The leaden waters of the Baltic Sea are washed ashore by sprats in cans, the Peipsi tribes by ferries. The Peipsi tribes embark on ruinous raids on the “glass houses” and pubs of the nearest Slovenian city. Not all of them come back (sprats, they never come back at all), and those who have returned, whisper to their fellow tribesmen, they say, they stumbled upon sharks. Rusty land sharks. The truth, as usual, is even scarier. The Rusty Sharks group surfaced in 2014. After removing the periscope and opening the hatches, the quartet took out a double bass and a vocalist, torpedoing the St. Petersburg clubs with their neo-rockabilly.
In 2017, Rusty Sharks recorded their debut “Titanic”, iceberg-resistant, contrary to the name, at the legendary studio “Dobrolet”. They perform together with such sharks of the cycobilly business as Batmobile and Gorilla. Musicians, according to the old Petrograd tradition, do not forget to play leapfrog, jumping from line to line. Thus, only one leg remained from the original “stool” – bassist Dan Lipovetsky. But for several years now, the fifth member with a truly saxophonic name has been enriching the sound of the band with “wooden” wind instruments: Alexey Kozlovsky. The fateful Alla Perestoronina was responsible for the sexual magic of the new album.
In between covens and sabbaths, she also sang a little, but… The broom is calling, and the equally mystical Anna Rusakova has taken the vacant place in the current concert combo. The rattles and rattles were entrusted to a good old acquaintance, Dmitry Gainutdinov (Meantraitors), and Ilya Egorov, who later got lost in the jungles of Karelia, tweaked the guitar. The Dobrolyota shipyards once again provided sound of the highest standards, the nine-song cruiser was named Sexy Demons (translated from the Peipsi dialect: “Finnish guests of the Northern Capital”, self-designation). So, the mooring lines are in safe hands, the wind is intoxicatingly strong, let’s go, Sea Dogs!
Lock, Stock & Two Smocking Barrels is an action film based on the picaresque film by one of Madonna’s husbands. The guitar faint part resembles the “Night Owls” of the Belgians Vaya Con Dios, if they lived in the sewers of a chemical plant. Otherwise, the guitar is very concise and does not engage in a duel with an impudently wheezing sax. Alla’s vocals are sensual and assertive, adding charm to the chorus chant. It’s a hefty can opener.
One Day In Prison is a fast-paced number where the saxophone riff resurrects the ghost of the Morphine band, while the voice burns no worse than Imelda Mae. The comrades-in-arms enthusiastically pull out their throats in the refrain. That’s what you want to hear on the radio. However, to do this, you will have to apply Yezhov’s methods to the program directors of specialized radio stations, and we are all such kittens here… It’s a great song!
Who’s Your Neighbor begins with Kozlovsky’s cinematically disturbing party, turning into pop-punk, which some pass off as cycobilly. “Sin City” did not come out, but “Eurotour” with dismemberment – quite.
Love Me Deadly is a sultry mambo that perfectly reveals the dramatic potential of the vocalist. The male voice is terribly leonardcoent, entering into a dialogue with the lyrical heroine. At its conclusion, the Latina turns into a polka, putting cherries on the whole pie. Another potential hit.
Zamza Twist is a groovy old-school psychobilly. Wedge-headed for a bump. The text is not about samsa, it’s about Samsa, the poor guy who turned into an insect. Oh, the hard-hearted literary sources!
Coffee & Cigarettes is a highly original canvas with a Western noodles guitar, the cries of Leningrad prairie Indians and a Ian Anderson-scented flute. Jarmusch couldn’t have done better.
Poisoned Heart & Broken Bones is another parked dance song. In a couple of places, I was reminded of the music for “The Adventures of Captain Vrungel” by Kyivnauchfilm. Mixed emotions.
Sexy Demons, the title character, is damn good. A twisty rhythm and heartache on the verge of despair, incited by a melancholic saxophone.
Get In Junk is a light elegy. And a beautiful pop song, in which only the double bass slap and the voice of a death metal bear cub betray belonging to marginal subcultures. The final touch of this musical landscape.
“Rusty Sharks” sparkle with chrome sides and slightly carnivorous smiles, being in excellent compositional and performing form, although the frequent change of musicians affects the thoughtfulness and richness of the arrangements. Their second album is beautiful, concise, and subtly composed, with the exception of a couple of numbers that simply don’t suit them. Let’s hope that we won’t have to wait another four years for the third record and it will be released as the final masterpiece, the potential is obvious. The Kraken has fallen asleep in the abyss, it’s time for us to sink, Sea Dogs!
