Surfer Rosa is the debut studio album by the American alternative rock band Pixies, released in March 1988 on the British label 4AD. It was produced by Steve Albini. Surfer Rosa contains many of the elements of Pixies' earlier output, including Spanish lyrics and references to Puerto Rico. It includes references to mutilation and voyeurism alongside experimental recording techniques and a distinctive drum sound.

As 4AD was an independent label, distribution in the United States was handled by British label Rough Trade Records; however, it failed to chart in either country. Only one single was released, a rerecorded version of "Gigantic", and reached number 93 on the UK Singles Chart. Surfer Rosa was rereleased in the US by Elektra Records in 1992, and in 2005 was certified gold by the Recording Industry Association of America.

Surfer Rosa is often included on critics' lists of the best rock albums. Alternative rock artists including Billy Corgan and PJ Harvey have cited it as an inspiration; it was an influence on Nirvana's 1993 album In Utero, which Albini also produced.

Before the release of Pixies' debut mini-album Come On Pilgrim in October 1987, Ivo Watts-Russell, head of 4AD, suggested they return to the studio to record a full-length album. The original plan was to record new material at Fort Apache Studios, where the band had produced The Purple Tape and Come On Pilgrim. However, due to differences between the band's manager Ken Goes and The Purple Tape producer Gary Smith, Pixies ended up looking for a new producer and recording studio. On the advice of a 4AD colleague, Watts-Russell looked to hire Steve Albini as the record's engineer and producer. Having sent a pre-release tape of Come On Pilgrim to Albini, Goes invited him to a Boston dinner party at drummer David Lovering's house a few weeks after Come On Pilgrim's release.

Albini met the band that evening, and they discussed how the next record should sound and be recorded. Albini said that, "[the band and I] were in the studio the next day." Paul Q. Kolderie, who had worked at Fort Apache Studios with Smith, recommended the Boston recording studio Q Division to Albini. This created tension between Smith and Kolderie, and Kolderie later remarked that "Gary almost killed me for the suggestion, he thought I was scheming to get the project." Albini later noted that the Pixies were unusual among his early recording projects, as he had no prior personal relationship with the band and had previously worked mainly with musicians within his immediate circle.

Pixies entered Q Division in December 1987, booking ten working days of studio time in which to record the album. 4AD allocated Pixies a budget of US$10,000, with the total costs amounting to about $18,000. Albini's producer's fee was US$1,500, and he received no royalties; Albini had a practice of refusing royalties from records he produced, viewing it as "an insult to the band." Along with Albini in the studio, Q Division's Jon Lupfer acted as studio assistant.

Albini later recalled that the band entered the studio well-rehearsed and "in great shape to make a record". He described the studio as relatively modest, with a 16-track setup and limited outboard equipment, but noted that its live room had a "lively and boomy" acoustic character with strong low-end resonance, which was well-suited for recording drums. To manage instrument bleed, amplifiers were initially placed in a corridor, though Albini found the sound there lacking; he instead suggested isolating larger amplifiers in a tiled bathroom to achieve a more ambient guitar sound. He also used a PZM microphone mounted on the studio wall to capture ambient room sound, contributing to the album’s spacious and live-sounding drum production.

The recording process took the entire booked period of ten working days to complete, with extra vocal mixes subsequently added in the studio. Albini planned to mix the record "somewhere else", but according to Lupfer, "He was unhappy there with it."