Surfbort’s ‘Keep On Truckin”: A Gritty Punk Rock Anthem for Resilience in Traumatic Times
Content warning: suicide.
Surfbort, the unapologetically raw and incredibly cool punk band, has once again defied conventions. Originating from the vibrant music scene of Brooklyn and now rooted in the sun-drenched chaos of Los Angeles, Surfbort chose to unleash their latest album, Keep On Truckin’, on a Monday. This deliberate move, breaking from the industry norm of Friday releases, was a bold statement, aiming to kickstart everyone’s week on an unexpectedly potent note. While the album opens with a stark, almost unsettling sincerity, it quickly becomes clear that this is a journey through vulnerability to resilience. Singer Dani Miller immediately commands attention, her voice resonating with an honest, almost sweet contemplation of despair on the track “FML.” Her lyrics, “FML / I wanna kill myself / I didn’t get / the things I wanted,” are delivered with a disarming directness, only to be met by a blistering explosion of sound from the band. Guitarists Matt Picola and Alex Kilgore, bassist Nick Arnold, and drummer Sean Powell ignite an intense, visceral energy that perfectly encapsulates the song’s message: the profound frustration inherent in the simple act of being alive.
During a candid discussion about their new album with HollywoodLife, Dani Miller elaborated on the band’s thematic approach. “I think because things get so dark and weird, like we kind of hit like nihilism almost like, ‘Ah, everything seems meaningless,'” she explained. “But then it’s like, ‘wait.’ It’s just all these different levels. It’s like, ‘Oh, we’re in this together still, let’s freaking dance and party and be there for each other.'” This sentiment lies at the heart of Keep On Truckin’ – an album that acknowledges the depths of despair but insists on collective joy and mutual support. The raw, unfiltered lyrics for “FML” were initially brought to the group by Sean Powell during the bleakest periods of the pandemic, a raw, emotional response to the chaos and uncertainty that defined 2020. This period of global turmoil and personal struggle deeply influenced the album’s lyrical content and overall ethos, channeling collective anxieties into powerful, cathartic punk rock.
Matt Picola recounted the intensity of the album’s inception: “Sean made us keep writing in the house. We’re writing in the house, like during the bleakest of like time, during riots, during an emerging pandemic, and we were writing and recording in the house.” This forced introspection and creative urgency, born from a world in lockdown, infused the album with an unparalleled sense of immediacy and authenticity. The band’s decision to confront these difficult emotions head-on, rather than shy away from them, sets Keep On Truckin’ apart as a truly resonant piece of work for our times.
Dani further elaborated on the profound message behind “FML,” emphasizing its universal relatability. “I think that’s just like such a classic feeling that we wanted to convey. It’s natural to feel suicidal. And we want to let you know you shouldn’t feel alone in that feeling. It’s possible to make it through that feeling.” The song’s opening, a poignant and deeply personal voice recording Dani’s mother saved from when Dani was 15, captures a moment of arrest and struggle with addiction, adding a layer of raw, confessional honesty. “At the beginning of my alcohol and drug addiction,” Dani revealed, highlighting the track’s deeply autobiographical roots and its powerful message of overcoming personal demons.
This thread of personal struggle woven into the fabric of larger societal issues creates a powerful narrative. “And it’s all just so connected,” Dani continued, “addiction leads your mental health being so gnarly and in such depressive, dark states. Then just adding the vibes of apocalypse on top of all of that, I think it’s just all so connected. So certain things didn’t come directly from COVID, but I think it’s the perfect time for this to come out because there are so many more people dying from not even just drugs but feeling suicidal.” Surfbort doesn’t merely sing about these issues; they embody the struggle and the resilience, offering a lifeline to listeners who might feel isolated in their own battles. The band’s willingness to tackle such sensitive topics with brutal honesty, framed by their signature punk intensity, makes their music not only compelling but profoundly important in today’s world.
The unique emotional resonance that Surfbort masterfully captures on Keep On Truckin’ defies easy categorization. It’s a feeling akin to finding a reason to smile despite a fat lip, winking with a black eye, or laughing even with bruised ribs. It’s the indomitable spirit of perseverance, the capacity to unearth joy and resilience after enduring significant mental, spiritual, or even physical hardship. This pervasive theme of enduring and thriving against all odds runs like a vibrant current throughout Keep On Truckin’. From the album’s aptly chosen title itself, which serves as a defiant mantra, to tracks like “Life’s A Joke,” which wryly asserts, “Nothing’s going my way today, but it’s okay,” the message is clear. Even in the album’s poignant closer, “Cheap Glue,” a mid-tempo track where Dani Miller pledges to do “anything to help you find a solution” for a friend’s broken heart, the unwavering commitment to empathy and solidarity shines through. This consistent thread makes the album a powerful testament to human resilience, validating struggle while simultaneously pointing towards hope.
Perhaps the most potent encapsulation of Keep On Truckin’s punk rock camaraderie and philosophical depth arrives with “Open Your Eyes.” This track, penned by Matt Picola, initially presents itself with the uplifting tone of a motivational poster, gently reassuring the listener: “things will be good someday / can’t wait for the holiday / happiness is on its way / all right.” However, just as the listener might anticipate a descent into saccharine sentimentality, the song delivers one of the album’s most brilliant and memorable lines: “We hate it here, but here we are.” This eight-word declaration is a masterstroke of nuanced expression, a testament to Surfbort’s unique ability to navigate complex emotional landscapes.
In this concise yet profound statement, Surfbort deftly refutes the pitfalls of toxic positivity, which often demands a superficial cheerfulness regardless of circumstance, while simultaneously steering clear of nihilism’s bleak dismissal of all meaning. Instead, “Open Your Eyes” grants the listener permission to acknowledge life’s inherent difficulties – the moments when “life is shit,” as they might say – without succumbing to resignation. It’s a powerful validation of struggle, asserting that recognizing hardship doesn’t necessitate giving up. Matt Picola revealed that “Open Your Eyes” was, in part, a reaction to the prevailing positivity he perceived from Alex, Dani, and Sean. “I brought ‘Open Your Eyes,’ and that was like almost sarcastic tongue-in-cheek, that it sounds positive. And then it’s about like a corpse opening its eyes or someone who got beat up in the gutter, opening its eyes.” Yet, through the collaborative process, the band infused it with a deeper, more sincere positivity than many punk bands might dare to embrace. Matt admitted, “I would be afraid to even be as positive as a lot of the sort of Surfbort songs that I’ve liked so much, and I’m learning how to be more sincere and less guarded and sarcastic.” This evolution in songwriting showcases the band’s artistic growth and willingness to explore a broader emotional spectrum.
Dani Miller added a crucial layer to “Open Your Eyes,” contributing the line, “you don’t feel the same way as you did yesterday.” This addition reinforces the transient nature of emotions and beliefs, offering a glimmer of hope for those trapped in negativity. “It’s just like, if you’re depressed or sad or hateful, you don’t have to feel that way every day. You don’t feel that same way.” She even extended this idea to societal attitudes, challenging prejudice: “Or like, even to someone who was racist, it’s like, ‘you don’t have to feel that way, dude.’ Wake the f-ck up.” The chorus, with its seemingly ironic “Can’t wait for the holiday,” is ultimately revealed as a genuine expression of optimism. “No – I can’t wait for the holiday. There’s going to be better times,” Dani affirmed, underlining the album’s core message of finding light amidst darkness and believing in the promise of future joy.
So, Surfbort isn’t just cool; they’re operating on a whole different level of cool. How cool, you ask? So cool that Linda Perry, a true icon of the music industry, stepped in to produce their album. You likely remember Linda as the unmistakable voice of 4 Non Blondes’ monumental hit “What’s Up?” but her career since then has blossomed into a legendary journey of songwriting and production. Her impressive resume boasts collaborations with music titans such as Christina Aguilera (on the powerful “Beautiful”), Pink (igniting “Get The Party Started”), Adele (with the soulful “Can’t Let Go”), and Gwen Stefani (on the infectious “What You Waiting For?”). Her profound impact on contemporary music was formally recognized in 2015 when she was deservedly inducted into the prestigious Songwriters Hall of Fame. Her involvement with Surfbort speaks volumes about the band’s undeniable talent and potential.
“Linking with Linda for the album was a dream come true because we’re used to like recording all the songs in a day or two,” Dani revealed, highlighting the stark contrast in their usual rapid-fire recording process. Alex Kilgore added, “That was a month,” referring not to the entire recording duration, but the luxurious, extended period they had for practice and preparation, which was unprecedented for them. “It was such a cool process. It was a luxury.” Linda Perry’s approach was transformative, blocking off three weeks specifically for Surfbort. “We’ve never had anything — we’ve had like, three days was the most, like the last record. I think we had three days of tracking, which is just like grind, grind, grind,” Alex explained. Instead of the usual frantic pace, the band indulged in a more methodical, meticulous approach, dedicating an entire week to guitars, another to drums, a separate week for bass, and then several weeks specifically for vocals. This afforded them an opportunity to experiment, refine, and truly flesh out their sound, something they had rarely experienced before.
Linda Perry’s invaluable contribution extended far beyond mere studio time; she played a pivotal role in the pre-production and creative shaping of the songs. Take “FML,” for instance. Dani described the initial version the band brought to Linda as “just bare-bones, a fast punk song for a minute.” This raw, unadulterated energy is characteristic of Surfbort’s discography, where brevity often reigns supreme. Their 2018 album, Friendship Music, for example, clocks in at roughly the same length as Keep On Truckin’ (approximately 31 minutes), yet it features seventeen tracks compared to Truckin’s twelve, with its longest song, “Selfie,” running a mere 2:26. “FML,” originally fitting this mold, was transformed under Linda’s guidance. Dani explained that Linda “extended it into more of a romantic ballad,” stretching its duration to 2:49, while crucially “kept the spirit in there of like freak-a-zoid punk style. So it was like a cool combination and development that she added.” This unique fusion of their innate punk ferocity with a newfound melodic sensibility showcased Perry’s genius and the band’s openness to evolution.
Keep On Truckin’ also introduces Surfbort’s longest song to date, “Hollywood Trashpile,” which extends to a substantial 3:42. While remarking on a sub-four-minute song’s length might seem quaint in other genres, it playfully evokes the sentiments of Mike Watt from the Minutemen, famously quoted in We Jam Econo regarding “The Anchor” (“2:30? It’s our opus.”). “Hollywood Trashpile” stands as Surfbort’s own “opus,” a vibrant and sprawling sonic landscape that brilliantly captures both the intoxicating delirium and profound disillusionment associated with the City of Angels. The lyrics deftly weave between declarations like “I’m the main character” – a nod to Hollywood’s pervasive self-absorption – and the melancholic realization that “My fantasy of you is stronger in the daytime,” reflecting the often-harsh reality behind the glittering facade.
Nick Arnold offered insight into the evolution of “Hollywood Trashpile”: “When that first came in from the practice space, it was kind of a brief, barn-burning song that just took off and didn’t have a lot of ebb and flow.” This initial raw energy, typical of their spontaneous creative bursts, was then refined through Linda Perry’s discerning ear. “But when Linda heard it, she thought of it in a different context. It’s like a more lush, slower thing like Dani was carrying the verse and then exploded in the chorus.” This external perspective, from someone outside their usual creative bubble, proved invaluable. “So to have someone outside our bubble kind of observe what we have come up with [was cool],” Nick noted, highlighting the benefit of Perry’s objective and experienced input in shaping their sound.
Matt Picola, with a smile, humorously recalled Linda Perry’s firm but effective direction in the studio: “She had beat us down and made us be quiet and create more space for them to do whatever she wanted. She’d be like, ‘you all need to like shut up during this part.’” This guidance, initially perceived as strict, was an unintentional godsend, allowing the band to embrace greater sonic space and a more deliberate pace. Dani Miller confessed that she had contemplated starting a separate project outside of Surfbort to explore a more vulnerable, singer-songwriter style, allowing her to “scream my diary entries.” Yet, through Linda’s transformative mentorship, Dani realized that “Surfbort’s my life” and that the band could indeed contain multitudes, contradictions, and boundless creative potential. Perry’s influence demonstrated that Surfbort was not limited to a single sound or emotional register, but could evolve while remaining authentically themselves.
“I can just still be myself,” Dani affirmed, expressing profound gratitude for the newfound expressive freedom within Surfbort. “And I think the dualism of that is sick. It’s like, okay, you can be glam, pop, crying, vulnerable, but also be like still freak, hard, punk, screaming on the streets. You don’t have to be perfectly polished.” This realization that Surfbort could encompass such a broad spectrum of emotions and aesthetics – from raw vulnerability to defiant punk rock – allowed Dani and the band to expand their artistic boundaries without compromising their identity. It’s a testament to their belief that true punk isn’t about rigid adherence to a specific style, but about authentic self-expression in all its complex and contradictory forms.
Alex Kilgore expressed immense personal gratification from this evolution: “I was so grateful that got unleashed, personally.” Having grown up steeped in the punk rock scene, he admitted to jettisoning aspects of it in the late eighties, feeling it had become “cookie-cutter.” However, playing with Surfbort reignited his passion for the genre, but with a fresh perspective. “But then, when I started playing with this band, it was just so fun to play stuff like that, but in not an angry way. It was in like a love, celebration, ‘blast the roof off’ kind-of-sparkle dust way.” He cherished the newfound ability to experiment, to “slow things down a little bit and make things more melodic. And it’s cool.” This openness to blending their inherent punk aggression with elements of melody and a celebratory spirit marks a significant and exciting chapter in Surfbort’s musical journey, broadening their appeal while staying true to their core ethos.
Nick Arnold also conveyed his deep appreciation for Linda Perry’s involvement, emphasizing her remarkable background and her ability to connect with Surfbort’s unique sound. “I was really grateful that someone with her background and experience related and saw someone like us as someone she could connect to because her story is not typical at all. She fought early on to break out of what people were telling her to do,” Nick stated. Perry’s own journey of artistic independence and her history of challenging industry norms resonated deeply with the band. “But time and time again, she kind of showed that she had great instincts. And so for her to approach us and say, ‘I relate to what you do’ is endearing.” Her endorsement wasn’t just a professional collaboration; it was a profound validation of Surfbort’s artistic integrity and their distinctive voice in the contemporary music landscape, cementing their status as a band to watch.
Indeed, Surfbort possesses an undeniable aura of coolness that transcends mere musical talent. They’ve earned the esteemed stamp of approval from Linda Perry, a testament to their artistic merit. But their “cool” factor extends beyond the music studio. The band notably featured in Gucci’s debut beauty collection, a high-fashion endorsement that prominently celebrated Dani Miller’s distinctive teeth, leading to her mouth being famously plastered on the sides of buildings across Los Angeles. This blend of gritty punk authenticity with high-fashion allure highlights their unique crossover appeal. And just how cool are they, really? So cool, in fact, that none other than comedic maestro Fred Armisen makes an appearance in their video for “FML.” He portrays a peculiar, problem-solving magician who, in a hilarious turn of events, ultimately takes over the band, rocking Dani’s signature eye-makeup and multi-color hair, further cementing Surfbort’s status as cultural innovators with a keen sense of humor.
Beyond their high-profile collaborations, Surfbort also teamed up with social media impresario Sean Barrett for the first cut from Keep On Truckin’, the provocatively titled “White Claw Enema Bong.” Dani recounted the organic collaboration: “I connected with him on TikTok. We both in LA and I was like, ‘dude, let’s make stuff.’” This partnership underscores the band’s ability to navigate and leverage modern platforms while staying true to their subversive spirit. While Keep On Truckin’ undeniably showcases the band’s growth and an overarching message of positivity and resilience, it doesn’t mean they’ve abandoned their satirical edge or their willingness to critique societal absurdities. The album still makes ample room for taking down the excesses of the billionaire space race in “Dicks In Space,” lambasting the pitfalls of GMOs and junk food in “Killed By Food,” and humorously chronicling the antics of being a “drunk idiot” in “White Claw Enema Bong.” Surfbort even displays enough self-awareness and coolness to playfully poke fun at their own escalating fame and success. This is brilliantly executed in the video for “Big Star,” which features a mock press conference as “Surfbort-mania” supposedly sweeps across the globe, showcasing their ability to remain grounded and witty amidst their rising profile.
But would this “Surfbort-mania” truly be a bad thing? Absolutely not. Keep On Truckin’ stands as one of the most compelling and genuinely enjoyable albums released this year. It transcends the boundaries of genre, proving itself not merely a great punk album, but a great album — period. Its inevitable appearance on various “Best Of” lists by year-end should come as no surprise to anyone who has experienced its raw power and emotional depth. The album pulses with undeniable attitude, radiates a vibrant sex appeal, and beats with an authentic heart. It skillfully blends sleaze and glamour, juxtaposing profound joy with searing pain. More than anything, Keep On Truckin’ showcases a band that has found its stride, fully believing in its own talent and strengths. Surfbort expands its sonic wings, reaching new, unthinkable heights while remaining firmly rooted in their punk ethos. This album is a vibrant celebration of finding beauty and hope in unexpected places, much like a neon green smiley face spray-painted defiantly on cold concrete. It is, in every sense, authentically punk, and undeniably cool.
Dani Miller eloquently summarized the album’s core message of healing and hope: “We’re also recovering and like learning from the crazy past and just that message of like, ‘you can be a good person, even when you have crazy traumas, or you’ve been through the craziest shit or struggle with addiction.’” She emphasized that despite the hardships, there’s always a path forward. “Like in the end, there’re better days. You can make it through to the better days. You can keep on trucking to really magical times.” This sentiment encapsulates the resilience and optimism that permeates the album, offering a powerful antidote to despair and a beacon for those navigating their own struggles. Surfbort’s music isn’t just an outlet for their experiences; it’s an invitation for listeners to find strength in their own journey.
“That’s a very common theme throughout,” Dani continued, before bringing up a poignant line from the penultimate track, “Never Nude”: “If you don’t have a lover, it’s okay. Everything’s shit, please don’t quit today.” With a warm smile, Dani explained the subversive yet comforting nature of this message. “I feel like society is like, ‘you need to have like a perfect spouse, and then your life will be good. That’s just trying to find the love of someone else, and that just doesn’t always work. It’s not realistic.” Surfbort boldly challenges these conventional narratives, advocating for self-acceptance and individual contentment. “And I just wanted to like send that message to people that you can be alone and be okay — and have a good time.” But if solitude isn’t what you seek, Surfbort extends an open invitation. The band’s inclusive ethos ensures that everyone is welcome at their party, regardless of identity – whether you’re queer, straight, male, female, trans, or anything in between. They truly are that cool, fostering a community built on acceptance and shared experience.