I was chatting with someone early today about differences between the East and West Coast surf & instro music scenes. I hadn't given this topic any thought before it came up. Is there anything to it? Is the music different? Are the music scenes different?

I Like to think of SG101 as bringing all surf & instro musicians and fans from around the world together. There isn't just surf music here. There's Eleki, Exotica, Rautalanka and all the other different genres. There's the most traditional surf music and the most far out there. We're a pretty diverse group here. That's one of the great strengths about SG101; everyone in it is different and we like it that way!

So this isn't an attempt to identify a division, but to learn if there is another element of diversity in our part of the music scene?

Is there something unique about East Coast surf & instro music and the music scene it's part of? Maybe another way to think about this is, is there a reason MOAM and Daikaiju formed in the East instead of the West Coast?

Maybe it's related to why Carolina Beach music is the Shag and California Beach music was once what Brian Wilson created.

Thoughts?

This is Noel. Reverb's at maximum an' I'm givin' 'er all she's got.

Last edited: Aug 16, 2013 17:59:17

There's definitely something different about the Southeastern Scene, or maybe the Inner Southeastern Scene. You mention MOAM and Daikaiju. Maybe Kill Baby Kill and some other bands fit here, like the Montereys and the Mystery Men. They may be more marginal as examples. It's small, but different and somewhat consistent stylistically. I think the difference is partly stylistic but mainly that it's a live contemporary instrumental scene that appeals to wider audiences than the audiences for classical surf. The two bands you mention tour assiduously (KBK too), and try to reach a maximum audience. I think they care more about reaching people than any sort of purity of form. That would make the difference primarily one of attitude, though it ends up being a difference of form as a consequence.

There are plenty of excellent classically oriented bands in the same region, too, of course.

I think there are a range of instrumental surf bands in these attitudinal terms.

1) Bands that are relentlessly determined to be cool, contemporary and popular at the expense of form. They prefer mainstream gigs. Working modern instrumental bands.

2) Bands that are relentlessly determined to extend and expand the classical genre at the expense, if need be, of popularity. Art surf bands.

3) Bands that are determined to produce music that fits squarely in the classical genre, even if they have to not write it themselves. Of course, most of them do want to write some themselves. But it has to sound classical. Trad re-enactment units.

4) Bands that like surf, but don't take it that seriously. They are willing to be campy or cute if that gets gigs. They are definitely working bands. They prefer niche markets. They'll do non-classical pieces in a surf way and they're not very fanatical about gear. Entertainment first nostalgia exploiters.

Noel, you've named bands that fit category 1. We can all name bands that fit the others. I think I'd rather not name names, but I know bands that sort of fit in two categories. Most bands hover somewhere between 2 and 3 or 3 and 4. Some are between 1 and 2. If they do 4 and they're actually pretty damn good at it they are verging on 1, when they can avoid the nostalgia and cuteness.

I attended the Martin Cilia & Surfer Joe show at a bar in Monterey Park in the San Gabriel Valley the other night (that so-called Rhythm & Booze Luau with no poi, roast pig or tropical drinks). The place is patronized by locals as a home for the San Gabe rockabilly/psychobilly scene and features a checkered dance floor for the exercise of their mojos, when they pull them out. Nobody danced for either band and looked like they weren't much interested in surf instrumental – not raucous enough. When the DJ's spun Link Wray and other raunchy instrumental and upbeat R&B vocal tunes, the dancers came out. These folks were pretty style-conscious demimonde hardcore rockabillies with a very traditional definition of workingclass cool, and I guess the surf tunes are just too spiffy to punch any of their buttons. But it was a Monday.

Squink Out!

"Is there something unique about East Coast surf & instro music and the music scene it's part of? Maybe another way to think about this is, is there a reason MOAM and Daikaiju formed in the East instead of the West Coast?"

The Ghastly Ones, left coast theme band. Spotniks, theme band from Sweeden and from way back in time. Outlaws, from England. I don't know if region has much to do with the Muse that develops such bands.

http://www.reverbnation.com/thegreasemonkeyz

I hope I speak for many of us in the Southeastern Surf Syndicate when I say that a lot of what might appear to those outside to be different probably stems from the fact that many of us are just as inspired and/or influenced by each other as we are any greats or classics in the genre.

THE KBK ... This is the last known signal. We offer Sanctuary.

www.thekbk.com
http://www.deepeddy.net/artists/thekbk/
www.reverbnation.com/thekbk
www.facebook.com/thekbkal

Necronomikids?
I like that – an H.P. Lovecraft-inspired Surf band. i wanted to use "The Deep Ones" but there is already a band in San Diego using that name, a Mexi-death garage band. When they break up, I got dibs!

Squink Out!

Remember: Dick Dale is from Boston and was heavily influenced by Middle Eastern music.

It's all instrumental music to me and reverb gives it depth. I just think that it's all relative to individuals and influences are many. I was born and raised most of my life in Phoenix, went to high school in San Diego, was stationed on the East Coast in the army, taught in Germany, lived in Switzerland, and now I'm in Virginia. Each place I've lived has impacted me in many ways musically.

I think the reason surf music is associated with California is relative to Fender being located there. Regardless how you feel about surf music, Fender really had a huge hand in its creation. Kids there had access to equipment and things sooner than elsewhere and musicians like Eddie Bertrand and Dick Dale had access to Leo Fender.

By the way, FWIW, some of the BEST Dixieland music I'd ever heard in my life was in Switzerland.

Matt "tha Kat" Lentz
Skippy and the Skipjacks: 2018-2020
Skippyandtheskipjacks.net
https://www.facebook.com/skippyandtheskipjacks
Otto and the Ottomans: 2014-2015
The Coconauts surf band: 2009-2014
www.theamazingcoconauts.com
Group Captain and the Mandrakes 2013
http://www.gcmband.com/
The Surfside IV: 2002-2005, 2008-2009
the Del-Vamps: 1992-1999, 2006-2007
http://www.dblcrown.com/delvamps.html

You beat me to it, Ivan.

THE KBK ... This is the last known signal. We offer Sanctuary.

www.thekbk.com
http://www.deepeddy.net/artists/thekbk/
www.reverbnation.com/thekbk
www.facebook.com/thekbkal

It's a much catchier name than my musings of creating a SESMA instead of NESMA

Storm Surge of Reverb: Surf & Instro Radio

killbabykill34 wrote:

I hope I speak for many of us in the Southeastern Surf Syndicate when I say that a lot of what might appear to those outside to be different probably stems from the fact that many of us are just as inspired and/or influenced by each other as we are any greats or classics in the genre.

Which is what defines a school of anything. Some constraints you ignore; some you explore.