HOT PRESS Interview. 2000

“For anyone naive or uninformed enough to believe punk rock is a style, Estel is a punk rock band. We hope to see you in the new year, and remember if you are on your own side, who can be against you? Stay positive. Estel.” Insert to debut Estel 7″, ‘One Deep Breath b/w Crunch Crunch It s So Quiet’ (LTP002)

They’ve only been playing together for the last two years, and in the last eight months they’ve delivered two of the finest records to grace my turntable in quite some time. Introducing Estel Sarah and Ashley Sheil on guitar/bass/vocals and keyboards respectively, Andrew Bushe on drums and Grainne Donahue on guitar and bass. In February this year, they put out a hand-stamped record beautifully packaged in handpainted covers. It only got a limited run of 200 pressings, and as a television advert doesn’t say, this record is no longer available in the shops.

But fret not, as one of the most intriguing, individual and refreshingly innovative debut albums to delight these ears in some time is just about to claw its way into the hearts, minds and record collections of open minded music lovers.

It is charmingly entitled Angelpie I Think I Ate Your Face, and while the vinyl release maintains their penchant for limited pressings (only 100 copies record collectors on your marks get set ) it will receive an international CD release on Folkrum Records. Angelpie is an addictive listen a perfectly formed cyclical record exploring a dark and twisted popscape, from the sloping opener ‘Nutputragies’ to the dreamy otherworldliness of ‘Langoliers’. But is it really punk rock? Yes, in that it most certainly challenges convention, not in any hackneyed, preachy, shouty or posey manner, but as a welcome and perfectly crafted alternative to what mainstream rock and pop has become.

Sarah Sheil begins their story, far away in the un-rock n’ roll capital of County Roscommon.

“We lived in Roscommon (Sarah and Ashley). Went to Art College for a year. It was shite. We moved up to Dublin in ’97 and arsed around for a year. We didn’t know what to do about how to form a band, or what was the way to go about it. So, we just wrote some songs. We met Grainne and did our thing in Eamonn Doran’s in the afternoons. Andrew was there for one of those gigs and he started coming along. He thought we were an art project!

“Yeah! They were brilliant! All this noise!” raves Andrew as if he had just witnessed Estel for the first time. “They sounded like the first Sonic Youth album with no drummer. I just asked could I join and that was that. I had been in the Waltons and it was an even more hellish noise. I thought they looked good and sounded good. I could play drums and they were girls, so yeah, cool! I think anyone whose been a fan since the start, not a fan ‘cos that s a silly word for us, rather someone whose been into us, can see a lot more confidence in what we do and a greater focus.”

“In the beginning, Andrew put drums on the stuff we’d already made, but now we all make music together,” adds Grainne. “The 7″ is a good example of that”, continues Andrew. “‘One Deep Breath’ was obviously written before there was a drummer and ‘Crunch Crunch’ was written around a drummer. You can see, sorry, hear a difference.”

And you can certainly hear the difference between Estel and every other hopeful brat pack on Angelpie. Initially, obvious reference points are the sonic freedom that punk and freeform rock outfits from Chicago, Washington and Glasgow brought to contemporary guitar based music. However, it would be a grave mistake to lump them in with the so-called ‘post-rock’ scene.

For starters, three of the eight tracks on Angelpie have vocals, and most importantly Estel have taken the cue from these bands to paint their own sonic canvas, eschewing the traditional structures and constraints of rock, but still sounding refreshing, vital and accessible.

“The front cover probably sums it up,” ponders Grainne. “All this pretty childlike stuff and then the evil sinister stuff and the big scary childlike hand coming in. You’ve got all these childlike keyboard sounds and the evil guitars.”

One of our mates did the album for a total knockdown price of fifty quid a day. We couldn’t even afford that!” exclaims Andrew. “So, we did it in a day and half! But seriously, we had it all down in a day and a half. There was no pressure. I don’t see the point in fucking niggling over a piece of music. You record something and niggle over it for five or six days what’s the point?

“We usually always go with the original take”, interjects Sarah. “Too much music at the moment sounds overproduced particularly by Dublin bands or Irish groups in general,” opines Andrew. “Fifty layers of tracks that you don’t need. If you play your songs properly you can do them in a day. We were certainly a live band before we were a recorded band, and I’d rather represent that on vinyl. A lot of bands have albums that don’t sound like their live sound.”

“So we are not disappointing anyone!,” laughs Grainne.

“See, you can put a chimp in front of a thirty-six-track desk, or you can have someone who knows what they’re doing on a four track and it sounds amazing. All the early Dischord and Touch and Go records were recorded on four-tracks. That stuff still stands up today. A producer can’t make a bad band sound like a good band.”

“Basically, you can’t polish a turd,” concludes Grainne.

Angelpie I Think I Ate Your Face is out now on a strictly limited vinyl run of only one hundred copies from Road Records, Fade St, Dublin 2. Estel release the CD nationally and internationally as in from their launch bash on Monday 30th October in Whelan s.


Listen To ‘No FI, Low Fi, Hi Fi’ for free!

Buy it here –

Or as part of a pack here –


[Cassette Tape – Quarter Inch Collective 002 – April 2011]

Printed on Cassette Tape in a run of 150.


On April 9th, legendary scions of the Dublin alternative scene, Estel, are releasing No Fi, Lo Fi Hi Fi, a collection of various rare and previously unheard tracks from their eclectic 12-year career. The album will cherry pick 14 tracks that highlight the band’s passionate diversity and uncompromising vision. No Fi, Lo Fi, Hi Fi will be released on a limited run of 150 cassettes and will be available to download from Bandcamp.

One of Dean Van Nguyen’ s ‘Three key cassette releases on Irish labels’

Read the whole piece here –


Listen to it here- 


[CD – Richter Collective / Little Plastic Tapes LPT008 – February 23rd 2009]

Printed on c.d. in a run of 1,000


Imagine for a minute that the Irish rock underground is a scary warren of tunnels. A bit like somewhere from the land of Mordor in Lord of the Rings except you can access it through a secret portal in the Lower Deck or the Boom Boom Room. It’s a cold, damp, labyrinthine place full of discordant, relentless, yet fascinating music. If bands like Adebisi Shank and Bats are the freshly-hatched spawn who guard the gates to this netherworld, chances are that Estel reside somewhere within it’s darkest vaults. They’d be a huge glowing maggot, or monstrous spider, an enigmatic creature that has resided beneath Dublin for ten years now, dreaming up dark, uncompromising instrumental music, oblivious to the fads and fashions of the world above.
The latest release to ooze forth (in keeping with the dodgy Lord of the Rings allegory) from camp Estel is an untitled album of tracks named after the four gospels, with a cover of The Stooges ‘Fun House’ thrown in for good measure. The album is a collaboration with Stooges saxophonist Steve Mackay and Mike Watt who played bass with practically every American hardcore band you can shake a stick at.
I know what some of you are thinking. “The four gospels? This stinks of self-important dreck.” I thought the same, until I saw the track-listing on my iTunes player. ‘Matthew’, ‘Mark’, ‘Luke’ and ‘John’ are punctuated, beautifully, hilariously and surely intentionally, by ‘Fun House’. This is apparently the gospel according to Estel. A reading where his great unholiness Iggy rubs shoulders with the four scribes.
The music itself was recorded in a short burst (perhaps because Watt and Mackay only had so much time on their hands), but as such, provides an engaging document of what happens when this sort of endeavour works. Rather than melting respectfully into the background, as others might do when working with their heroes, Estel are clearly the measure of the their collaborators. The first half of the album is more uneasy than the second. The band weave an urgent, undulating tapestry of sinister sonic matter on ‘Mark’ and maintain a remarkable piano refrain that not only supports Watt’s saxophone, but sounds like the product of months in the studio rather than an afternoon’s improvisation.
‘Luke’ and ‘John’, the two tracks that follow a respectful reading of ‘Fun House’, are lighter affairs. On ‘John’ in particular, the music seems to float endlessly upwards, and Mackay’s sax sounds like a balloon let loose from a net, drifting into rarefied spaces in the upper atmosphere. For an album recorded in such a short space of time, this is a remarkably expressive and coherent piece of work and testament to this band’s importance in the Irish underground.

I’m actually a big fan of improvisation. A lot of my writing stems
for just sitting down at the computer and just going for it, which is
why so much of it is rambling, boring and uses such awful analogies.
The feeling I have about ‘Untitled’ is further confirmed from reading an excerpt from Mike Watt’s tour diary, which has been scribbled in the linear notes. From what Andrew Bushe of Estel states in a very brief paragraph below Watt’s; Estel had gone in to record with Watt, only for Steve Mackay to turn up and ask to be in on what they were recording.

It’s essentially a jam sessions album, where a group of like-minded
individuals have been brought together, wandered into a studio and just
started playing and playing and playing and this is the resulting cut,
plus a version of one of The Stooges most famous tracks, ‘Fun House.’
I mean, this is all presumable: there’s a feeling that Estel, Watt and
Mackay had down what they were going to record and this was the result,
but to me, it has that air of unpredictability and awe that suggests
that it all feels like a scene from Curb Your Enthusiasm in its nature of creativeness.
The intro on ‘Matthew’ is a ghostly, crackling start that
smoothly slides into a warm saxophone flourish, like a malt whisky
being liberally poured into a crystal glass. Its gait is somewhat
plodding, yet picks up the pace into becoming a drunken march,
punctuated by the echoing keyboards and distant fuzz in the background.
Matthew’ is a strange opening track; it doesn’t seem to go
anywhere as such; yet builds on this solid repeated verse by adding
more and more instruments and sounds to create a silky, yet mellow
piece of instrumental rock.
Mark’ is suitably chilling and ostentatious; starting with
a sinister bass groove and steady drumbeat that is suddenly hit by a
strained saxophone drawl and the kind of keyboard effects that were
last heard in a Christopher Lee movie; involving a guy who has no reflection, doesn’t go out in the sun much and hates bits of wood named ‘Mr Pointy.’ In fact, it all sounds like something from Papa Lazarou’s Pandemonium Carnival – I have this image of Reece Shearsmith,
orchestrating the band in some mad-scientist/unhinged conductor style,
constantly cackling with glee over the pure circus of noise that they
are creating. Imagine the ‘Phantom of the Opera
theme being played with the music sheets upside-down. Creepy doesn’t
even begin to describe it, but yet it’s easily the best and personally,
my favourite track on this recording, just for the downright
disconcerting feel I have about it.
On the cover of ‘Fun House’ I kept expecting lounge-jazz crooner Richard Cheese
to pop up with his distinctive twang and run through a suitably
hilarious version of the track. There’s not much to say about this, as
it’s pretty much a faithful cover, but with added keyboards making up
for the lack of Iggy slurring over the rambling
madness of it all and the scuzzy edge of the original has been shaved
off. Mackay seems to have been given free reign with his sax, dousing ‘Fun House’ with a thick layer of eccentric parping.
Luke’ is the only track to not feature the brass talents
of Mr Mackay and feels slightly alien compared to the other tracks.
Nevertheless, it cuts a sharp line in ambience, acting as a musical
wash of sound built on the same repeated drum roll and some trippy
electronic whirls that brings to mind Alias & Ehren. It kind of has a very placid, almost hip-hop vibe, without actually being hip-hop; bursting with wraithlike haze.
John’ equates to something you would hear over the top of
a piece of film running in slow motion; possibly during a ‘coming to
terms with’ scene or one where the lead character shoots up a load of
class A and blissfully passes into the world of dreams and confusion.
It’s a soft, ethereal piece of looping jazz that warbles and
reverberates in the right places to keep the listener interested
through its distinctly progressive ride. An interesting collaboration
that might seem strange at first, but with perseverance, is ultimately
rewarding – bloody freaky cover art though.+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++


All of us are human, that much we know. We know not from whence we came, nor where we are headed, and so, we search for guidance. We seek that which is hidden, that which cannot be known. Our lust and desire is insatiable. From that desire, stems temptation. Temptation, if succumbed to, leads to ruin. So that we may resist those that tempt us, we must look to more nobler souls than ours to inspire and lead us. Estel represent such nobility, their decade long residence at the core of Ireland’s underground music scene has proven them to be worthy and indelible souls. Their staunch resistance of commercialisation, their virtuous commitment to the embrace of the new and inventive, and their lofty, higher purpose, all combine to make them leaders, warriors, and indeed preachers of goodwill.
On their latest record, Estel combine with two legends, Steve Mackay, famed saxophonist with The Stooges, and Mike Watt, veteran of the 1980s U.S. harcore scene, to create a mesmeric testament that cements their status as underground idols. The record is called, simply, Untitled, and was conceived and recorded in a blaze of creative opportunism in three hours in September 2007.
Matthew 5:16: Let your light shine before men in such a way that they may see your good works.
Estel’s first collaborative illumination with Watt and Mackay takes the name Matthew, and traces a winding, slippery path into some disturbed circus territory. Mackay’s saxophone is reminiscent of the more thoughful tracks on Bowie’s Black Tie, White Noise, while overall the track would sit competently in the company of the Thin White Duke’s 70’s exercise in minimalism, Low. For all its meandering tempo, Matthew exudes enthusiasm, and the raw energy that clearly went into the production has been caught and harnessed expertly. The sinister underbelly that permeates Matthew lends realism to the heavenly exploits of the woodwind, and inspires comparison with the world as it exists today: filled with glory on one hand, and tarnished with corruption on the other. In this case, the light wins out, Mackay lifts and wills one upwards, and the last haunting notes close the shutters on the cosy French café that houses such dreams and poetry that even Gods stand in awe of.
Mark 4:21: For whatever is hidden is meant to be disclosed, and whatever is concealed is meant to be brought out into the open.
The heightened frenzy of fairground lunacy takes a stranglehold from the first eerie refrains of Mark, the second track on Untitled. The thudding, stomping combination of bass and guitar bequething an otherworldly guttaral foundation on which the piercing of keys and saxaphone crests, revealing the almost manic spiral of intricacy that Mark descends into. As the pace gathers and quickens, the drum rolls become more frequent, beating with almost tribal rage, and all the while the twin treble sounds of synth and sax veer off eccentrically. But strangely, for all the eclecticism inherent in what is essentially an improvised work, there is a solidity, a bassline on which the whole is formulated, and that holds it together as a concrete entity within its own right.
Pat Sharpe: I get a lot of questions about the mullet and a lot about the twins. I didn’t sleep with either of them. In fact, my family and their families are very good friends.
Faced with 2 Stooges, Estel were no doubt delighted to play the third, and no better song could they have chosen to cover for fun than Fun House. This version is an altogether more syncopated affair than the original, and contains an agressive, jazzy streak. MacKay would have played on the original recording way back in 1970, and it’s delightful to hear the expressiveness in his lead role on this track. He makes it sound fresh still, and brings new twists and turns to a lick he’s probably played thousands of times. There is no debate, this house believes that recording this cover was probably the most fun these fine exhibitors had in their three hour recording whirlwind in Ashtown, and it most certainly comes across on the record.
Luke 9:34: While he was speaking, a cloud appeared and enveloped them, and they were afraid as they entered the cloud.
Into the mist comes Luke, the only track on Untitled that features Estel solely. It’s a haunting affair, heavy on the Dirty 3-esque sweeps and swirls, and yet it’s curiously mellowing after the berserker stylings of Mark and the full-on party of Fun House. It’s 3 a.m., the kettle is boiling, you’ve left the heating on when you went out so the house is a sauna. That weird sick feeling you had on the NiteLink is fading, and the warm glow of that last drink’s embrace is bursting through your cheeks, but still, you can’t help feeling that something you said, something you did, some awful, terrible thing, is going to interrupt your peace. Luke says, it won’t.
John 4:37: For in this case the saying is true, ‘One sows and another reaps.’
MacKay and Watts return on the last gospel, John, a soothing, laid-back affair that speaks of open spaces and happier times. It’s a smooth, rolling ride along the coast, a dreamlike imagining of hangliding through perfectly still air. It’s all kinds of foolish, romantic images rolled into a eight minute long loop of peace and contentment: inconceivable how such calm was forged under such a highly strained recording schedule. Untitled closes there, with one last dischordant blast of every instrument, one last triumphant shout to the heavens, one last crash of free jazz.
“Instrumental improv?” is the question that will accompany the quizzical look when you mention this record, but it’s more than that. This is a whole, a whole that even the creators could not likely have hoped for when they embarked on this project. It is as complete as any record that may have taken longer to make, as complete as any recording that was achieved via militant perfectionism; and it is a true joy to listen to and feel yourself yielding to the infectious enthusiasm and excitement that must have infested those studios is Ashtown where this was birthed.


It says a lot about a band when they manage to get the legends that are Mike Watt and Steve Mackay to play on their album, or more than that, to actually record a full on collaboration with them. The fact that Estel have done just this is an indication of the quality of this band. Now going ten years, Estel have been very consistent with the quality of their music, and with that music being very unique and somewhat un definable. No matter how I try I never seem to be able to pin down their music, nor am I able to come up with any kind of accurate description of this music, there doesn’t seem to be any easy or clear definition of this music, sometimes it’s quite calm, atmospheric almost, only to burst into frenzy and all out chaos, most of the time it’s quite dark, and manages to be both playful and menacing at the same time.

While listening to their new album, the aforementioned collaboration with Mike Watt and Steve Mackay, it is clear that Estel have not let up on their quality, and downright off-the-wall sound, helped greatly by Watt and Mackay, most notably with the addition of Mackay’s saxophone adding yet another element to the sometimes circus-like madness that is Estels music. There is a somewhat different feel to this album than previous Estel releases, due, in no small part, to the participation of the temporary new members. The songs seem somewhat slower than usual, and on the last two songs, when they become drenched (more so than usual) in keyboards things become a lot more atmospheric, and at times almost psychedelic, in its own way. This is an interesting, and somewhat understandable, progression (in so far as anything can be understandable with this band).

In terms of achievements, both for the band, and for the Irish underground, it is great to see this band, who are in their own rights legends of sorts; what with a career now a decade old and considering the contributions made to the ‘scene’ during that career, now collaborating with two musicians who are undeniably legends, something which will no doubt bring Estel to the attention of a larger audience, assuming they want the attention, that is.



Keep your eyes peeled in coming weeks for the abso-brill Estel record featuring five spectacular, spontaneous songs recorded with Steve Mackay and Mike Watt of The Stooges in about three hours. It just misses this year’s lists with a release date of 9 January at The Lower Deck. I’m wearing in my fan t-shirt already!



On the 9th of Janurary Estel release their first volume of collaborations with Mike Watt (co-founder of The Minutemen and fIREHOSE, and as of 2003 bassist for the reunited Iggy Pop & The Stooges as well as many other bands) and Steve Mackay ( an American tenor saxophone player, best known for his participation on The Stooges’ influential second album Fun House)
And to celebrate this Estel are playing a few dates around the country (more about the gigs at the end), but not only are they releasing this quality collaboration they’re also marking Estel’s 10 years together as a band which in itself is fucking huge.

As for the CD itself, well I really fucking liked it and really shows what Estel can do. The album is dark and atmospheric, sometimes slow and then jumping into full on freak out with a touch of psychedelic in the mix, this is not a band trying to play along or keep up with two legends this is full on collaboration and don’t take my meandering word for it, listen for yourself.

EP : Estel

2009 marks Estel’s decade-landmark of personificating music in Ireland. It must give them great pleasure to move forward to even greater heights with the start of this year: volume 1 of their recordings with Steve Mackay and Mike Watt of The Stooges will be released this week: first in Freds in Cork tomorrow night, Sally Long’s in Galway on Thursday and then Friday 9 January at the Lower Deck.

I tipped this in my EP round-up as one of the first to watch out for this year: it’s a blammer, dark, heavy and strong. I never know how to write about music literally but get this:

Ponderous drums, steady, deliberate and filled with intent. Not dim or malevolent but deep as the hypnogogic state between awareness and sleep, taps of bright, lucid codes and slumbering diffusion to lull then jar as tempos kick and change.
Guitars like water-insects skidding across surfaces. They climb, they career, they clear to land. They sting, you slap and sigh with ecstatic itches.
Synths/keys ascending above rocky ground, providing lurid sonic-plumage of great colour, flying and filling boundaries’ furthest reach.
Saxophone, the most woefully under-used instrument in rock, hollow blasts of brass talons applied to great effect as a complement to the thinner ring of steel strings.

Untitled, known only as volume 1, four of five tracks are named after Gospels in The Bible and the fifth, a cover of Fun House, pays homage to Mackay and Watt. This record is not about The Stooges, however. It’s not just about Estel or their long-running dedication. This is about spontaenity, improvision, inherent quality of musical minds. This is about masterful instrumental control, imagination, insight. Recorded in a few hours with little reheasal or preliminary discussion, it’s about putting a bunch of talented fuckers in a room and pressing “Go”. Anything could have happened. Carnage even.
It’s grasping a handful of grass to find a single red blade of sound…and not a drop of sweat or blood in sight.


A collaboration between underground music luminaries and sometime Stooges Steve Mackay and Mike Watt, with cultish Dublin instrumental band Estel, the five-track Untitled is the result of an intense and uncompromising three-hour jam session; the band’s idiosyncratic experiments with melody and discord are laced brilliantly with Mackay’s sax and Watt’s bass.

Apart from an unsettlingly flamboyant cover of The Stooges’ epic Fun House, it’s the four gospel-titled originals which catch the ear. Matthew is all rumbling bass and menacing sax with a vaguely reassuring piano chime, while the more frenetic Mark leaps from the dark with its forbidding organ lead. The choice cut is John, a graphic novel-jazz piece with a triumphant marching rhythm, half-masking a nagging hint of malevolence. It’s a glorious fusion, and we await the forthcoming Untitled 2 with tremulous anticipation. ****


features a collaboration between irish instrumental outfit and current stooges members mike watt and steve mackay. mike watt is also a former member of legendary punk rock outfit the minutemen. steve mackay played sax on some of the very early stooges releases. the album was recorded during a weekend jamming session at ashtown studios and features five improvised jams. features four original pieces along with a rather bonkers cover of the stooges classic track fun house. its a rather fantasic collection of jazz tinged post rock, scuzzy avant rock and thunderous post punk rumblings.


[CD – Little Plastic Tapes 07 – Autumn 2006]

Printed on c.d. in a run of 1,000


Estel’s release, “The Bones of Something”, is the auditory equivalent of Danny Elfman conducting an avant-rock band scoring the life of a male stalker, and the music is the thoughts perpetuating his obsessive compulsion and actions.
The recording starts off with “Stacey”, a disturbing music-and-sound-effect-backed narration of a man leaving a telephone message to a woman he is apparently stalking, and the one-sided “conversation” shifts from creepy to an all-out suicidal/homicidal closing, a brilliant introduction into the realm of the Dublin-based quartet that is Estel.
Most of what is performed on this recording dwells upon repetition, but it is the unique moments of subtlety which keep things fresh and flowing throughout.
The drastic time-changes & tones of all instruments involved remind of the most appealing parts of the band Faith No More, yet still manifest a feeling of uniqueness and remain saturated in originality.
Tommy O’Sullivan’s guitar-playing occasionally gives a nod of homage to the major-key high-neck riffs of Modest Mouse, yet he blindsides the listener with a bleak low-end heavy riff, proving he can take you to somewhere bright and lovely and then the sonic tidal wave crashes to the ocean floor to bring you to the dark depths of newly-blackened territory.
Sarah Sheil’s keyboard parts are a pivotal point of Estel, in that she can play extremely morose segments of songs, yet also contribute parts reminiscent of childhood lullabies at odd intervals, providing a bizarre and almost carnival-like feeling to the songs.
Andrew Bushe’s drum parts are tight, tasteful, groovy at times, and instill a solid backbone to the chaotic and dynamic progressions which encompass “The Bones of Something”, and without Bushe, these songs would not be as visceral as their destined outcome.
Mike Watt, legendary bassist and member of the Minutemen, fIREHOSE, and recently with The Stooges, contributes a spoken-word piece to the 4th track, “Regardez Moi (I’m Up to My Neck in Shit.) (Again.)”, which is a building & beautiful piece with a haunting keyboard melody which spirals into a guitar, bass, and drum-heavy onslaught, kicking into half-time, punishing the listener whilst Watt retreats vocally, then the band descends tastefully and lightly back into a skeleton of the initial melody, inviting Watt to enter once again, finishing the song amazingly.
Track 8, “The Twisted Brain Wrong of a One Off Man Mental” is a solid ending piece to the album which shows Steven Anderson’s bass-groove abilities and the gift to perpetuate a track which some may consider slightly stale in melody if it weren’t for his spectacular fretwork. O’Sullivan’s guitar-work is heavy rhythm-oriented and maintains the droning melody with Anderson bouncing in and out of major and minor keys, clashing with Ministry-esque samples of distorted laughing, Sheil’s keyboard strong-hold, guitar-feedback and Bushe’s eased-back drum beat, which all seem to fall away one at a time, slowly seeing to the demise of an enthralling song.
In short, Estel’s “The Bones of Something” is an uncompromising testament to the truly strange, beautiful, creative, and ultimately, disturbing.

road records

ALBUM OF THE WEEK: estel have been hinting at some really great things over the course of three previous albums but i have to say this new album has taken a giant step for them, they have truly honed their instrumental synth led sounds into something altogether original and highly entertaining, they take in some elements of the modern post rock sounds, some eighties keyboard led sounds and even some strange mutated version of a b movie horror soundtrack, the end result is one of the finest irish records of the year so far in my humble opinion and its always such a pleasure when something comes along and leaves me at odds to even try and describe on paper, there are lots of repetitive and explosive guitar led pieces slowly mutating into catchy synth chord progressions, the legendary mike watt of minutemen fame makes a sublime spoken word appearence on track four and after that all i can do is highly recommend you at least have a listen to this record as you will be very pleasantly surprised, the album is released on their own label little plastic tapes

norman records

now spooky irish rock or something like that from estel. it’s a weird post rocky album with moments of panicking beauty that if listened to on your ipod would make your walk home the most exhilarating and terrifying ever. sounds like meanwhile back in communist russia says phil. inside is a picture of a disemboweled teddy!!! they say this is a horror movie sound track… i say a traveling circus in the rain with the threat of mob violence, pick pockets and being spun around on the waltzers by the tattooed grease monkey as he feels you up. exhilarating!! ..

rimbaud records

estel have done it again!a new killer release on their own little plastic tapes label sees the 4 piece drift into a more lucid, dreamy nightmarish underworld of synth laden, drum reelin instrumentals.the art work is as screwed up as ever, brilliant but disturbed like the music within. mike watt makes an appearance also. pretty screwed up, psychedelia drenched punk rock going on here, with a touch of that swinging 1950’s old-time charm(?).get it you freak!