Surf Instrumental Review: Agent Octopus-Blue Eyed Surf

 Release Date: September 7, 2019

Label: Independent

Website

Over six years ago, Agent Octopus arrived on the surf instro scene. Blue Eyed Surf began a string of impressive releases, cementing their place in the community.

“Cape Fear” begins this eleven-track journey of fun in the sun. Their retro sound captivates your senses from the start. This is guitar-driven music. Three members contributed. The echoing notes flow, while the bass and drums hold down the backend nicely.

"Ghost Orchid" offers a mellow contrast to the opening track. Clocking in at 3:13, it features warm, resonant guitar sections that create an atmospheric effect, drawing the listener into its soundscape.

"Blue Eyed Surf" refers to its cover art, with island sounds and steady bass and drums supporting a guitar that evokes gentle waves on the shore.

"King Kong’s Revenge!" signals a tempo change at once. With notable work, guitars are taking various directions, growing more aggressive midway through. The hooks are catchy and memorable, reinforcing the track’s bold character.

"Sleeping With The Fishes" returns to mellow tones and thoughtful guitar parts. The bass is more prominent here, while cymbals and drums maintain an effective, supporting rhythm.

"Avalon" continues the band’s steady rhythmic flow. Surf influences continue as the group transitions between tempos. Bass and drums provide a strong foundation, allowing lead guitar lines to shine and exemplifying the group’s consistent rhythmic interplay.

Continuing, “Moonlight Over Mavericks” gently highlights the guitars’ soft touch, restraint, and tastefulness. There are moments when the guitar does a little staccato-like dance and then goes back into the more stretched-out leads.

“The Theme to the “Sun Chasers" reminded me fondly of what The Ventures would do covering themes to TV shows or movies. This is a bright sound, with a strong bass effect. It moves along quickly from start to finish. They do it all so well and are tightly knit with their instruments, using them to their fullest potential.

"Sandy Point" evokes a beach scene through expressive guitar and a solid rhythm section. This slower track uses their finite instrumental textures to evoke a scenic atmosphere, demonstrating the band’s ability to set a mood.

"Baby Octopus Walk" introduces a funkier rhythm, with Latin influences and familiar melodic elements, expanding on the album’s diverse range.

“Sleeping With The Fishes Too” closes the album by showcasing the band’s melodic strengths and cohesive sound. The shimmering guitars and well-crafted atmosphere provide a fitting conclusion to the track list, leaving a lasting impression.

Blue Eyed Surf continues to sound fresh regardless of the passing of time. Great music always holds its value, and Agent Octopus’s debut highlights their many talents.

Credits:

Jim Colby - Bass, Lead & Rhythm Guitars, Keyboards

Art Svrjcek - Lead & Rhythm Guitars,

Piano (Sandy Point), Bass (Blue Eyed Surf)

Bill Bates - Rhythm Guitars

Drums - Lew Bobbitt & Jeremy Carlson

 

Keith “MuzikMan” Hannaleck-Surf Music and Art Founder

January 27, 2026

Tracks:

01. Cape Fear 02:53 

02. Ghost Orchid 3:13

03. Blue Eyed Surf 2:39

04. King Kong's Revenge! 2:37

05. Sleeping With The Fishes 3:13

06. Avalon 3:11

07. Moonlight Over Mavericks 2:58

08. The Theme to the "Sun Chasers" 2:42

09. Sandy Point 3:25

10. Baby Octopus Walk 2:35

11. Sleeping With The Fishes Too 2:47

Surf Rock Instrumental Vinyl Review: The Aloha Joes - Self-Titled 7” Ocean Blue Vinyl EP

 Release Date: June 25, 2024

Label: Surf Wax

Website

The Aloha Joes are self-described as rippin’ surf 'n' roll from the howling barrels of North Beach, Tybee Island, Georgia. Their self-titled 7” ocean blue vinyl debut EP features four tracks.

 They Are:

Drew Fulton: Guitar

Beau Cayton: Bass

Evan Cantwell: Drums

Side A begins with “Betty Cooper.” A wailing guitar is supported by a ready and steady bass and drum. The guitar goes through several gyrations of tempos and rockin’ phrases. The rhythm is exceptional, with standout guitar lines that are filled with expressive color and energy. A fine way to get things cranked up and live up to their surf ‘n” roll description!

“Wetsuit Wiggle” keeps the momentum going with some great backend beats and a storming bass line. The guitar’s resonating lines are upfront and punctuated by the strong support of the rhythm section. As indicated by the cover art, the board and the surf await just to wiggle into that wetsuit!

Side B explodes with “Pinball Summer,” cranking the tempo up another notch with rapid rhythms, as the guitar continues to showcase the full power and surf-rock instrumental command this band possesses at every turn. The weather is warm, and after a brisk ride on the waves, it’s time to head to the arcade, grab a burger and soda, and play some pinball!

“Art Alexakis (said some really nice things about us)” gets heavier right at the outset with some meaty chords. This is a flat-out rocker with crashing cymbals and a locomotive rhythm section just attacking it as the guitar’s aggressive stance is further enhanced by that support. The surf instro influences are left behind here as they prove to be straight-ahead rockers if they choose to.

The Aloha Joes put it all on the line on their debut release and leave a listener wondering how this could be topped on the next outing. Obviously, they have a talented lineup with the chops to continue growing and refining their sound. With all that said, I don’t think a debut could be much better than this!

Keith “MuzikMan” Hannaleck-Surf Reviews and Art Founder

January 26, 2026

Tracks

Side A:

1. Betty Cooper 2:11

2. Wetsuit Wiggle 1:57

Side B:

3. Pinball Summer 1:45

4. Art Alexakis (said some really nice things about us) 1:55

Surf Instrumental Review: The Von Dwells- Self-Titled EP

 Release Date: January 20, 2026

Label: Independent

Website

The Von Dwells are from Portland, Oregon, and have released their debut self-titled EP. The first thing that grabs you is the classic hot rod monster art. This is a reach back to when this all started back in the 60s. The use of black and white is meant to draw your attention to all the activity.

This band has a decidedly Halloween feel to its concept and sound, and it gets it done with plenty of skill and energy.

"Meatball Flag" kicks off with a sound reminiscent of the start of an exciting or risky movie scene.  It is a great way to kick off this EP with a lot of energy and power, and some quick transitions to downtempo then back again.

“Firestorm” ups the ante on sustained energy with a fuzz guitar sound and the relentless bottom end pushing things along. Mid-point, it changes dramatically to a mellowed-out, sunny-beach sound, then, as quickly as that transitions, it jumps back into the original frenetic pace and starts rocking again. This is a fine surf instro track!

The song “Last Ride of the Damned” continues with heavy fuzz tones, very cool drums, and bongo sounds. You figure this should have a touch of evil, given the title. They succeed in maintaining that heavy sound from beginning to end. This is a killer track, a real rocker, and Davie Allan would be proud!

“Bananas Foster” features the legendary Evan Foster (Boss Martians etc.) on rhythm guitar. Evan is one of those guys who, for several decades, has been making great music with different bands and has had a hand in the success of other groups like The Von Dwells. This is a classic tremolo guitar run reminiscent of the first wave.

“Exit 13” sounds like a boding of what is to come, and it isn’t good! The music reflects that sentiment with an organ that gives it the necessary air of mystery and horror, right around the corner after taking that fateful exit to hell. Constant energy flows as the instruments’ power and excitement are once again highlighted in this track.

“Warlock Walk” finishes things up with more fuzz tone and powerful bass and drums kicking in for that guitar to take off again. An impressive amount of energy and precision is the modus operandi here, as it was in all the previous tracks, and an excellent way to end this exciting debut just as it started, with a flair for non-stop energy and the surf instro sound extraordinaire!

The Von Dwells have a great start into the surf instrumental world with a fine debut recording. They do not waste one second of their time and give all their energy and talent to every track. Even though this was just a taste, it will get you salivating for more once you hear it!

Credits:

Guitar: Grant Von Dwell

Bass: Rob Von Dwell

Drums and Percussion: Rick Von Dwell

Additional Musicians:

Mel Woodhavens - Rhythm guitar on "Meatball Flag" and gang vocal on "Last Ride of the Damned"

Evan Foster - Rhythm guitar on "Bananas Foster"

Dave Klein - Organ on "Exit 13"

Tien Doan - gang vocal on "Last Ride of the Damned"

 

Keith “MuzikMan” Hannaleck-Surf Music and Art Founder

January 25, 2026

Tracks:

1. Meatball Flag 02:41

2. Firestorm 03:00

3. Last Ride of the Damned 03:17

4. Bananas Foster 01:50

5. Exit 13 02:43

6. Warlock Walk 02:39

Latin Jazz Surf Rock Instrumental Review: ChaChaBoom!-Self Titled

 Release Date: December 14, 2025

Label: Independent

Website

ChaChaBoom! is a Latin Jazz Surf Rock from NJ. Their self-titled full-length debut was released last December.

I appreciate surf instro with a Latin flavor. There is something about that mixture of genres and cultures that blends so well. I cannot explain; it just works.

“Otra Guagua” translates to “Another Bus,” but I am not sure. I am always curious what the online translator will come up with. There are three tracks on this album, each under two minutes, and this intro is one of them. It sets the proper mood and tone for what they do very well: twangy, Latin-flavored guitar and strong bass and drums holding down the bottom end so those guitars can cut loose without drowning out anything else. And that comes with proper recording, engineering, and mastering. Based on what I heard, they have it together.

“El Niño” would be expected to have an emotional atmosphere. It moves back and forth like the tides of the sea in anticipation of what is coming. The warming of the sea is what it is, and the music should do the same. The transitory nature of weather is reflected in the music here as the instrumentation’s tempo rises and falls. Very atmospheric.

“Cuban Getaway” has a retro feel, with a standout bass and drums following the guitar’s resonant notes. The Latino color and the guitar’s effect put you in the right frame of mind. The twangy guitar sounds a bit country with the tremolo picking.

“Sway” does exactly that: it makes you feel like moving your body that way. The music has a great beat, backed by bass and drums, with the guitar punctuating its notes with crispness that makes the intent very clear. It has the “island” feel, where you go to the Tiki lounge to get your drink, then head back to the beach to catch some more rays.

“Temptation” features an alluring sound - perhaps a temptation to step into another place where you normally would not go, then boom! The tempo shifts to a more colorful, exciting feeling. This is one of my favorite tracks. The bass is prominent, while the drums remain consistently in sync. The quick fingers on the frets bring you to the land where you dare to go as the excitement of the music reaches higher levels. The power is forceful but subtle when it transitions. A good example of their strong musicianship.

“El Cumbanchero” keeps the steady flow of their music going. I am assuming this is in reference to a place, but one never knows. As the bass and drums continue to build, the guitars take the spotlight, transitioning from speedy rhythmic bursts to a down-tempo “spy” sound. Now that I found it interesting for a transition within a song with all that Latin flavor.

“Latin Soul” has a steady, rapid drumbeat, and the bass keeps up as the guitars’ twangy reverb makes its mark once again. The six-string diversity here is impressive. Compact and precise is their modus operandi. They do it all very well, especially when they finish in under two minutes. It’s enough time to appreciate that what they are doing isn’t an easy accomplishment, which at first blush may be assumed, looking at the time span, but that could not be further from the truth!

“Exotic” is as traditional in sound as it gets when following the surf instro baseline, then adding your own trademark. Although this sound is nothing new, you haven’t heard it; it is done very well and is entertaining as hell, with tremolo bursts all over the place. One of the more exciting fast-paced tracks. The bass is huge here (again).

“Cuarto de Tula” (Tula’s Room) has a nice catchy sound (as all their music does), and the drums make their presence known as the bass also takes its place with powerful riffs. The guitar continues with its magnificence and colorful playground of sound.

“Rumba Gitane” (Gypsy Rumba) takes you right to the streets with all the movement, sweat, and sensuality that the Latin music can encourage and inspire. It’s all about the movement and non-stop beat of the drums and the rhythm of the bass pushing the guitar along. Some terrific guitars work here, further solidifying their hold on the culture’s colorful aspects.

“Siboney” also known as "Canto Siboney", is a 1927 song by Cuban composer Ernesto Lecuona. Now, how is that for reaching back in time? The drums sound Latin jazz-influenced, as that bass gets in the groove nicely. The resonating guitar expresses the emotion within the music. Well played with style and precision.

“Bilongo” (Flowers) winds things up with their own tasteful playing with their influences blooming like a flower in the sun. They bask in the rays of that warmth, and the subtle drum fills allow the guitars’ notes to float effortlessly over the top. It ends with a quick remembrance of The Ventures, then fades out.

ChaChaBoom! was a fun listen. Those of you surf instro fans who like a little extra spice and flavor in the sound will love this album! Fine musicianship and production on this debut release will generate significant interest among listeners.

Credits: 

Guitar - David Adasse 

Drums - Jon Brody

Bass - Scott Tulloch

Engineered, mixed, and mastered by Dylan Saraciniello 

Keith “MuzikMan” Hannaleck-Surf Music and Art Founder

January 16, 2026

Tracks:

01. Otra Guagua 1:57

02. El Niño 1:55

03. Cuban Getaway 2:15

04. Sway 3:11

05. Temptation 2:58

06. El Cumbanchero 3:13

07. Latin Soul 1:53

08. Exotic 2:09

09. Cuarto de Tula 2:47

10. Rumba Gitane 2:51

11. Siboney 2:34

12. Bilongo 2:47

Surf Rock Instrumental Review: Magnatech - The Red Boudoir

Release Date: April 15, 2026 Pre-Order

Label: Independent

Website

Hailing from Bocholt, Nordrhine Westphalia, Germany, Magnatech has released several instrumental recordings since the 2020 release, Mr. Magnatech is not afraid of you!

The Red Boudoir is scheduled for release this April.

Magnatech is an ultra-talented one-man show playing all the instruments. He creates music that keeps the spirit of the first wave of surf instro alive and well. Every track adheres to the standard two-minute plus but under three-minute window, with plenty of guitar spotlights and transitions to keep a listener interested.

“Sun, sea & Sylke” sets the waves of music in motion. The soft undercurrents and smooth guitar lines imply that the sun and sea are as smooth as silk. At least that would be my interpretation of what the title means. The guitar creates a very relaxing and beautiful soundscape. This is a mellow way to start, but I am sure it will change very quickly!

“Blood Red Boudoir” draws on the album title, placing greater emphasis on the color’s impact. Straight away, it has an air of mystery and horror, with the organ notes floating through, the bottom end keeping a steady rhythm, and the guitar coming in with subtle fuzz. A very retro ’60s sound takes hold.

“Just like Nathalie” continues with the retro vibe. The lead guitar has a resonating tone as the guitar rhythm stays steady, along with the bass/drum parts. The cymbals crash at just the right time as the guitar shifts back and forth. Real catchy.

“More Twist” is a very familiar song, and many people will recognize it instantly. It’s a minute short of 2. It is compact and impactful, with a jangling rhythm guitar; the leads are punctuated to perfection.

“Geneviève’s Nocturne” carries the retro feel with today’s modern production values. I thought of The Shadows more than once. I like the way he uses the rhythm guitar as a layer of sustainability for the leads to seamlessly weave in and make their transitions.

“Down Witch Alley” starts with an evil laugh, then launches into the rhythms and leads you would expect with a title like that, except this time a saxophone joins in before the layered leads explode with sound, then pull back into the more relaxed tempo of a surf instro. The air of mystery around the framework makes you think about the scenery it creates.

“Sankt Pauli Stomp” is a walk back to when The Shadows were making all their great instrumentals. The guitar and added keys provide an interesting transition in timing and change, then shift back to the focus, with the guitar lines echoing for effect.

“Velvet Delirium” features a resounding bass line, with the guitar taking the lead through a range of sounds and tremolo runs. It sounds thick, and the picking sounds as retro as it gets, making this another look-and-feel to the first wave of surf instro.

“Capri Cascenade” has a solid bottom end, with the guitars taking the spotlight through several tempo and texture shifts. A listener must keep in mind that this is one person making all these sounds come together. This is an important trait shared by all these tracks.

“Nagasaki Shore” picks up the pace with crashing cymbals, and you get the vibe of Japan in the reverberating guitar lines. The bass is always impressive, and, of course, the lead guitar remains exceptional, paying tribute to the first wave.

“Taiga Twist” is full of hooks in the leads and bass. The tremolo and reverb are superb here. The rhythms are significant in all these tracks, and this one is a real toe tapper. The guitar’s effects are used effectively here as well.

“Rathenau” starts with a gunshot (which you will hear a few times), making you think this may go into spaghetti western mode, but it doesn’t. The lead guitar hints at it with its resonant tones, then shifts to a surfy, thick echo-chamber sound.

“Monster Surf Stomp” is a classic ’60s tune, complete with the organ, although subtle, like you would hear on a period TV show. Think of one of those concerts back in the day, at a large hall overlooking the beach in Southern California.

“Salomé” begins with a Middle Eastern motif, then quickly shifts tempo to a more rhythmic, clear guitar line. I think the operative words here are rocking and smooth, with some tremolo runs to remind you of where this music originated and how it’s kept alive.

Those who enjoy ’60s surf instrumental music will love The Red Boudoir and how it maintains its roots from start to finish, using today’s production values and tools to deliver clear, crisp tracks.

Keith “MuzikMan” Hannaleck-Surf Music and Art Founder

January 12, 2026

Tracks:

01. Sun, sea & Sylke 2:15

02. Blood Red Boudoir 2:10

03. Just like Nathalie 2:31

04. More Twist 1:59

05. Geneviève's Nocturne 2:28

06. Down Witch Alley 2:12

07. Sankt Pauli Stomp 2:12

08. Velvet Delirium 2:33

09. Capri Cascenade 2:24

10. Nagasaki Shore 2:19

11. Taiga Twist 2:18

12. Rathenau 2:11

13. Monster Surf Stomp 1:54

14. Salomé 2:21

Surf Instrumental Rock Review: Las Arañas del Neptuno-Ride The Madam Psychosis Radio Waves

Release Date: December 4, 2025

Label: Independent

Website

Las Arañas del Neptuno (The Spiders of Neptune) is an Instrumental Surf-Rock band from North Tenerife, Canary Islands.

On Ride The Madam Psychosis Radio Waves, they offer surf intro gems that are not your typical 2-plus-minute runs. They take it one step further with some fine improvisations. Using themes from Sci-Fi and Horror, they color their music with deep guitar runs and complex transitions.

The striking cover art by Gustavo Ponce captures your imagination without a single note being played, which encourages you to listen.

Las Arañas del Neptuno Are:

Lead Guitar: Rodrigo Ramos

Rhythm Guitar/Keyboards: Bruno Gálvez

Bass Guitar: Thomas Mayer

Drums: Ayoze Herrera

“Spider Stomp” kicks things off with an air of mystery before launching into a full-blown guitar tremolo effect, as the thundering bass and steady drums give the lead guitar room to breathe and stretch out into some transitions. Three-quarters of the way in, they switch it up and give their own brand of Spanish-flavored instrumental treatment. In just under five minutes, it’s like hearing two different songs within one. An impressive beginning to what I anticipate being quite a ride!

“Atardecer en El Neptuno” (Sunset on Neptune) is an atmospheric track to reflect an outer space theme. It begins with a tasteful tempo, then eventually transforms into something more with a faster pace, then back again. The emphasis is on the resonant reverb guitar notes that give it the necessary feeling from start to finish. Shimmering guitar notes give you that feeling of being on the beach watching the sunset, since you cannot be on Neptune.

“Bride of Dracula” features a tribal drum as the guitar hits the notes with emphasis as keys play in the background, subtle yet effective, creating a sense of horror and trepidation. The shortest track, at 3:05, showcased the music’s sheer beauty while focusing on the terrifying essence of the subject matter.

“Enchantress of the Nile” sounds like it belongs in Egypt with the appropriate Middle Eastern influences, as your mind takes you there within seconds, imagining what that person would look like as the sun burns and the sand swirls in the air. A key component is the hypnotic keys, which flow through the track as the drums, bass, and guitar follow, enhancing the overall flavor. Toward the end of the song, the beat and tempo shift while the instrumentation preserves the original atmosphere. One of the more complex and intriguing tracks so far.

“Surfer From Outer Space” reaches back to a more traditional surf instro sound, moving away from the complexities of the previous track. The reverb and tremolo are superbly played with some rapid-fire notes that are the earmark of surf instro on display. Your appreciation for this grows with every track, thanks to their diverse ability to take deep dives into any style within the surf instro umbrella. I appreciated it as they moved towards the end, how the music exploded, and how they showed how easy it was for them to get heavy when they decided to.

“Loose Cat Blues” takes off into entirely different territory, with country-blues guitar licks backed by a terrific rhythm section. Here again, they keep their surf instro foundation intact and shape and mold it into something from another genre, thereby creating another sub-genre that showcases the command of their instruments. Adding the harmonica of Thomas Mayer and Bruno Gálvez on lead guitar enables the group to successfully step outside familiar territory. A fresh change and yet another instance of diversity.

“What the Sea Told Me” Is the second-longest track at 5:24. Once again, they get back to the roots of inspiration, the sea, from whence all this music originated with the surf community. There are some finite transitions that encapsulate their brilliant instrumentation and shifting tempos. The guitar leads are majestic as the perfect wave. From the picking to the punctuated sharp leads, this guitar-driven music always allows the other instruments to take their place, and it is showcased here as the bass and drums easily grab the spotlight while the production elements create the necessary separation for your ears. Beauty and power merge here for one of my favorites.

“La Venganza del Neptuno” (Neptune’s Revenge) is just short of six minutes. They could not have picked a better way to wrap up this fantastic album. All their strengths come together here; the tremolo guitar, the thumping and thundering bass and drums, and the transitory nature of their compositions are also in full bloom. This is surf instrumental rock at its finest. Everything about this final track says that the musicians in this band have it together. The music is crisp, clear, colorful, exciting, and precise.

One can never say this brand of surf instro is simplistic in any way; it is quite the opposite. Ride The Madam Psychosis Radio Waves is one of the best surf instro albums of 2025!

Viva! Las Arañas del Neptuno.

Keith “MuzikMan” Hannaleck-Surf Music and Art Founder

January 10, 2026

Tracks:

1. Spider Stomp 4:47

2. Atardecer en El Neptuno 4:21

3. Bride of Dracula 3:05

4. Enchantress of the Nile 4:46

5. Surfer From Outer Space 3:35

6. Loose Cat Blues 4:52 (features Thomas Mayer on Harmonica and Bruno Gálvez on lead guitar)

7. What the Sea Told Me 5:24

8. La Venganza del Neptuno 5:57

Instrumental Review ( mariachi, spaghetti westerns, surf rock, cantinas): Gringo Motel-Above Snakes

 Release Date: September 20, 2017

Label: Independent

Website

According to Gringo Motel, their influences include mariachi, spaghetti westerns, surf rock, cantinas, and the circus.

Because their music is so variable, I describe it as instrumental for simplicity. The band itself suggests the label “the circus,” which is broad and fitting given their diverse influences. Ultimately, listen and decide for yourself if it fits a genre that resonates with you.

Don’t try to categorize this band—listen with an open mind instead.

If you like music with horns and spice, Above Snakes will suit you. The band’s name may hint at Spanish origins, but they’re from Philadelphia. Cover art may also imply a connection to a culture outside the US. Even so, this kind of artwork matches the style of music and is commonly used in the surf instro community and sub-genres.

That’s music’s beauty: you can be from anywhere and create something with a unique flavor or influence. The key is to be convincing and own it. Gringo Motel captures the music’s color and energy on every track.

My favorite track is “Evil Muppet” for both its title and its music. Constantine and Hopper are examples of villains among the characters on The Muppets. The music is offbeat and entertaining, which caught my attention.

It’s challenging to add horns and keep good rhythm and flow. A strong bottom end unifies everything else.

Though they cite surf rock among their influences, I only caught brief hints of it in the title track, “Above Snakes.” Overall, the music leans more toward mariachi. This talented group makes for an entertaining listen, and they’re worth your time.

So “Get Your Mouth Off The Pool” (see track 10) and take some time to listen to Gringo Motel’s Above Snakes.

Credits:

Tom Scheponik: Guitars/Pedal steel/Vibraphone/hammond organ/upright bass/marching drum/percussion/Hand Claps

Mark Gallagher: Tenor Sax/ Baritone Sax

Gary Zampini: Electric bass

Rich Breazzano: Drums

Christopher Tolomeo: Trumpet, Cornet, Trombone, Acme Siren

Katherine Scheponik: Hand Claps

Keith “MuzikMan” Hannaleck-Surf Music and Art Founder

December 30, 2025

 Tracks:

01. Shake And A Stir 03:51

02. Señor Doublecross 02:17

03. Copy That 03:29

04. Lies Somewhere Else 02:25

05. Standard Getups 02:08

06. Vacant Stare 02:02

07. Lot Lizard 02:16

08. Barnyard Steam Room 02:51

09. Evil Muppet 02:12

10. Get Your Mouth Off The Pool 03:38

11. Above Snakes 03:18

12. Trailer 04:10

13. It's Curtains For You 02:13

Surf-Rock-Instrumental Review: Surf Zombies-Monster a Go-Go

 Release Date: October 31, 2025

Label: Missing Fink Records

Website

SURF ZOMBIES are:

Brook Hoover - Guitar

Trevor Treiber - Bass

Ian Williams - Guitar

Luke Ferguson – Drums

Are you looking for a Howlin’ good time? Well, the Surf Zombies have just what you need! Monster a Go-Go was released on the Devil’s Holiday.

The fun thing about instrumental surf and subgenres is the colorful artwork that adorns the releases’ covers. And that’s not the only thing; the music is lighthearted and usually played with razor-sharp precision. In the case of Monster a Go-Go, all the above applies!

“Brain Rock” gets things rolling with an instantaneous groove in all positions. The twang and resonating tones ring true for any instro fan. The guitars provide a dreamy atmosphere and also get into an interesting retro chicken pickin’ mode for a little extra flair, as you hear one of the band members say Yeah! They are having fun. Incredibly, it can be packed into two minutes and fourteen seconds.

“Dug Out” is a definitive 60s first-wave sound, with subtle guitar woven into the bass, drums, and organ. Funky riffs and hooks galore make for a fun gallop to the past (laugh inserted at the end).

“Punkin' Juice” get your juices flowing! This one is a good rockin’ time with dueling guitars. A real ripper!  This high-energy track, powered by a terrific bass and drum combo, is designed to energize you and get you ready to move.

“Full Moon on Prom Night” is a nighttime waltz as the moon lights up the sky. But beware of what that full moon can bring this time of year! Howleen! Guitars are bright, and the bottom end is tight with variations in tempo and transitions.

“Scream Soda” continues with the retro motif as the guitars tell the story. The backend is cutting a path as the bass remains strong. I am impressed by how much the guitar accomplishes in these short tracks. Some parts reminded me of The Shadows.

“Bouncing Baby Bones” has a great rhythm, with the guitars’ reverb and twang resonating with conviction, but keep the volume down to mid-range. They continue to offer toe-tapping and head-bopping grooves to keep your body moving.

“Wooly Willis” immediately recalls ’60s sitcoms with its funky bass line and twangy retro guitars. The only thing missing is that Hammond B3 churning away. Nice guitar work and strong bass and drums keep those toes tapping.

“Gill-man Crashes the Party” takes things in a different direction, showcasing the album’s variety. The sound in this instro rock piece features a twangy guitar, with distinctive chord changes and interesting transitions that remind you of the roots of this music and where it all comes from—a real rocker with many engaging shifts.

“King of the Sting” starts with a buzz, then a shout that someone just got stung. The band’s pace is mid-tempo, with a kind of bluesy, funky Ventures sound that they would record on one of their covers. Different but very cool.

“The T-Rex Twist” features a simple drumbeat in the background as the guitars take center stage with well-placed lines and groove-filled transitions. All the while holding their retro sound and superb control of the guitar’s steady exchanges.

“Greetings Cretins” keeps the rhythms flowing nicely, and you get some rapid-fire picking, glissando anyone? They take guitar players to school on this one. Some country-flavored notes are inserted along the way as well. They are experts at melding genres, and this is a shining example of that.

“The Outlaw’s Last Dance” takes us into another territory altogether with the thematic atmosphere of spaghetti western-tinged guitar lines, with a bit of Latin splashed in for more effect. And ah! Did I hear an organ! Briefly, but it was there—the longest track with a lushness and wordless background vocals towards the end.

“Midnight Macho Mambo” ends this musical merry-go-round with plenty of rhythm and twangy reverb-soaked lines and a steady bottom end. Slick guitars permeate this one, with the men hollering out the track title a few times. A great way to close out this album!

Monster a Go-Go is full of intense energy and blazing guitars with equally adept bass and drums for support. The Surf Zombies are back with vengeance!

Keith “MuzikMan” Hannaleck-Surf Music and Art Founder

December 10, 2025

Tracks:

01. Brain Rock 02:14

02. Dug Out 02:13

03. Punkin' Juice 02:53

04. Full Moon on Prom Night 02:42

05. Scream Soda 02:28

06. Bouncing Baby Bones 02:48

07. Wooly Willis 02:38

08. Gill-man Crashes the Party 02:27

09. King of the Sting 02:48

10. The T-Rex Twist 02:06

11. Greetins Cretins 02:25

12. The Outlaw's Last Dance 02:57

13. Midnight Macho Mambo 02:41

Surf Instrumental Holiday Review: Blue Wave Theory-Sleigh The Waves

 Release Date: December 20, 2024

Label: Independent

Website

New Jersey-based Blue Wave Theory released their Holiday Surf recording Sleigh The Waves on [December 20, 2024]. As the first anniversary approaches, this lively album invites listeners to feel the festive spirit and joy of the season.

Blue Wave Theory Are:

Bob Trimble - guitars, percussion

Chiemena Ukazim - bass, tenor sax

Rick Eddy - drums, percussion

Steve Rabeler – guitars

Although “Greensleeves” is not originally a Christmas song, it is a traditional English folk song about Love. However, it is famously associated with the Christmas carol "What Child Is This?", which uses its melody.

It sets the mood with a twangy, retro-reverb guitar, a steady, strong bass line, cymbals crashing, and drums pounding, with rapid fills. Then the guitar goes off on a sleigh ride of its own. In about 4 minutes, the six-string goes through several transitions, keeping it interesting and colorful.  This energetic surf-instro style blends holiday themes with a lively, instrumental sound that sets the tone for the festive season.

“Rudolph the Red-Nosed Reindeer” is recognized straight away, then goes in different melodic directions as the guitar plows new paths through the woods. The drums and bass are subtle but steadily keep the main time rhythm in place.

“Blue Christmas” begins with a phase-shifting drum, then jumps into strong leads backed by a simple second guitar. The saxophone’s arrival adds a nostalgic ’60s surf flavor, creating a warm, familiar feeling that invites listeners to embrace the holiday mood.

“Mele Kalikimaka” is a Hawaiian-themed Christmas song written in 1949 by R. Alex Anderson. It surely has an island-Hawaiian feel and sound. If you are accustomed to experiencing Christmas with palm trees and the sounds of ocean waves, this will connect with you. Then again, if not, it still is a catchy track done well!

“The Little Drummer Boy” starts in an unusual yet effective way, with heavy, rocking guitars. It’s a short burst of energy, then switches to the traditional melody. The second longest track stands out for its complexity, marked by transitions and tempo changes.  This is a superb rendition that also features a bottom end that is like rocket fuel for the guitar. I would gladly take a second helping of a track like this!

“Christmas (Baby Please Come Home)” begins softly, then kicks in with a big bass sound, as the drums are strong and consistent, as they have been right along. This is the kind of track that warms your soul. The guitar, as usual, is excellent, leading the way to send the message.

Echoing reverb gives it that surf instro feel without taking anything away from the original melody.

Now we back pedal to “Wild Turkey (A Thanksgiving Treat)” with all the trimmings. The bass and drums are strong but subtle enough to match the restrained guitar notes. Suddenly, a strange synth adds a spooky vibe as the guitar resumes its lead.  The drum beat, with no significant changes, is the basic one we have all become accustomed to hearing.

“Frosty the Snowman” stays with the traditional melody, then the guitar, as usual, takes off into another direction, adding some spice and honey to the track. The second guitar provides a good backing rhythm as the lead is clear and crisp.

“Sleigh Ride” starts with a The Ventures “Walk Don’t Run” rhythm, then quickly transitions to the melody we all know, then circles back again. Then, interesting enough, they go into Blue Öyster Cult’s “Don’t Fear The Reaper” briefly. This may be one of the more interesting versions of this song you will ever hear! This is the longest track at 4:37, but enough time for all those crazy transitions to bloom.

It all ends appropriately with “Auld Lang Syne.” Everything stays the course for the sake of this ringing in the new year song. Just under two minutes is the perfect curtain closer, and the addition of the sax gives it some extra holiday jazz tones.

Blue Wave Theory “slays” the music on Sleigh The Waves. With a mix of traditional Holiday melodies, surf instro, and unexpected twists, this album aims to inspire admiration and excitement among listeners.

Keith “MuzikMan” Hannaleck-Surf Music and Art Founder

December 6, 2025

Tracks:

01. Greensleeves 03:39

02. Rudolph the Red-Nosed Reindeer 03:38

03. Blue Christmas 02:18

04. Mele Kalikimaka 02:34

05. The Little Drummer Boy 04:29

06. Christmas (Baby Please Come Home) 02:59

07. Wild Turkey (A Thanksgiving Treat) 03:19

08. Frosty the Snowman 02:24

09. Sleigh Ride 04:37

10. Auld Lang Syne 01:56

Surf Rock Instrumental Review: The Aqua Barons-Back On Track With The Aqua Barons

Release Date: November 27, 2025

Label: Independent

Website

The Aqua Barons were formed in January 2010 in Lechaion, Corinth by the two brothers Petros & Philippos Sotiropoulos.

They are advertised as accurate to the first wave of surf instro, aiming to revive the authentic spirit of early surf music and resonate with fans longing for that classic sound.

As “A Shadow in the Mist” begins, you can substantiate that claim straight away. The ’60s vibe is apparent in the organ and guitar sounds. As the lead-off track plays, you feel like you’re going to be jumping into a time machine. The music is smooth as a soft wave hitting the shore. It’s a cool breeze on a hot summer day at the beach.

As “Kolobotsi A Go-Go” begins, the pace picks up; however, the guitars remain restrained in comparison to much of the surf rock I hear. The reason, of course, is their efforts to emulate the first wave of sound. The rhythms are catchy and effective, with the guitars placed for maximum emphasis.

“Fuzzlalum” changes the course here. Fuzz usually is more aggressive in this genre, and it gets a good workout from the band. After the first two tracks, they let you know that they can rock when they want to.

“Pagoto Kerashi” once again takes things in another direction. It has a bit of trepidation, like someone walking into a haunted house. The organ is the main instrument that creates that atmosphere. Then the lead guitar cuts loose on a nice run. As they rock out, they scale it back for more subtle, tasteful guitar notes, then close it out.

“Theme of Exodus” is the time to grab your horse and ride off into the sunset.  Based on the title, you may have your hint: they do their own Spaghetti Western version, adding some fuzztone, while the bass and drums lay down the beats—another excellent reach back to the first wave with superb execution and diversity weaving through.

“Daydreamer Blues” is their slow-burning surf instro waltz, if you will. Some nice reverb is featured as it resonates and echoes through the air. The added retro organ conjures images of the old SoCal ballrooms where the first surf groups played. This would be their one "get close" number before calling it a night.

“Barons on Wheels” jumps over to the surf hot rod genre. Again, we have a combination of subtle surf guitar and some fuzztone. I am enjoying this incredible mixture of styles and appreciate the talent involved in pulling it off properly, which they do, of course! It ends with the sound of the hot rod racing off.

In just under 2 minutes, “Surf Crusade” reaffirms their commitment to the 60s sound. The guitars scream their siren call to all surfers as the bass and drums are pounding away like a vicious wave that takes out an entire line of surfers.

“Tell Tale Guitar” Steps into a Latin-inflected sound. Their switching up of different styles is impressive. Here, they create an interesting mix of sounds. I heard that retro influences surf, rock, and some nasty fuzz tones, pushing it toward outright shredding to give it an edge. The guitars tell the tale!

“Land of the Great Ghoul” brings you into yet another scenery. The energy in their playing is infectious, as the drums’ tribal beats lead the way and the bass gets a few moments in the spotlight; the guitars cut in and do their own thing, with transitions that get your attention and keep it.

“Cove of Dreams” transports listeners to a sun-drenched surf scene, with a saxophone adding a nostalgic touch that evokes classic 60s surf culture and enhances the album’s retro flavor.

As “Lonely Siren” takes us out of this musical journey, you feel appreciative now that The Aqua Barons have revived the true spirit of the first wave of surf. At 1:08, it is the perfect outro as the sun sets.

Back On Track With The Aqua Barons showcases a variety of styles and sub-genres that keep each track fresh and engaging, making the album a compelling journey from start to finish.

Keith “MuzikMan” Hannaleck-Surf Music and Art Founder

November 30, 2025

The Aqua Barons are:

Petros Sotiropoulos: lead guitar, Fender bass VI, keys, tenor sax, vocals

Panagiotis Dimitroulas: rhythm guitar *

Aris Spanoudakis: bass, vocals

Konstantinos Bessas: drums, percussion

All tracks written by Petros Sotiropoulos except 7 and 10 by Aris Spanoudakis and 5 by Ernest Gold.

*Lead reverb guitar parts on track 10 by Panagiotis Dimitroulas.

Arranged and performed by the Aqua Barons.

Female vocals on “Cove of dreams” by Stavroula Sotiropoulou.

Tracks:

01. A Shadow in the Mist” 03:02

02. Kolobotsi A Go-Go02:13

03. Fuzzlalum 01:44

04. Pagoto Kerashi 02:38

05. Theme of Exodus 02:47

06. Daydreamer Blues 02:06

07. Barons on Wheels 02:15

08. Surf Crusade 01:56

09. Tell Tale Guitar 02:43

10. Land of the Great Ghoul 02:28

11. Cove of Dreams 03:22

12. Lonely Siren (outro) 01:08

Surf-Rock-Metal Instrumental Review: Phantom Lightkeeper-Shore Ghosts

Release Date: September 2, 2025

Label: Independent

Website

Shore Ghosts is the debut album from Phantom Lightkeeper, the new solo music project from Justin Beahm, who is best known for his documentary film work for Paramount Pictures, Shout! Factory, and Arrow Video. With Phantom Lightkeeper, he trades visual storytelling for a new experiment in instrumental surf, blending haunting atmospheres, fuzzed-out sludge, and cinematic soundscapes into the mix.

I felt intrigued and excited to listen to this album, Shore Ghosts. Out of the fourteen tracks, eight are under 2 minutes. Although this is not a takeaway, it’s a plus factor because Beahm makes his mark in these short periods of time.

“Red Tide” serves as an intro that runs for one minute and thirty-six seconds. So, the tide is in with a trad surf instro riff that hints at some vague blues around the fringes, at least that is what my ears heard. Then, fuzz tones conclude the sounds.

“Funeral At Sea” is dark, with some atmosphere and fuzzy tones, followed by meaty chords. Slightly echoing sounds are in the background, accompanied by a basic underlying riff with surf’s elemental brushings. It sounded like heavy metal at a slower speed, but with those surf notes interspersed—a good reminder of the seriousness of the subject matter for another lost sailor.

“Siren” features some trad surf instro in a heavier, murky mode. The sustain on the guitar resonates like a large bee buzzing. Some tones and colors create an atmosphere of the Old West (think spaghetti western), and then it finishes with the fuzz tone.

“Shore Ghosts” begins like Black Sabbath does surf. Man, this guy is one heavy dude! Things become atmospheric, then shift to a grungy feedback sound. However, he manages to incorporate it within a short timeframe while maintaining the eerie ambient sound in the background.

“Orchid” starts, then a voice comes on to say, “I kissed her as she lay there in the coffin, and her lips were cold.” Damn! Well, perfect timing with the Devil’s Holiday right around the corner. This is heavy metal surf with a hint of spookiness crawling right up your spine. Drums briefly announce themselves as the sound of howling winds close it out.

“Lost Island” brings back the trad surf instro; however, the heaviness of this music and subject matter consistently dominates. And as it should be based on the title of the album! Feedback and distortion give it an evil air once again.

“Lumbering Giant” begins with drums and bass pounding away with a staccato riff, wailing away, calling back to the rhythm section. Surf enthusiasts will appreciate this one but must be open-minded to the heaviness and concept of what this artist is conveying. The sound of the giant making some noise ends it, perfect.

“Sundance (For Link)” is a nod to one of the greats, Link Wray. And indeed, after hearing the previous tracks, you can listen to all the influences. Wray was probably one of the first guitar players to sound punk and grungy. And he nails it here with a real intense rocker, no surf, just a rockin’ instrumental with feedback and fuzz.

“Leviathan” is both heavy and melodic, with the rapid-fire surf instro riffing complemented by the drums and bass, which throw another knockout punch. Short and sweet but full of impact, per usual, keeping the audience engaged and captivated.

“Idyllwild” is atmospheric, featuring a wailing sound in the background—very traditional first-wave surf music with hard, fuzzy edges. Steady drums and bass are layered in nicely, but subdued at times, and other times just head-knockin’ hard. It’s a nostalgic journey for an audience, appreciating the traditional surf music with a modern twist

“Moonlight Strangler” marks a return to a more mellow sound for the first time. It catches you off guard, then, of course, it changes and gets heavier with the drums and bass, and then it backs off again. It keeps a surf/spy feel with the rapid picking. Surf instro purists will love this one!

“Nightdance” begins with a slower, mellow tempo and a soft, atmospheric background. Now, this is the longest-running track at 3:45, so you would anticipate several transitions. Not to disappoint, he goes off on a few higher-tempo guitar runs with surfy edges. The best of both worlds is offered here by this guitar maestro.

“Rain Catcher” begins with rain, of course, then straight into that trad reverberating surf instro guitar riffing. Again, he pulls out the stops with some fantastic staccato runs, then pulls back to the more mellow picking. All the while maintaining the surf instro sound and adding some smashing cymbals and drums for drama, the ending features the sound of rain.

“All Hallow’s Eve” is the perfect closer for this album. The wind blows and howls with the essence of evil all around it. Guitars begin with trepidation and softness, then watch out! It explodes into a wave of sound and metallic glory. Then, surfy riffs are added for extra measure to remind you of how he can switch back and forth at any time, sounding original and fresh.

The Phantom Lightkeeper (Justin Beahm) writes a book of mystery and horror with his music on Shore Ghosts. His unique blend of instrumental perfection, a mix of surf, metal, and atmospheric sounds, demands multiple listens to appreciate the scope and depth of what one musician can offer in one listen.

Keith “MuzikMan” Hannaleck-NAMR Review Founder

October 18, 2025

Tracks:

01. Red Tide 1:36

02. Funeral At Sea2:37

03. Siren 2:37

04. Shore Ghosts 3:09

05. Orchid 1:53

06. Lost Island 1:45

07. Lumbering Giant 1:55

08. Sundance (For Link) 1:52

09. Leviathan 1:29

10. Idyllwild 02:23

11. Moonlight Strangler 1:32

12. Nightdance 3:45 

13. Rain Catcher 1:45

14. All Hallow's Eve 2:36