitting round a camp fire and telling stories – hence the name.” There is an energy and freshness of spirit to the Aberdeen hailing band’s sound which backs that up, like a rediscovery of fun and energy which as much fuels the four tracks making up the vibrant release as the individual prowess and sharp songwriting.