Estrons made scenes last year with their music video for Make a Man. Filmed on VHS, the video’s lo-fi fast fuzz takes us back to a time when music videos remained relevant, while raising the poignant social issue of masculinity and gender. The video features lead singer, Taliesyn Källström, sitting on top of two semi-clad buff(ish) men, while generally objectifying the shit out of them. As they paint her toenails, Källström sips champagne. It ends with a montage of stereotypical masculine images – men fighting, men skateboarding, men displaying their muscles and looting shops, men hurting and hurtling themselves into sheer destruction. It’s a bloody good song too – one that’s kept us on our toes and waiting for the next, ever since.
Now, Estrons are back with the new three-track, She’s Here Now. Without warning, it blasts straight into ‘Belfast,’ a track characterised by virulent, unrelenting drums, catchy riffs and staccato, oblique lyrics. It’s an absolute anthem, with Källström screaming, ‘Again and again, and I know what you ask for,’ over and over. It’s a sound that’s reminiscent of The Subways, if Charlotte Cooper smoked twenty a day and Billy Lunn decided he preferred The Stooges to Green Day.
The EP doesn’t let up though, and it’s ‘I’m Not Your Girl’ that’s the highlight. Here, Källström returns to commenting on masculinity, sex and relationships, as she wails, ‘I’m with my friends tonight/Telling them you are so middle-class, you could not do me right.’ Her clever, brutal, socio-political lyrics raise questions about class and the language men use when discussing women. The track gives way to a blistering chorus that one can almost taste, addressed to some – let’s face it – dickhead.
The EP finishes with ‘Call You Mine.’ With digital guitars and the thumping riffs, The Queens of the Stone Age influence on this track is evident – but it’s more emotional than the rest. The lyrics, ‘Could have been the feeling you hold onto in December/Could have been a reason good enough to call you mine’ talk of a broken relationship, that’s been shattered by the fear of taking the plunge. Källström’s distorted screeching is enough to make anybody wish they had someone to hold them through the impending winter months.
Estrons are certainly a band to look out for in the New Year. One can only hope that their forthcoming debut has the same energy, power and potency as does this EP.