Despite my 15+ year long radio campaign, surf music has never caught on in New Orleans, and my chances to talk about a local group are rare. In fact, Gitkin is not surf. It's the sort of passport psych* similar to groups like Khruangbin, Glass Beams, and BALTHVS, and it's been working! Once a side project from Brian J Gitkin's role in Pimps of Joytime, Gitkin (as a musical entity) has become a bigger focus, with major festival spots and international tours. And that's nice to see from somebody that's made in-person appearances on my radio show, and while it may not be surf, that doesn't mean there isn't surf in his music, and I certainly think there's appeal for surf fans.
While three of his five LPs have a traveling theme baked into the name, the new record sets a bit more focus on his landing pad: New Orleans. Which is pretty exotic in its own way. Credit where it's due, there's been nods to NOLA on nearly every record, and I think it's part of what helps Gitkin stand out, but this record in particular, a New Orleans sidewalk on the cover, treats it more as a starting point than a drop-in.
It's literally the starting point too, with "Rain over Royal", likely a reference to Royal St. in the French Quarter. I actually first heard it while driving in the rain on the much less romantic West Esplanade in Kenner, Louisiana, but the effect found its way. It's a low-key but enchanting instrumental, with organ adding sedated flair and flute contributing some mystery.
When I've had Brian on the radio show he's pointed out songs that were most appropriate for a surf listener, and while I haven't spoken to him about this album, the second track would no doubt be one of them. There's an overt channeling of Link Wray's Rumble, but along with a creepy beat that feels like early Dr. John (more on that later) meets "Jack the Ripper", and distorted organ at the end giving it a psychedelic tone. Chef's kiss on this track. And it's called... "Hunters Run". I'm not saying he's calling my name, but I feel my name called regardless.
Anyway "Call My Name", the third track and one of three with vocals, has a distinct Mardi Gras indian feel to its movement. Those groups have a surprisingly wide musical repertoire, and psychedelic guitar and funk are absolutely on the menu for them, so this isn't an unexpected sound for what it is. But it's well done and nestles in nicely with this album.
"Alter Ego" has a great low-key guitar line backed by a low-volume but high-activity rhythm, and as the guitar keeps going you realize that there's a lot of "Cissy Strut" in here! A song often emulated, rarely successfully, I think this is an effective and tasteful reimagining.
"Git Git" is chicha with a nice and lush jungle stomp to it.
"High Tail" is another one that signifies surf pretty heavily with its intro, but then flute sneaks in to add some sweetness to the bitter guitar tone. They build up nicely together and have a bit of a journey by the song's end.
New Orleans has spat out some of the most iconic pianists the world has seen, and remains a mecca for brass musicians, but the list of guitar legends from the Crescent City is comparatively obscure. Probably our most notable instrumental is a Bo Diddley style song by somebody that would eventually be known as a pianist: Mac "Dr. John" Rebennack. Or to borrow an earlier pseudonym "The Night Tripper". This song does evoke that early psychedelic style, though humorously enough the vocal stylings make me think of Sam the Sham.
Then we take another turn into dub territory on "Pure Wizard Part 1", with a thinner and jazzier approach to guitar. Admittedly, dub rarely clicks with me, but variety is fun.
"When My Work is Done" is a warm, bluesy song with maybe a touch of Tuareg influence. It's sparse and earthy, and though it's a vocal track the lyrics feel less important than the voice itself (speaking as somebody generally inclined to think that way). It's a great track, that feels like being driven home after a long journey.
And then "Sudden Peace" is a true resting point at the end of the record. Strange and friendly at the same time, swapping for steel guitar. I don't really have a touchstone for this one, it's not quite hawaiian, country, santo & johnny, or any of the things you usually associate with steel, but it works well, and leans into the oddball warmth that steel guitar does better than anything.
Where the South Winds Wail is mostly an understated album, preferring to slink than shout, but it has fantastic variety while remaining accessible and emotionally open. I love how this release in particular speaks to me as an instrumental guitar appreciatior and a New Orleanian, but does so with a unique voice, not desperate to fit in to the idea of a New Orleans sound as so many do.
Where The South Winds Wail is available on Wonderwheel records on vinyl and digital platforms. I wrote my review from the bandcamp copy, mostly because I haven't seen it in local record stores yet, but I expect I will.
* I'm gonna continue to call music like this "passport psych" because I think it needs a name. Referencing Khruangbin each time is a reductive way to label these bands, and though they tend to take in influences from across the world, "world" and "fusion" are not words you want to touch in music today. I've checked on descriptions and tags these bands use and found nothing that feels like something to rally around. Gitkin might not be the best artist to coin "passport psych" with -- I've seen him use "International Twang Funk" and I think he identifies as a funk musician more than psych -- but it's the catchiest thing I could come up with.
