Little Dickman

Tucked at the tail end of Sharkmuffin’s sophomore release is a scuzzy little Creepoid-like track called “Scully is a Sharkmuffin,” whose lyrics repeat the crying plea “I want to believe.” If you missed the ’90s influences that the band wear as fashionably as a torn babydoll dress and some ancient Doc Martens, than this little ode to The X Files should make it clear from which decade these Brooklyn ladies cull their vibe. It’s in their unrefined vocals and raspy howls, and in the way their sexy feminine swagger feels like it could pierce like a dagger at any moment. They fall somewhere on the scale between Hole and 7 Year Bitch, but with the quirky sense of mischief found in Yeah Yeah Yeahs or Red Aunts.

Their 2015 debut was an unhinged assault of energy and desire, unfiltered and produced with the immediacy of a sweaty garage recording. This release takes the time to smolder and blaze, with detours into psychedelic galaxies, salty surf guitar breaks, and dancehall breakdowns — sometimes within the same song. There’s even a sweet nod to girl groups in the form of a quick doo-wop tune, complete with handclaps (“Too Much Fun”). Sharkmuffin are not to be pigeon-holed.

The production is wound tight, and even though the album breathes it doesn’t drag — it cruises fast, with style. Every cut is choice, but if I had to choose “Little Bird,” “I Wanna Be You” and “Leather Gloves” are the perfect jumping off points.

Leave a Comment

Your email address will not be published. Required fields are marked with *

Cancel reply

Recently on Ink 19...

  • Preservation Hall Jazz Band
    Preservation Hall Jazz Band

    So It Is (Legacy). Review by Bob Pomeroy.

  • From Montenegro to Moldova: The Best of SEEFest 2017
    From Montenegro to Moldova: The Best of SEEFest 2017

    For the twelfth year, the South East European Film Festival (SEEfest) in Los Angeles showcased an impressive lineup of new features and shorts. Lily and Generoso Fierro provide a festival wrap up and their picks for the films that you cannot miss.

  • Justin Townes Earle
    Justin Townes Earle

    Kids In The Street (New West Records). Review by James Mann.

  • Christian Scott
    Christian Scott

    Rebel Ruler (Ropeadope / Stretch Music). Review by Bob Pomeroy.

  • Kivanç Sezer
    Kivanç Sezer

    Turkish director Kivanç Sezer’s powerful debut feature, My Father’s Wings, puts the spotlight on the workplace safety crisis that is currently taking place in his homeland. Lily and Generoso Fierro spoke with Sezer at SEEFest 2017 about his film and his need to draw attention to this issue.

  • Temples

    Supporting their just-released sophomore record, UK synth-pop poster boys, Temples, attracted an SRO crowd to one of Orlando’s premier nightspots.

  • Rat Film
    Rat Film

    Baltimore. Rats. A match made in Maryland.

  • Bishop Briggs
    Bishop Briggs

    Bishop Briggs brings a stacked bill of up and comers to Orlando for a sold-out party at The Social. Jen Cray joins in the fun.

  • Rumble: The Indians Who Rocked The World
    Rumble: The Indians Who Rocked The World

    There’s more than black music influencing the evolution of Rock and Roll. Native American rhymes and ideas are every bit as significant, once you know to look for them.

  • Keith Morris
    Keith Morris

    Ink 19 slings a few questions to the punk rock pioneer Keith Morris on Trump, Calexit and looking back.

From the Archives