Lee Hazelwood is behind some iconic surf/instro records from the likes of The Astronauts, Al Casey and Duane Eddy. He wrote “Baja”. But to the rest of the world that’s a footnote in his career after things took off with Nancy Sinatra’s “The boots are made for walking”. Light in the Attic has been rooting through the Lee Hazelwood archives, re-releasing out-of-print material and releasing things that never saw the light of day.

Firewalkers has had a long road. The original plan was to have it released at the 2017 SurfGuitar101, and The Mystery Men? even played the album in its entirety, essentially treating it as an album release. However, it missed that date and instead they released a preview EP called Embers with some choice cuts from the album. So naturally it felt like it was just around the corner. A year later, they released a GoFundMe revealing that they had been robbed and needed some help to see the light of day. And again, there were preview clips of this record, a few more crumbs.

That GoFundMe hasn’t been a roaring success (hint, hint) but Firewalkers is real. I have heard it. And it’s kind of wonderful that it will make its true debut, CD copies on-hand, at Southern Surf Stompfest, essentially their own event on their home turf.

In 2016 The Bradipos IV after 11 years The Bradipos IV released their comeback record The Partheno-Phonic Sounds Of… It was a great record, and gauging by the hype at Surfguitar 101, a lot of people agreed. Thankfully we didn’t have to wait very long for the next one.

While Partheno-phonic was comprised of traditional neapolitan songs, the new record is a bit more of a straightforward instro record, especially as they tend to be today. That means a few covers, some dipping into other sub-genres (particularly Western in this case) and a bunch of originals.

Sonido Gallo Negro isn’t a surf band but I’ve noticed that they’ve got a lot of surf fans. After months of drifting around on Spotify, their third LP has finally seen a proper release.

Go to their bandcamp page and it says released January 18th and I've been listening to this one since then, but they told me their album release date was March 30th so I waited a bit. With that extra time I've been trying to nail down what it is I like about CARLO but it remains elusive. It's hard to even pick out a real standout track, as I've found this record is best taken as a whole. It's the mood really, laid-back and adventurous at once, like a day trip to a swimming hole.

A new album from Arno de Cea and the Clockwork Wizards is a stop-what-you’re-doing thing. He’s on top of his game and delivering a surf sound that nobody else has. But admittedly, two tracks in I found myself a little apprehensive about writing this review. What more is there to say about his nearly-perfected, patentable Brutal Surf? After two albums of the stuff, are there any worlds left to obliterate? 

New Orleans’ instro scene is a weird one but as of lately a surprisingly active one.

It’s been great watching Blackball Bandits find their way from a couple of bandcamp so-called-demos to a proud members of the Double Crown roster (and featured on the soundtrack to a remake of one of my favorite games). They’ve done a great job of retrofitting retro surf feel and attitude to more modern surf song structures.

The Terrorsurf have a new LP of trashy surf tunes and even pressed it to vinyl. Bands with a lo-fi sound like theirs often seem like a weird fit for vinyl but it turns out this is a bit nicer of a sound than they had on their 2016 debut under this name. They’re not really lo-fi anymore (they claim to be Zombiphonic Hi-Fi) and they’re better for it: it’s still got a punk momentum and it’s still usually dealing in a low, scummy mood (but not always!). They’ve also added a second guitarist, expanding what they’re able to do in a big way.

After 6 years without a release, Y Niwl (pronounced Ur Nyool) have emerged with a new sound. For lack of better terminology, it's a bit more "indie' with guitar tones more in-line with modern music and with the keys (still prominently featured) expanding to different tones as well. I like it. They keep their whimsy from earlier works but have moved into something a little more expansive sounding.