Hybrid Magazine (August 05, 2005)
Like me, have you longed for the release of a really great surf rock album? Not a surf rock album that was merely a sterilized distillation of Dick Dale's moments of greatness, but one that reminded how the genre could be freshened up and made viable once again? Perhaps an album that would be as great as the first time that Shadowy Men On A Shadowy Planet made the world sit up and take notice of Canadian surf, or the first time that Man Or Astroman? grabbed hold of space rock and twanged it into surf? Then, boy have I got just the album for you! Daikaiju's eponymous release is full to the brim with twanging and boinging guitars, blistering tom rolls, and throbbing basslines. From the very first notes of "Daikaiju Die!" the album is a rollicking good time ride through the world of surf rock. Most tracks on the album clock in at right around three and a half minutes, which makes the album pass by so quickly that there will be an immediate need to hit the play button again. None of the tracks are sleepers (Take that, other surf bands!) and every track has it's own unique character, which makes this one of the finest surf albums of all time. Standouts include the brilliant tremolo swoops on "Incognito" and the stuttering machine gun guitars of "Super X-9". The jazzy cymbal wash of "The Trouble With Those Mothra Girls" makes perfect counterpoint to the deliberate bass walks and chiming guitars. The Van Halen-esque rhythm guitars on the intro to "Sharkakhan" give way to a fast paced racing song that would fit right at home in any good spy movie, especially during a chase scene. No sleeper tracks. Distinctly different feels melodies in each song. Amazing guitar, bass and drum tones. Musicianship of the highest caliber. Those are the things you will find on this release, Daikaiju. And really, beyond that, the only thing you need to know about Daikaiju is that one of the guys goes by the moniker Secret Asian Man. And who can't stand behind that?

Pitchfork Media (August 31, 2005)
Somewhere along the line, surf music ceased to have anything to do with actual surfing and migrated to kitsch. Dick Dale had "Pipeline", the Surfaris had "Wipe-Out!", and Man...or Astroman? had..."You Can't Get Good Riblets in Space". But although shuddering tremolo bars fit the image of a guy in floral print trunks, the music is mostly instrumental and as such essentially abstract, so you can make it mean anything you want it to. Even early surf rockers like the Ventures and the Tornados realized this and began to incorporate the astronautical, lounge, and kitsch elements that color most efforts in the genre these days. So the term "surf" as it relates to music today basically just refers to music with lots of reverb and crazy guitar playing, which is fine-- you can acknowledge the roots without trying to turn them into branches. I can say pretty categorically that Croatia's Bambi Molesters are the best surf band in the world today, but given Man...or Astroman?'s long silence, Daikaiju certainly have a claim to the #2 spot. Much like fellow modern surf-rockers Los Straightjackets, the men of Daikaiju keep their identities secret, each represented by a mask in the band's press releases, which also feature a lot of fake Japanese-to-English translations like "Kabuki men deliver most high rocket impact!" Students of Godzilla, Mothra, and Gamera know that Daikaiju is Japanese for "giant monster," and the Huntsville, Ala., quartet are obviously enamored with the most conspicuous aspects of Japanese popular culture, though they refrain from sticking soundclips from Mechagodzilla sequels all over their albums the way so many other surf groups recently have. They instead opt to let the music speak for itself, and when it does, it's impressive, to say the least. Though their sound is closer to Man...or Astroman? than anything else (it's of course possible that there are members of that band hiding out in their ranks) there's a certain degree of prog muscle behind all that reverbed shredding. Surf is one of those funny genres where a fan basically knows what to expect and enjoyment comes from hearing it done really well, and Daikaiju delivers on that score, but there is one monumental surprise lurking in this mix in the form of album closer "Farewell to Monster Island". At almost nine minutes long it's nearly four times longer than the average surf instrumental and in place of the manic snare and ride cymbal of a surf beat, the band rides a skanking dub riddim, marrying two genres that in retrospect were born to love each other. The e-bowed interlude is something to hear, but even more impressive is the simple fact that the guitarists hiding behind these masks have a jazz-like sense of how to phrase a solo. The song is the kind of jam that bands just don't do any more, and it sort of makes me wish more would. So in the end, Daikaiju is an impressive full-length debut for a band that's clearly got more up its sleeve than a few Trashmen 45s and tablature print-outs for "Rabble Rouser". The thing with the masks and stage names like Secret Asian Man and Brain Conflict is frankly little more than a distracting sideshow to the main event, which is of course the band's massive wave of prime surf. Grab your board.

The Chattanoogan (January 8, 2005)–
What makes writing music reviews difficult? When I’m finished and the review is submitted, there’s nothing I can do to change it. Every album I review and like, there is nothing I would rather do than go back and add a sentence here, delete another there. But alas, the review is considered complete and there is nothing I can do to convince the world otherwise. It is with the above heavy thought that I begin my review of Daikaiju’s self-titled, 10-song album. Now I wonder: Will the band appreciate the review? Will I adequately express my joy at having fallen upon this album? Will it be clear that this album is a worthy addition to any and every surf collection? Unsure of the answer of any of these questions, I suppose I should just tell you about the music. First of all, if you are a fan of the Dick Dale, The Tornadoes or The Ventures brand of surf rock, this album may throw you off balance. Though you can certainly hear the origins of surf music throughout the album (in particular on “The Trouble with those Mothra Girls”), there isn’t a single wave before, during or after any song. In fact, there isn’t any sound (not even the chaotic barking The Tornadoes made in “Moon Dog”) beyond the reverberating guitars, walking bass lines and hard-hitting drums. Another difference between the old days of surf rock and Daikaiju is attitude. Instead of the gentle progression of many tunes by surf legends, Daikaiju has filled their album with an aggressive flavor of surf interspersed with peaceful moments such as “Farewell to Monster Island.” From the first song, “Daikaiju Die!,” Daikaiju brings their full onslaught of surf madness to your living room. Whether they’re being attacked by Crab Women (song 2), pounding out “Showdown in Shinjuku” or bopping along in “Incognito,” Daikaiju is sure to capture your heart. The pauses, the gentle strumming and the full-force noise are where they need to be for each and every song. And if you’re like me, you’ll wish you were the one who had started such a great surf band when you’re doing listening to this album. Finally…Daikaiju’s music, though produced years after surf music had seemingly met its demise, is as timeless and well constructed as any of the reverb-laden surf from the past. If you care about surf music and have wondered where it’s gone, grab this CD for the answer.

Cosmik Debris Web Zine, Issue 112 (January 2005)–
Not to be confused with Los Straitjackets, who wear Mexican wrestling masks and tend toward the a blending of Ventures and Link Wray influences, Daikaiju wear Japanese Kabuki masks and play thunderous yet exotic instro surf that owes more to 3rd wave bands like Satan's Pilgrims, The Mermen and The Tiki Tones, as well as the inspiration of Japanese monster movies. After a few EPs and limited-distribution CD-R, the Huntsville, Alabama quartet went back in the studio and re-recorded their best songs to reflect the evolution of their sound, which is less diverse than it once was but is now far more powerful and exciting. Nearly every track hits with hurricane force, yet never at the expense of an exotic melody. Most bands are either/or in that regard, but not Daikaiju. "The Trouble With Those Mothra Girls" roars along on a stampede of tom toms and one of the coolest bass lines I've heard in a while, and it's a shock when everything but those elements stop and you realize it's not going as fast as you think. Mmm, natural sonic trickery from the Kabuki boys. It's quite intoxicating in the best way, so much so you'll probably be unaware of the switch to the next track, "Sharkakhan," even though it's quite different except for the insistent bass/drum undertow. It's a powerhouse album that rivals anything the genre has produced in the last few years. One more full length of strong originals and these guys will be up there with the top bands of the world instro scene.

Phil Dirt – Reverb Central (KFJC 89.7FM), Santa Barbara, California (October 2001)– …From out of obscurity comes a very artful instrumental group writing sophisticated and very listenable music, playing like they mean it, and capturing the listener…Adventurous instrumentals with hints of surf, reggae, rock, ska, and monsters. An excellent set of music.
Click here to read Phil Dirt's review of the new Daikaiju album!
Click here to read Phil Dirt's review of The Phasing Spider Menace!

Cosmik Debris Web Zine, Issue 81 (March 2002)–
[This] disc, one of maybe a dozen on my desk this month, just kicked my ass. The visual there must be a little scary, so let me rephrase that to say that this instrumental surf/spy/mayhem quartet, who may or may not be from Japan, who may or may not be super heroes with secret identities hidden behind Oriental masks, make a great big sound that is TOTALLY FREAKIN' EXCITING! A few genres are coiled around the surf, most notably reggae, which sits ever so nicely in the eight minute live performance of "Farewell To Monster Island" (the best blending of reggae and surf since Teisco Del Rey's "Sleazo Chorizo") and its older brother, ska, which drives the closing number, "Route Nowhere." This is a band with power to spare, a vortex of reverb-coated sound with an irresistible diving board, and an OBLIGATION to give us a full-length CD as soon as possible.

Forever Forward Magazine, Birmingham, AL (February 2002)–
Unlike many surf bands that I have heard before, rehashing and reconfiguring songs by other surf bands, Daikaiju shines new light upon my long distaste for the music category dubbed “surf”. Daikaiju blends elements from all types of rock music to form the album “Monster Surf”, which they released on their own label migoto radiation…Finally, a surf band for fans of all music.

Unified Vision of Musical Chaos, Hazleton, Pennsylvania (June 2001)–
“Farewell to Monster Island – Live”: This track is great stuff. From a psuedo-ska rhythym near the opening, to the psychedelic freak-outs throughout, Daikaiju really goes for it. And they get it, whatever it is. The only way these guys could write better giant monster music is if they got caught in a nuclear disaster themselves.

Louisville Scene, Louisville, KY (July 2002) - Dark surf music is so hard to find. When it’s done well in a live setting, the whole atmosphere of the place can change with the thunderous rumbles and suddenly weirded-guitar breakouts…Daikaiju is a Southern outfit that goes on stage wearing masks from Japanese theater and likens its music to the soundtrack of the world’s ultimate “Godzilla” sequel. Are you following? Don’t worry – just listen to where Daikaiju takes the tunes. It’s Dick Dale visits Monster Island. The group’s EP “The Phasing Spider Menace” makes for a great hard edged accompaniment to a highway cruise under the moonlight…