Surf Rock Instrumental Review: The Electric Heaters - From The Film of The Same Name

Release Date:  September 2, 2022

Label: Eats Records

Website

The Electric Heaters, From The Film of The Same Name, is a musical journey that delves into the forgotten films of decades past, serving as a captivating time capsule. The band’s unique approach to this concept is sure to pique your interest.

The band’s decision to interpret movie soundtracks through the lens of surf rock instrumental music is a bold and impressive move. It’s a testament to their skill and creativity, and it’s sure to leave you appreciative of their musical prowess.

 

The Electric Heaters have masterfully crafted a 13-track album that is both atmospheric and genre-bending. Their focus on the guitar, a staple of surf instro music, is evident, but they also skillfully incorporate other elements, keeping you captivated and engaged throughout.

 

“Nice Little Sunday” marks the beginning of this cinematic musical journey. Straight away, you expect to hear some of that retro first-wave surf instro, and they don’t disappoint. This is not the explosive Dick Dale sound; it’s more like when the Shadows adopted their softer approach, featuring tasteful, low-key guitar playing. There is a driving bass and equally tasteful drum parts as well.

 

As the listen continues, you will discover a lot of this type of sound, however, embellished with stronger guitar leads and various transitions into sub-genres. All of which I found very entertaining and eclectic, with excellent musicianship.

 

“Chai Yo!” begins with the clinking of glasses, then straight into a funkier sound with the guitar riffs. Then, there’s a brief glissando, followed by some fuzz tones. Yet another switch-up occurs with a country riff, then a circle back to surf instro. The Hammond B3 announces its arrival as it cranks away, creating another layer, then some more rock-oriented guitar riffs. Three styles emerge here, and although it was transitory, it all jelled nicely.

 

“Beyond Banzai” kicks off with a walking bass line with an air of mystery, accompanied by a soft, jazz-like guitar run, while the drums are subtle yet just right. Then, a change to a country riff, followed by a return to surf, which is tasty. Some rapid riffing, reminiscent of the Flamenco genre, fires off with conviction, accompanied by some fine string bending. It ended as it began with a mysterious vibe.   

 

“Pandemic Slippers” is a nice hypnotic island sound to relax and have a drink to (under that lone palm or coconut tree). The soft, feathery sounds are like a comfortable pillow to rest your head on. The guitar starts to spark with some tremolo, all the while maintaining a lower tempo, then it returns to a more mellow acoustic guitar sound. However, it is an electric guitar.

 

“Tainted Love” will be recognized by many listeners. The band takes this classic hit through their own paces, making it their own instrumental rock style. Notably, the bass and the drums, per usual, keep it all on track with a great flow.

 

“Smart Aleck Kill” takes off into spy and mystery mode. Guitar, bass, and drums collide for a great soundtrack. All the layers of instrumentation are superb while creating and enhancing the necessary effects to make it believable.

 

“Thing on the Doorstep” gets you wondering what exactly that could be! I’m not going to look! It features some tastefully done guitar picking. It is all very graceful with a touch of glissando for extra flavor.

 

“Rumble at The Rum Dungeon” is not what you would expect with a title like that. A horse gallop begins with some Western picking on the guitar as the drums set the pace. It picks up and moves on with more intense guitar, galloping along, then back again to the original melody. It’s quite a ride!

 

“Montrose Beach” returns to surf instro; however, it gradually gains some upward momentum with a slower tempo. Metaphorically, like going from low tide to high tide. They launch into some glissando to sprinkle it with traditional sounds. It was like being transported to that sunny beach in my mind in a heartbeat.

 

“Tidepool Eyes” is more of a slow-tempo with some excellent lap steel playing. It’s the beach or Hawaiian sound (but not slack guitar). The bottom end helps to keep the mode mellow as they subtly add their fills. A flavorful and atmospheric sound fills they are with musical beauty.

 

“Creepy Tango” is a tango with a dramatic edge. It’s funky, then a country lick, and back to the central theme, so a lot of back and forth (which is their hallmark). An organ “creeps” in as they make their musical circles with different styles within one track (another one of their strengths). Notably, the bass stood out once again.

 

“Nut-Free Table” and a drum roll, please…then another helping of the tasty guitar is offered (I am thinking about how much they are influenced by The Shadows again). The addition of some nice drum work with the bass is a highlight. Melodic guitar notes are featured, followed by a transition into a more decisive lead break. This is bluesy and very good! Then back to the original melody with hooks.

 

Imagine a “Taco Volcano”! Free food! Their Latin influences take over here with a surf flair. Restrained guitar notes flutter off as the bass and drums remain strong, maintaining the backbeat for the lead guitar to step into the spotlight. Very atmospheric, just as all the previous tracks were.

 

From The Film of The Same Name is a trip around the surf, instrumental, and rock genres. There is a lot to cover on this listen, and it is all presented with conviction and taste. To be able to do both of those things while creating a soundtrack over decades of films deserves plenty of accolades.

 

Credits:

Matt Heaton: Guitar, Stylophone

Dave Piper: Bass

Jared Seabrook: Drums

With:

Michael Crane: Keyboards (2, 11)

Shannon Heaton: Flute (6)

Rich Hinman: Pedal Steel (10)

Val Mardot: Theremin (13)

Tracks:

01. Nice Little Sunday 02:19

02. Chai Yo! 02:46

03. Beyond Banzai 03:23

04. Pandemic Slippers 03:14

05. Tainted Love 03:48

06. Smart Aleck Kill 03:54

07. Thing on the Doorstep 02:57

08. Rumble at The Rum Dungeon 03:35

09. Montrose Beach 03:20

10. Tidepool Eyes 03:09

11. Creepy Tango 03:27

12. Nut-Free Table 04:59

13. Taco Volcano 04:10

Keith “MuzikMan” Hannaleck-Surf Music and Art Reviews Founder

September 26, 2025

Surf Rock Instrumental Review: The Chi-Tones-Salsipuedes

Release Date: August 12, 2025 

Label: McClean Music Publishing

Website

Chi McClean, a lifelong surfer and the one-person show (except the drums) of The Chi-Tones, is a rare gem in the surf instro genre. His versatility, not just in playing instruments but also in understanding the culture and sport, is evident in his album Salsipuedes.

 

“Salsipuedes” is a Spanish phrase that translates to “leave if you can” or “get out if you can” in English. The term is a contraction of “sal si puedes” and is used for places or situations that are difficult to escape, like a street that becomes impassable when it rains or a difficult-to-traverse creek. In the context of this album, 'Salsipuedes' could be interpreted as a metaphor for the unpredictable and challenging nature of the surf. 

 

Chi plays the following instruments: Electric + Resophonic + Acoustic Guitars, Bass Guitar, Electric Pianos, Mellotron, Toy Piano, Glockenspiel, Banjo, Electric Sitar, Whistle, Shouts + Hand Percussion. And Production.

 

The drums on this album are performed by the talented Miles McPherson, whose rhythmic contributions add depth and energy to the music. Buckley Miller was the mixing engineer and Ryan Smith the mastering engineer.

 

“Undercover Surfer” starts with a great beat, some guitar, and the electric sitar—a delicious way to kick things off. Everything sounds right on the edge of exploding, keeping you on the edge of your seat. Very cinematic and colorful.

 

“Tres Banderas” is a Spanish-influenced track that transports you to a different cultural landscape. The sounds of the Spanish guitar and the whistle reminiscent of a Spaghetti Western film soundtrack by Ennio Morricone create a unique and intriguing atmosphere.

 

“The Enforcer” is a high-energy track that keeps you on the edge of your seat. The infectious guitar grooves and driving rhythm build to a crescendo, creating an exciting and engaging musical experience.

 

“Salsipuedes” draws Chi back to Spanish influences by balancing the power of the guitar with the keyboard. The percussion is steady and done with conviction. The title track should always be a highlight, and he succeeds in accomplishing that.

 

“Odd Todd” is a funky, twangy number under two minutes. The feeling is light with plenty of rhythm for just enough spice. Diversification on the guitar is a specialty of this artist.

“Bad Vibes Bob” sounds eerie at first, evoking a sense of trepidation. The guitar briefly moves away from that, with some reverberating guitar lines, then returns to maintain that feeling.

 

Nearly 3 minutes this time, with some interesting sounds like the Glockenspiel.

“County Line “is a real mover, a boogie guitar kicks into action before changing into more stretched out sounds and some slide guitar. A lot is coming into focus here. This is very catchy and well done!

 

“Los Federales” is easy enough to understand without translating—the bass thumps along with a definitive Spanish flair and irresistible guitar and toe-tapping percussion.

“Down The Line” jumps right at the starting line, sounding like vintage first-wave surf instro. The drums are right in sync along those lines as the guitar does a great job creating that surfing sound. This is perfectly fun in the sun stuff!

 

“Mystic Maverick” returns with electric guitar staccato style as another lead is added with some bluesy slide. The backbeat is like a metronome for the guitars. Excellent.

 

“Eagles” shimmers like a wave in the sun. The guitar sounds like an invitation to the beach and a cool drink while watching the surfers fly through the waves like eagles. Very atmospheric and relaxing. I am continually impressed with the variety Chi delivers in all these tracks.

 

Being a surfer and ending with “Big Sur” was most appropriate. And it is the longest track at 4:13. This one begins with a leisurely tempo and slide guitar resonating as the rhythms backing it are right in step. It starts building in layers, then you hear the electric sitar with its unique sound. Once again, I am totally impressed with the diverse array of sounds and instrumentation found in one track.

 

The Chi-Tones is an excellent name for Chi’s one-man band because of all the ground he covers. I appreciate the coverage of surf instro and beyond. The many sub-genres make things a lot more interesting, and to perform at such a high level while also producing all the music is genuinely remarkable.

Keith “MuzikMan” Hannaleck-Surf Music and Art Reviews Founder

September 22, 2025

Tracks:

01. Undercover Surfer 02:08

02. Tres Banderas 02:03

03. The Enforcer 01:51

04. Salsipuedes 02:42

05. Odd Todd 01:50

06. Bad Vibes Bob 02:53

07. County Line 02:25

08. Los Federales 02:33

09. Down The Line 02:20

10. Mystic Maverick 02:31

11. Eagles 03:15

12. Big Sur 04:13

Surf Rock Instrumental Vinyl Review: Wave Electric-Self-Titled

 

Release Date:  August 5, 2022

Label: MuSick Recordings

Website

Hailing from Milan, Italy, is the eclectic surf rock band Wave Electric. Their self-titled LP, released three years ago, is a significant milestone in their career. The album’s title, 'Wave Electric', not only represents the band’s identity but also serves as a testament to their unique sound and style. I want to thank Art Bourasseau of MuSick Recordings for getting this great slice of (yellow) vinyl to me.

The cover is intriguing and very suggestive, if not a blatant view of sexuality. This is rock and roll, and they were unashamed to display it. I say good for them! Let it rip, boys!

What I heard was a band that covered the surf instrumental genre and a good range of the sub-genres. Their versatility and talent come through splendidly on each track of this LP with all the complexities and transitions we enjoy as listeners. They provide all that exceptionally well.

“Shot In The Head” immediately gets your attention just by the title alone, and the music fits as well. They kick start things with some high-energy riffs and strong leads on the six-string. It’s soaked in the echoes of reverb.

At first blush, I recognized this sound, and it comes pretty quickly if you have familiarity with the genre and well-known bands; it’s Slacktone! I am not taking anything away from them here; it’s a compliment and a killer way to start the album.

“Berlin” has a slower intro before it breaks out into a full surf instro rock mode. Bass and drums are rock steady (and they are all the way through this album). The transition is notable here, going back to the beginning and then moving into a flat-out rocking section.

“Waves” (what an appropriate title!) begins with a drum intro, then straight into the guitar as they run up and down the frets with an emphasis on the twang and the use of the whammy bar for that reverberating effect, we all know and love. Suddenly, a brief “Wipe Out” like transition, then it closes out.

“Moon Surfing” brings in some heavy bass, which is very effective. Staccato riffs and the whammy bar provide all the right effects as you imagine actually surfing on the moon, how cool would that be!

“Alien Attack” is the perfect segue from the previous track (in relation to space).  Slow shimmering waves of guitar come flowing out of your speakers with a soft bottom end for it all to land on as the tempo rises with rapid fire riffs (like a machine gun) from the guitar men.

“Fantasmatron” is an excellent title for a song. It leaves a lot to the imagination. Twangy and atmospheric, it hints that evil is right around the corner. Then it morphs into something more with a change into a more lighthearted mode, albeit briefly, with some soft picking, then a return to the rocking surf instro sounds. The drum and bass are on fire here, providing a superb complement to the ever-changing guitar lines. This is all skillfully done, and the best track on the album.

“Margaritas By The Shore” is everything you would expect, with tempo and trying to imagine the scenery suggested by the title. Subtle picking and then it picks up as the rhythm guitar is spot on, driving along things with help from the bottom end. The guitars move back and forth between tempos and instrumentation, and the echoing licks, whether slower or faster, perfectly capture the surf and sand as you sip this cool drink of sound as the first side of the platter closes out.

“Hangover (Pt. III)” opens side two with an excellent bass line as the drums come in with some subtlety. The guitars join the mix with some slow, low-tempo melodicism. There is some good rhythm following all that as well. At no point do they cut loose on this one. I think the idea is to keep it low because a hangover can be very sensitive to loud and brash noise! All tastefully done, giving you doses of their exceptional versatility.

“Grandfather” continues along the softer side of their repertoire, but this time with a more retro feel to it all. It sounds like a 50s melody with a 60s take and surfy. There is a change with a quick burst, then back to a waltz on surf guitar sound. Once again, there is a solid rhythm guitar laying down a strong foundation for the leads.

“The Gypsy Fly” goes back to some high-steppin’ picking with a walking bass line, then into what sounds like a polka drum beat, and a guitar workout follows. The rhythm and tempo made me think of Slacktone again. Then yet another wild change with a “flight of the bumblebee” riff, then a quick switch to an Eastern European celebration gypsy dance! Insane mixture of influences and changes in this one, wow!

“Walking Under City Lights” features a pulsating bass line and a twangy, foot-tapping guitar, as the rhythm is fast and steady. Then, a slight fuzz tone is added for variation and a constant, reverberating guitar line. These colorful sounds are their trademark as they continually get on this merry-go-round of sound again, transitioning from beginning to end. Impressive.

“Cesenatico” features a fine bass line, and the drums are steady and straightforward for this boogie, with a hint of country twang. This is a real mover with a danceable rhythm. In case you were interested, Cesenatico is a port town with about 26,000 inhabitants on the Adriatic coast of Italy.

“A Song For Dick” is a fitting tribute to the King of the Surf Guitar, Dick Dale. Wave Electric’s rendition of his unmistakable sound is a powerful homage, with rapid-fire and powerful guitar licks that echo his legacy. It’s a nostalgic journey from rocking to the more melodic side, a reminder that Dick Dale’s influence will never fade.

Wave Electric is a master class in surf instrumental rock and all the variations of tempos and styles. This is continued proof of the many dimensions of surf instro and its global reach. Well done, gentleman!

Wave Electric Is:

Bass Guitar – Carlo Leonello Uberti

Drums – Andrea Bonzini

Lead Guitar, Rhythm Guitar – Alessandro Maderna

Lead Guitar, Rhythm Guitar, Acoustic Guitar – Mattia Dambrosio

Keith “MuzikMan” Hannaleck-Surf Music and Art Reviews Founder

September 18, 2025

Tracks:

Side A

1. Shot In The Head

2. Berlin

3. Waves

4. Moon Surfing

5. Alien Attack

6. Fantasmatron

7. Margaritas By The Shore

Side B

1. Hangover (Pt. III)

2. Grandfather

3. The Gypsy Fly

4. Walking Under City Lights

5. Cesenatico

6. A Song For Dick

Man...or Astro-Man?-ROYGBIV (Recordings From The BBC)

I just got my copy of Man...or Astro-Man?-ROYGBIV (Recordings From The BBC) before they disappeared! This includes 35 tracks for download.

Note listed on Bandcamp:

To clear out the warehouse, we decided to invert the ROYGBIV spectrum and make it VIBGYOR instead with varying results. The flexi is printed with reflex blue. The insert has different colors. The box is the coated version. The only thing that stayed the same was the sticker. 110 copies to go around.

Includes unlimited streaming of ROYGBIV (Recordings From The BBC) via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

Download available in 24-bit/44.1kHz.

ships out within 1 day

Jazz-Surf Rock Instrumental Review: The M-Squad Crime Jazz Quintet - TO KILL A DEADMAN!

 

Release Date:  July 11, 2025

Label: Steel Derrick Music

Website

The M-Squad Crime Jazz Quintet has come up with an incredibly imaginative and eclectic recording titled TO KILL A DEADMAN!

 

They manage to create their own instrumental soundtrack, blending cool jazz and surfy rock lines from the guitars. In addition, the vibes and piano play a crucial role in making these soundscapes of intrigue and mystery.

 

If you’re a jazz fan, you will love this. If you appreciate experimental surf, you will also love it. If you are looking to hear a surf instro album, this will not be your cup of tea.

 

I enjoyed this recording, and it lives up to the hype sticker that says It’s A Crime Wave of Daddy-o! – 14 Bongo Blasting Mid-Century Suspense Themes-Dig!

 

Ok, I will go with that!

 

“Danger” is the atmospheric opener (a word I want emphasis with this music). The guitar intro is very smooth as the piano is added, which is quite jazzy. In fact, it is mainly through this entire album. There is a switch in tempo as it increases, then back to slower, then another change. You hear percussion done lightly to follow the volume and pace. This is very transitional music, and that is what makes it interesting and keeps it that way.

 

“Our Man Flint” features the drum taking the lead, with the bass following. The organ and guitar give it a bit of a surf/spy vibe. Then the transition is to more volume and an increased tempo brings it to a close.

 

“Walkin’ Bass,” indeed; that is precisely what it does, as a flute is introduced. A piano comes in as the percussion is minimal, letting the other instruments maintain command of the atmosphere of intrigue and mystery. The vibes add their essence as well. Now more of the jazz elements come into focus here, and as we advance.

 

“Richard Diamond” begins with a drum intro, guitar, and piano come into play with a real jazz feel. Drums and cymbals add another element as the piano does a solo for some more jazz layers. The guitar is very tasteful and pronounced here.

 

“A Marked Man” features Spanish-inflected acoustic and electric guitars, with the steady and ready bass providing a solid foundation. The brushes on the drums are a soft touch, making the track mellow and sweet, even though the track title would indicate something entirely different. Considering the tone and atmosphere, it could be regarded as ironic, and that could be the idea here.

 

“Elegy For A Loser” starts with the sound of traffic and more jazz guitar lines. Under a minute, this is a quicky, then on to the next track.

 

“Dark Eye” features their jazz strengths with guitar and vibes. The guitar breaks out this time on a run into some stinging leads (which are uncharacteristic for the most part on this album). Drums, percussion (bongos), and bass are superb, and then the piano gets a turn.

 

“From Russia With Love” brings on the twangy surf again (I know you were waiting for that!) set to that mysterious spy tone. The piano and vibes stay in the jazz lane. The piano gets down and dirty with some fine runs. Cymbals are effective and in rhythm, so to finish it with a dramatic ending only seemed appropriate. This is a good example of how jazz intersects with surf.

 

“Dope Street” has a bass line to kick things off, and it does its walk as the flute plays its mesmerizing notes. The percussion adds to the sound of intrigue waiting just around the corner. Picture an old black-and-white film with a gumshoe standing under a dimly lit streetlight. Strange sound effects are added, giving an added spacey, weird feel.

 

“Beat Girl” is a total switch to surf instro! The Hammond organ adds its classic retro sound: another quick jaunt, but exciting and energizing.

 

“Love & Murder,” we go back to the jazz/surf/spy sounds. Vibes are present as the jazz unfolds, with the guitar settling somewhere in the middle. The piano is a bonus.

 

“Kind Of Green” is their fun and different track with a voice talking all about green and everything in between, that’s green. Some cool jazz guitar lends a hand to set down the atmosphere for the voice, as the flute adds its eloquence in an otherwise spoof track.

 

 “Blue Interlude” has traffic sounds in the beginning and the jazz guitar with the organ gradually added, stopping, and coming back for effect—another quicky then on to the closer.

 

“Beat” begins with a drum solo, then the bass and percussion join in, followed by the guitar and flute, which merge to create a very cool jazz sound. Percussion gives it the air of mystery that they do so well project in their music. The piano tinkles and reverberates as the bass leads the way for a while. The traffic sounds come back to close the curtain.

 

If you are interested in exploring a mixture of sounds done instrumentally, with jazz leading the way and elements of surf rock woven in, TO KILL A DEADMAN! will be a lot of fun for you to listen to. It’s a soundtrack to a movie of crime and suspense as advertised!

The M-Squad are:

MIKE VERNON – guitars / piano on 3, 5, 14 / effects on 9

TED HAMER – piano / organ / lead piano on 14

DOUG SNYDER – double bass

CHRIS ROBERTS – drums

NELSON BRAGG – percussion / cymbal on 1

Keith “MuzikMan” Hannaleck-Surf Music and Art Reviews Founder

September 10, 2025

Tracks:

01. Danger 03:33

02. Our Man Flint 02:36

03. Walkin' Bass 02:34

04. Richard Diamond 03:37

05. A Marked Man 02:34

06. Elegy For A Loser 00:51

07. Dark Eye 03:38

08. From Russia With Love 04:24

09. Dope Street 04:12

10. Beat Girl 01:40

11. Love & Murder 03:27

12. Kind Of Green 03:43

Spaghetti Western Instrumental Review: The Deathly Quiet- It’s Time For Me To Go

Release Date:  August 15, 2025

Label: Independent

Website

Grab some popcorn and enjoy. It’s The Deathly Quiet’s tagline on this artist’s Bandcamp page. This album, a Spaghetti Western masterpiece by Johnny Anguish, takes you on a cinematic journey from start to finish. The cover, a visual representation of the genre, sets the stage for the musical adventure that awaits.

 

“The Swinging Gate” opens the album, instantly transporting you to a cinematic Western scene. The guitar’s resonating twang and the slow-paced drums create an atmosphere of anticipation, like a man walking out to his destiny. The scene is set, and you’re right in the middle of it.

 

“A Discouraging Word” carries with it that foreboding sound of something about to happen. Picture in your mind the cemetery scene in The Good, The Bad, and The Ugly. Or something similar, and you get the idea. The acoustic guitar has that flavor to back the electric guitar as well.

 

“Curly Wolf” starts quite differently. The sound of a mouth harp twanging, and the guitars are pensive, awaiting the next move. Piano is introduced to create its own theater of sound. This music is very purposeful and cinematic. It works well with the blend of instruments being used. Some Spanish-flavored acoustic notes emerge towards the end to add yet another layer to this spicy musical sauce.

 

“Hangman’s Theme” starts again with the mouth harp, some guitar, and the whistling of someone waiting for something to happen any moment. Percussive elements sound like a horse walking, and the sound of spurs on the man’s boots is audible as he approaches the gallows pole. Or, in the case, it could be a tree branch, depending on where the execution is being held. The guitar resonates once again with perfection as the other elements that come into play complete the track.

 

“Boot Hill” begins with a catchy acoustic riff, and that mouth harp makes its distinctive sound. The music is very slow-paced in tempo, and the sounds being added create an atmosphere all their own as the guitar plays on, repeating the same riff. The drums sound like a march to a destination, with the sound of a constant bell effect echoing through the track.

 

“Four Bells” is a quick piece at 1:01, featuring bass, mouth harp, and repetitive guitar notes, and then it's done.

 

“Well’s Run Dry” brings back the atmospheric soundtrack to our spaghetti western in full bloom. The guitar’s presence is what sets up all the other musical elements that come into play to create this thought-provoking soundscape.

 

“What’s the Worth of a Man? (Interlude)” At 1:15, it’s like a quick commercial break before the story continues. Very cinematic.

 

“There! Over Yonder!” cranks things up to another level. The guitar is loud, getting one’s attention, with the bass setting the pace like a clock, ticking away. The well-placed guitar lines are drama coming to life. It sounds like a Cowboy turned in his acoustic guitar for an electric and plugged in, and was discovering all the cool effects.

 

“The Gallows” at 1:28 is another short musical walk and something with reverberating guitar notes and some whistling of a nervous convict.

 

“It’s Time For Me To Go” is a musical narrative, featuring a melody that tells a story. The tambourine sounds like a steady walk away from the character’s troubles, but the story isn’t over yet. The guitar resonates beautifully with the other instruments, creating an atmosphere that keeps you engaged until the very end.

 

“The Long Goodbye” is the logical progression of the last track conceptually. This time, we hear a melodica (which sounds like a harmonica) along with the steady bass and drum like a metronome going off in the middle of a desert. A good rhythm is established, accompanied by a strumming acoustic guitar.

 

“What’s the Worth of a Man?” encapsulates the essence of a Spaghetti Western. The guitar, once again, perfectly captures that Western sound. The tambourine sounds like spurs as the character walks towards the sunset, ending the album with a nostalgic nod to the genre.

 

It’s Time For Me To Go is an excellent soundtrack to any Spaghetti Western that will form in your mind’s eye as you listen. Similarly, if you have watched your share of those types of films, you will quickly realize that this man, Johnny Anguish, has got it down cold.

Keith “MuzikMan” Hannaleck-Surf Music and Art Reviews Founder

September 6, 2025

Tracks:

01. The Swinging Gate 02:04

02. A Discouraging Word 03:34

03. Curly Wolf 03:09

04. Hangman’s Theme 03:36

05. Boot Hill 03:10

06. Four Bells 01:01

07. Well’s Run Dry 02:45

08. What’s the Worth of a Man? (Interlude) 01:15

09. There! Over Yonder! 02:55

10. The Gallows 01:28

11. It’s Time For Me To Go 03:34

12. The Long Goodbye 02:56

13. What’s the Worth of a Man? 03:08

Instrumental Rock Vinyl Review: Los Straitjackets-Somos (Ltd. Edition Yellow Vinyl - 1,000)

Release Date:  September 19, 2025

Label: Yep Rock

Website

After a decade-long break, the iconic Los Straitjackets have made a triumphant return with Somos (Are). The fact that the limited-edition yellow vinyl is nearly sold out as I write this only adds to the excitement. I am lucky to have secured my copy before the official release date.

 

Los Straitjackets have made a captivating return with Somos, offering a rich tapestry of 15 tracks that blend instrumental rock with surf-tinged elements. Throughout the album, you’ll hear echoes of retro sounds and be treated to some exceptional guitar work, showcasing the band’s diverse musical influences.

 

Listening to Somos, you’ll find yourself transported back to the golden era of music, with memories of The Ventures and Shadows (“Genesee River Rock”) flooding your mind. Los Straitjackets’ ability to evoke such nostalgic feelings is a testament to their musical prowess and connection with their audience.

 

“Bumper Car” kicks things off on side A with some melodic twang and a smooth rhythm section. This is a toe-tapper (and there are many of those) with some tasteful leads on the guitar (there are many of those too!).

 

“Polaris” resonates with reverb as the “island vibes” grab you, then the warmth of the sun's rays is imagined hitting your face. There is an acoustic rhythm guitar that is nice and steady, along with the bass and drums. Some shimmering leads from the electric guitar set the tone and atmosphere nicely.

 

“Genesee River Rock” is a throwback to the sound of The Shadows with some swinging leads and good rhythm guitar to accentuate all of that activity. Then the occasional drum rolls add their excitement to this retro classic.

 

“High Wire Act” steps up the pace and tempo significantly. Some rapid picking on the six-string is featured here with some reverb for extra measure. I enjoyed the transitions. Some great bass lines are added. You get the best of both worlds on this, as today and yesterday are combined. 

 

They shout “Numbskull” as the drums fire off, and then some hook-filled riffs, and that legendary “Whip Out” callout is perfected. Some crafty guitar is featured, and the switching up of tempos is good.

 

“Two Steps Ahead” brings on the heavy bass lines as the guitar provides a good riff (which at times recalls “Secret Agent Man”). The drums and cymbals play their part, adding some excitement and emotion.

 

“April Showers” closes out the first side with some catchy riffing, then a melodic lead as the rhythm guitar and bottom end are solid once again. Some tasteful playing and reverberating leads are excellent.

 

Side B opens with “Cry for a Beatle” as the energy level feels good to start. The bass part is fantastic, and the drums are very melodic. Strong leads coming from the lead guitar make it another winner.

 

“Catalina Farewell” slows things down but with a catchy riff on guitar. The tune is mellow and relaxing, sounding dreamy like a lullaby.

 

“Copy Cat” Returns to the more upbeat sounds. The guitars engage in a call-and-answer session, with the back end always providing a foundation. There are some drum rolls briefly and a bass solo.

 

“Sentimental Fool” brings the tasteful guitar leads back in focus. The rhythm section is very measured and timely as the guitar leads perk things up, then revert to the original melody, then back to the energy. The back and forth showcases the bands’ ability to be so diverse within one track.

 

You hear a girl’s voice say “Bad Apple” to start this track. The sound is entirely different than any other track on the album. Almost like something a band would add as a bonus track. The guitar’s bluesy leads are not something you would expect to hear on a recording like this, but the takeaway here is that it’s good. Some heavy bass lines are also featured—another example of their exceptional talent and diversity.

 

“Wicker Park” has some twangy leads and a toe-tapping rhythm—a very catchy track with smooth instrumentation.

 

“Spinout” is their all-out rocker on the album and one of the early tracks released. The drums start the engines, and you hear them holler Spinout! Twang and reverb dominate, and then that crazy “Wipe Out” laugh again. The bottom end is like a locomotive, and the rhythm guitar is exceptional.

 

“Virgon” closes out this return to greatness for Los Straitjackets. It starts slow, then they crank it up and go back again to the solo mellow guitar. The back and forth is great, and a super catchy song.

 

Somos is a satisfying return to form for Los Straitjackets. Lovers of instrumental rock will appreciate this recording. The mixture of rock, surf, and tracks that transition from slower to faster makes this a diverse listen without any filler. It’s solid and consistent from start to finish.

Credits:

Eddie Angel – Guitar (Bass on “Cry for a Beatle”)

Greg Townson – Guitar

Chris Sprague – Drums, Voices (Guitar on “Cry for a Beatle”)

Pete Curry – Bass (Drums on “Cry for a Beatle”)

With:

Simon Heeran – guitar on “April Showers,” “Virgon” and “Catalina Farewell”

Alex Hall – Vibes

Keith “MuzikMan” Hannaleck-Surf Music and Art Reviews Founder

September 5, 2025

Tracks:

Side A:

1. Bumper Car

2. Polaris

3. Genesee River Rock

4. High Wire Act

5. Numbskull

6. Two Steps Ahead

7. April Showers

Side B:

1. Cry for a Beatle

2. Catalina Farewell

3. Copy Cat

4. Sentimental Fool

Surf Rock Instrumental Review: Les Panches Surfers - La Balasera

Release Date:  May 17, 2023

Label: Independent

Website

I realize that this album from Les Panches Surfers titled La Balasera was released a few years ago, but it deserves some attention.

 

Their press kit says the following:

Les Panches Surfers is a Spain-based Instro Surf band that combines tremendous versions of surf classics with excellent and powerful songs of their own. Under his impeccable appearance of white clothes, masks of catrinas and Mexican hats hide an excessive force and Danger, as they demonstrate in every gig, is comparable to The Mummies. They have dynamited scenarios of the most essential venues from Madrid to Germany, and everyone who has ever seen them live knows that ...

 

I think that was a clever intro to the band, and with the masks, they remind me of many other bands doing the same thing, except this group all go by aliases, so you don’t know who they really are. Hailing from Madrid, Spain, this is yet another indication of the global presence of surf instro.

 

"La Balacera" is a Spanish term meaning “the shooting” or “the shootout,” referring to a gunfight or the act of firing guns. They kick it off with a bang (no pun intended) with their title track. They are letting you know this is high-energy music with some good guitar licks and an explosive rhythm section. Off to a great start, and they get it done in a little over two minutes.

 

“Surf Division” begins in a more mellow manner compared to the opener. Some fast fingerpicking is going on here with the acoustic, transitioning into some fuzztone leads (ala Davie Allan). Then they circle back to the original melody with the glissando guitar, then back into the electric driving section. The drums and bass, always key in pushing the band along, do their thing well. I liked the quick drum rolls inserted a few times, then the weird string bending sound to close it out.

 

“GusFuzz,” you figure, is going to be interesting with a title like that, and it is. It begins with the retro ’60s surf sound, a style characterized by its upbeat tempo, reverb-heavy guitar, and catchy melodies, and features some additional glissando, adding a definitive Spanish flavor. The squealing guitar puts a picture of a surfer going tubular in your mind. The guitar is superb with all the warmth and inviting sound that you expect to emulate the beach, fun in the sun, and surfboards. Three-quarters of the way through, the fuzz arrives with some catchy licks.

 

“El Secuestro” is the Spanish word for kidnapping or abduction (yes, I always must look this stuff up). So immediately with that thought in mind, their sound is one of mystery and intrigue. It moves along nicely with a good flow and mixture of acoustic and electric riffs. Lots of hooks and the transition to the rhythm section showing its power, and entirely different licks add another layer.

 

“Último verano en Torremolinos” translates to last summer in Torremolinos. So, you imagine the sun, the beach, and memories come flooding into your mind. At least that is what the music should do. It does paint that picture nicely. It is a mellower melody with some layered guitar work. I appreciate the versatility the band demonstrates on this track. They can rock or kick back and play something with a great melody and tasteful hooks to pull you in.

 

“La Huida” translates to “the escape” in English. Knowing what these words mean before hearing the track is very helpful in picturing what the band is attempting to say in their music. This one explodes from the first note played. They return to a heavy rocking mode, incorporating some impressive guitar effects. Then the rhythm section gets their turn as they thump away, and you hear some of the quick drum rolls as the guitars wail away. The band’s ability to create a visual experience through their music is truly engaging!

 

“Tenebrosa” means dark. So here we go again, will it feel that way? Yes, indeed, it does, with a creepy intro and a devilish laugh. The guitars provide a lot of excitement and changes. There is that element of surprise and intrigue again as it builds through this track with several different sounds, transitions, and guitar lines ever changing.

 

“Rosarito” starts with a more retro sound on guitar (like the 1st wave in the 60s). More mellow again this time with subtle drums and bass (which is a change in comparison to most tracks). Nice flow and smooth guitar lines.

 

“Calçots” are a type of green onion, also known as scallions. This is a fun process, trying to figure out all these English translations! This is another one with the more traditional surf instro sound, with a steady flow of surging up and down guitar lines, with the bass and drums maintaining a constant rhythm throughout. Then suddenly that retro organ sound jumps in as the level of bass and drums rise along with it. Many changes make for one of the more diverse tracks yet.

 

“Waikiki” does not need translation, obviously. Big waves, right? Well, in one aspect, yes, for surfers, but not in this case. They get mellow and tasteful again with some excellent guitar work. Their Spanish heritage creeps in here; it’s not Andres Segovia, but it’s perfect! The organ is added again for another layer, followed by the quick shutdown.

 

“El Ahorcado” is translated as The Hanged Man. And it lines up perfectly with their “Spaghetti Western” sound on this closing track. The guitar resonates and echoes as a subtle organ plays off in the background—the drums and bass sound foreboding as they end the track.

 

Les Panches Surfers are an excellent surf instro band that knows how to rock or pull back and do something more tasteful and picturesque. All their many talents are on full display on La Balasera.

Keith “MuzikMan” Hannaleck-Surf Music and Art Reviews Founder

September 2, 2025

Tracks:

01. La Balasera 02:13

02. Surf Division 02:42

03. GusFuzz 04:02

04. El Secuestro 02:50

05. Último verano en Torremolinos 03:35

06. La Huida 02:25

07. Tenebrosa 02:52

08. Rosarito 02:23

09. Calçots 03:22

10. Waikiki 02:06

11. El Ahorcado 03:00