San Francisco-based low-ender Desmonde Mulcahy had been performing in various bands around the Bay for years before he hit the bassist jackpot when he was approached to form an instrumental surf rock trio with guitarist Steve Walton and drummer Michael Molenda. “Steve called me out of the blue to join Surf Monster,” says Mulcahy. “I thought, Who doesn't like surf rock? I was also interested in being part of a power trio because I enjoy the purity. You’re kind of naked and afraid out there with only three of you, but you’re also not competing musically and sonically with a bunch of other instruments, as you would in a large band. More room for the bass!” Pulling from the 1960s sound of classic California surf rock, the trio recently released their self-titled debut album, which features beach vibes and booming bass tones provided by Mulcahy’s Mike Lull bass and his powerful, barrel waves of grooves. Locking in with the solid drumming of Molenda and the tightly plucked rhythm playing and far out soloing of Walton, Mulcahy blends walking bass lines and propulsive riffs on the infinitely enjoyable album. His playing on “Mariana Trenchmouth,” “Squidward,” and “Flying Squirrel” demonstrates the full range of a genre that celebrates low end just as much as it does soaring guitar solos. We caught up with Mulcahy to discuss the new album, the art of surf bass, and the joys of playing in a trio. As a bassist, what attracts you to surf rock? Surf rock supports a variety of styles, which is fun and interesting. The early classics pull from rockabilly for their bass lines, as walking lines and runs up and down the scale are typical in old school surf tunes. The Ventures version of “Walk Don’t Run” is a great example. What is the fundamental role of bass in the genre? The role of the bass in surf rock is just as important as in other styles of rock, but it’s especially critical in Surf Monster because we are a power trio. Bass is one of the three legs of the stool, so to speak, so I must help drive the rhythm, groove, and feel to make the songs work. Surf rock is guitar-centric, of course, but the bass line provides the foundation for the guitarist to layer his or her melodies on top. Being in a trio is usually an ideal situation for us bass players. How does that influence your writing and playing in the band? I need to make sure I stay out of Steve’s way, as well as simultaneously complement what he is doing melodically and harmonically. Then, there’s the issue of space and dynamics—elements that create a huge impact when only three instruments are playing. As both a writer and player, I have to decide whether a song would benefit from laying out entirely for a spell or playing extremely sparsely. It’s not about blasting walking bass lines all the time. Ultimately, the job of a rock bassist is to groove and create a propulsive rhythm section, but I�