Man or Astro-man led the charge of a new b-movie punk branch of instrumental surf. That reach extended globally but their crash-landing in Alabama left a radioactive fallout that spawned instro bands within a small radius for years to come. Kill Baby Kill (now The KBK) came along much later, but spilled out of the same crater and stuck around long enough to make an impact on many of us. When I spoke to Chad Shivers, organizer of Southern Surf Stomp, member of the Mystery Men? and currently bassist for The KBK, he told the main reason he joined the band is because it’s meaningful to him and he didn’t want it to go dormant. Kill Baby Kill played the first benefit I ever did for Storm Surge of Reverb and it was better than I could have imagined, so I totally get it.

Here in New Orleans it’s carnival time. Nearly every night this week there are parades all over the city. Once you’ve been to enough of these parades, they lose a lot of their appeal, and as that happens your focus draws away from the flashy floats and the beads flying through the air and towards one of the most underappreciated facets of New Orleans culture: the high school marching bands. The New Orleans tradition of small brass ensembles have been slowly getting more of their due, but these marching bands don’t cut albums and are rarely experienced outside of carnival. 

The debut album of Los Surfistas Muertos wastes no time getting to business, launching into mean, buzzy guitars within five seconds -- delayed only by a “muahahaha”. This opener is just a surface-scratch of what’s inside, though, with even their other loud songs outclassing that level of noise.

Brazil truly seems like its own little world, a nation known for its cultural output, yet it always feels like it's not exactly put out there as much as the rest of the world peeks in. For Brazilian surf music, they have a champion advocating on their behalf: Reverb Brasil, headed by Leopoldo "Mocotó" Furtado. Reverb Brasil is to some extent a label, but mostly a platform to spread the word about Brazilian surf music. Reverb Tsunami is their most strident statement yet.

I think cartridge-based video games and surf music have a lot in common, having to impart feeling without the aid of vocals and having to do so with a very limited set of sounds available. Going even further than that, surf often tries to evoke a sense of danger and adventure, which is very familiar territory for video games. The themes that stand out in video games stand out because they're great: you're usually going to hear them on a loop, often for hours, so if you still like them after you've completed the game then that's a feat.

This short debut EP from Llobarros gets a lot done.

JJ and Trash Dogs are the newest New Orleans surf band, I believe with only 4 shows so far, two of which I attended and somehow missed the band. Arg.

Amphibian Man has emerged from its tadpole phase as a one-man bedroom project into a 3-piece band that performs live and does real band things like not release music every 2 months for free. First and foremost, I'm happy for them. Amphibian Man has been one of the biggest stand-outs in surf in recent years and I love that they're making money from it both from records and from people seeing them live. Wish it could be me but Ukraine's not too close.

The Glasgow TIki Shakers have a unique sound that’s hard to pin down. They’ve never been about noise, power, cavernous reverb. They’ve got this staccato jumpy groove to them, feels relaxed and uneasy often at the same time. More tiki spirit than a lot of surf bands to don a hawaiian shirt, but way too surf to be even close to exotica. Honestly, I think I’m failing to describe it, but suffice it to say that even as they change forms from one song to next, it still feels in line with their personality as a group.

Sometimes I worry that I lean a little too hard into the sound production quality of an album vs songwriting, but for a band with such apparent surf fanaticism as The Kilaueas it really does feel like it’s the missing piece. The guitar sounds so much bigger and deeper than their previous LP Waki Waki Woo, the reverb so wet and loud enough to fit their stage act.