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 Instrumental Review: Desert Undertones-En Regalia

Release Date: November 13, 2025

Label: Independent

Website

The Desert Undertones are back with their second full-length release, En Regalia.

“En regalia” refers to being adorned or dressed in elaborate or formal attire, often associated with ceremonial or royal contexts. The cover art vividly captures this concept, reinforcing the album’s theme and adding visual depth to its musical expression.

“Deadeye” kicks things off in a very retro-sounding way with pounding drums and bass. The rapid riffing and bottom-end rhythms serve the lead guitar well! The energy is excellent for leading off track.

“Taos Lightning” features tasteful lead guitar runs as the bass continues to build strength, and the drums are equal to the task. The rhythms are extraordinary, as the guitar lines weave through those layers, all under three minutes.

“Todos Santos” is a small coastal town in the foothills of Mexico’s Sierra de la Laguna Mountains, on the Pacific coast side of the Baja California Peninsula. So, as you may expect, the sounds are very surf instro, with a solid rhythm guitar and leads that pinpoint-accurately enunciate the word “Surf” in every way, without uttering a single word.

“Long March 7” is one of my favorites so far. The bass and drums evoke subtle locomotives (if you can picture that), creating a rhythmic foundation that complements the lead guitar’s resonant notes. The track’s warm tones and vibrant colors evoke a deep connection to surf instro, making it a standout that genuinely captures the genre’s essence.

“Shorebreak” gets more tasteful with the tempo kicked down a few notches. It reminded me of the tracks on their first full-length, The Sentinel. The music is like the glimmer and shimmer of the sun off the ocean waves, perfect and pure excellence.

“En Regalia” is your title track, immediately signaling its importance, and it does not disappoint. Opening with rapid drumbeats and cymbals, the guitar adopts a distinct Spanish influence, reminiscent of the excitement of a bullfight. The emotion and vibrant colors of the costumes come to life on the cover art, creating a lively instrumental dance. As the album’s centerpiece, it sets a high bar that’s hard to surpass.

A “Neap Tide” is a type of tide that occurs when the gravitational forces of the Moon and the Sun are at right angles to each other, resulting in the smallest difference between high and low tides. This typically happens during the first and third quarters of the Moon.

Here, they switch from the high energy of the previous track to a slower, methodical tempo. Tasty leads, superb rhythm guitar, and a finite rhythm section make this another musical exercise in instrumental rock excellence.

“Algeciras” comes from the Arabic name “Al-Jazīrah al-Khaḍrāʾ,” which means "The Green Island,” referring to the nearby Isla Verde. The name reflects the city’s historical roots and its significance during the Islamic conquest of the Iberian Peninsula. Also notable is Dylan Oldham’s nod to his favorite guitar player, Paco de Lucia!

Continuing with the softer approach, the drums are featured briefly as the guitar maintains its dominance. I like the fact that the production of this music allowed the other instruments to be heard clearly.

“Juana Maria,” better known to history as the Lone Woman of San Nicolas Island, was a Native Californian woman who was the last surviving member of her tribe, the Nicoleño.

The track has a distinct Spanish influence in its sound and colors, with fast drums and bass as the bottom end, fired off by the guitars, answered by some fine lines that accentuate all those tribal beats that have been driving it along—a perfect ending to a perfect album.

With En Regalia, the Desert Undertones music has matured and become more diverse. Their ability to rock, tone it down, and be tasteful is authentic to their sound and to whom they have become with a sophomore effort that will resonate with all surf instrumental rock fans.

Credits: Guitar: Dylan Oldham, Bass: Christopher Marshall, Drums and all Recording work: Curt Pleiss

Keith “MuzikMan” Hannaleck-Surf Music and Art Founder

November 26, 2025

Tracks:

1. Deadeye 02:32

2. Taos Lightning 02:44

3. Todos Santos 02:10

4. Long March 7 02:48

5. Shorebreak 02:26

6. En Regalia 03:56

7. Neap Tide 02:52

8. Algeciras 03:02

9. Juana Maria 03:12

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

Surf-Rock-Instrumental Review: Various Artists - An Evening in Nivram-A Tribute to The Shadows

Release Date: August 19, 2022

Label:  Musick Recordings

Website

Back in 2000, I had the pleasure of covering the original release of An Evening in Nivram-A Tribute to The Shadows. Now, twenty-two years later, a remastered version arrived, complete with newly recorded bonus tracks (although it's been 3 years since its release, it is worth revisiting).

The CD is available in a limited edition with autographs, and the digital version on Bandcamp includes six bonus tracks exclusive to the digital release. This brings the total number of tracks to 29. However, I received the CD version with 22 tracks to listen to and discover. This version includes the 11 bonus tracks that were recorded for the 2022 release.

Now, let’s delve into the bonus tracks I have yet to experience, sparking a sense of anticipation and excitement among us all!

“DANNY AMIS & TWIN TONES – FBI” is the first entry. It starts with a horn and some twangy country-inflected guitar lines. The sound effects are all created using instruments, such as a gun going off, etc. Even though it’s the FBI, it feels more like a spaghetti western track on steroids. It moves right along with energy and atmosphere.

“DRACULINA - JET BLACK” is a familiar tune, and I must say, they’ve done a commendable job in paying homage to the original release. The guitar, as always, takes the spotlight, executed with echoing, twangy reverb, and some superb bass and drums serving as the backbone. It’s a rendition that’s sure to be appreciated by fans of the original.

“THE BOSS MARTIANS - SCOTCH ON THE SOCKS / 36-24-36 (MEDLEY)” will be appreciated by all the rockers out there. The bass and drums kick in as the guitar starts screaming with a wah-wah effect. Some words are inserted like “Going down to see my baby,” with a gruff in the belly style. The guitar really takes off in this composition. This is instrumental rock, but it transitions to a surfier riff in the second half of the medley, with a brief burst of “Tequila” added for flavor. Yes, it cranks!

“THE SPACE COSSACKS - FIND ME A GOLDEN STREET” is the ultra-talented Ivan Pongracic. Get ready for some tasty guitar licks. Ivan was strongly influenced by The Shadows thanks to his father playing their music. And as they say, the rest is history, with all his contributions to the genre. This was played with love and respect for this music, and not to mention, done to perfection.

“HYPNOMEN – APACHE” does a great job on this all-time classic. It’s different, with some interesting sound effects courtesy of the guitar. The organ is very retro sounding, making it a perfect fit to accompany their own take on this. Lots of music packed into this one in under four minutes. There is an interesting step away, eventually sounding more blues-oriented and jamming. Very cool guitar licks to put the icing on the cake to finish it off.

“MARTIN CILIA – DIAMONDS” - Martin continues to impress with everything he produces. The sounds are retro with a twangy country sound, and each note reverberates wonderfully. Bass and drums are also key here. Excellent work.

THE MADEIRA - THE FRIGHTENED CITY brings back Ivan again with one of his fabulous bands. Their sound is full and explosive. Guitars are flying on this with different layers and tempos as the drums and bass do a great job of keeping this locomotive musical machine running at top speed. Wow!

“DRACULINA - THE STRANGER” continues to make its mark on surf, rock, and instro genres. The guitars rule once again. The leads are reverberating as the rhythm keeps a steady layer beneath. The drums and bass are strong and provide more than support or embellishment. They are a highlight just as much as the guitars. You will be reminded of the first wave, but with a more modern touch and production that is crisp and biting, yet musically potent, like waves hitting the beach. Superbly done!

“THE TROUBADOURS - THE LOST CITY” kicks right into high gear at the outset. The sound is retro and new at the same time. This is tasteful but rocking enough to turn your head. The drums are killer, pounding away as the bass lays down a solid line. Guitars and reverb!

“WAVE ELECTRIC - WALKIN'” is an Italian band I recently discovered thanks to Musick Recordings boss Art Bourasseau. This is surf rock at a fast gallop. Their energy is non-stop, so pay attention and follow the grooves. They get in the pocket with the bass and drums, as the guitar flies by like a bullet, and then they slow it down and do it tastefully as well. The many phases of their music are something to admire, as well as how they can pack it all into one track.

THE MARTINETS - DON’T MAKE MY BABY BLUE is a step away from everything I have heard until now. A straight-ahead, rocking guitar accompanies vocals. This takes a song and injects it with extra energy, featuring loud and proud guitar, drums, and bass. The vocals are also perfect for the music. If you love to rock, this is your track!

“INSECT SURFERS - THUNDERBIRDS THEME” is an instrumental gem. Dave Arnson and his band are one of the progenitors of the second wave. The combination of driving rock elements and surf is executed exceptionally well, with a lot of melody. Any track I have ever heard resonates with me. They are very original, and when you listen to them, it’s instant gratification.

An Evening in Nivram-A Tribute to The Shadows version two was more than just a fun listen. It was a thrilling experience. The remastering and addition of all the bonus tracks have truly elevated the album, further solidifying The Shadows’ legacy. I can’t help but wonder if this gem will eventually come out on vinyl. If it does, I have no doubt it will be a sell-out success.

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

October 12, 2025

Tracks:

01. THE SPACE COSSACKS - THE SAVAGE 02:11

02. DANNY AMIS & TWIN TONES - FBI (new bonus track) 02:31

03. DRACULINA - JET BLACK (new bonus track) 02:41

04. THE AQUA VELVETS - ATLANTIS 02:50

05. THE BOSS MARTIANS - SCOTCH ON THE SOCKS / 36-24-36 (MEDLEY) - (new bonus track) 04:35

06. THE SPACE COSSACKS - FIND ME A GOLDEN STREET (new bonus track) 02:48

07. HYPNOMEN - APACHE (new bonus track) 03:39

08. THE ALOHAS - EVENING COMES 02:46

09. MARTIN CILIA - DIAMONDS (new bonus track) 02:30

10. THE FATHOMS - MAN OF MYSTERY 02:54

11. THE MADEIRA - THE FRIGHTENED CITY (new bonus track) 02:09

12. DRACULINA - THE STRANGER (new bonus track) 03:53

13. THE TROUBADOURS - THE LOST CITY (new bonus track) 02:06

14. THE HUNTINGTON CADS - GONZALES 02:23

15. WAVE ELECTRIC - WALKIN' (new bonus track) 02:40

16. THE MARTINETS - DON'T MAKE MY BABY BLUE (new bonus track) 04:21

17. SATAN'S PILGRIMS - THE RISE AND FALL OF FLINGEL BUNT 02:47

18. THE TIKI TONES - TOMORROW'S CANCELLED 03:10

19. DAVIE ALLAN & THE ARROWS - TALES OF RAGGY TRAMLINE 02:50

20. TEISCO DEL REY - THEME FOR YOUNG LOVERS 02:36

21. INSECT SURFERS - THUNDERBIRDS THEME (new bonus track) 03:17

22. THE DEORAS - ZAMBESI 03:27

23. JIM MANKEY (CONCRETE BLONDE) - BACK HOME 04:24

24. LORDS OF ATLANTIS - MAROC 7 (exclusive digital only bonus track) 02:36

25. THE FALCONS - APACHE (exclusive digital only bonus track) 03:05

26. THE BOSS MARTIANS - DON'T IT MAKE YOU FEEL GOOD (exclusive digital only bonus track) 02:23

27. THE TRAVELERS OF TYME - MAROC 7 (exclusive digital only bonus track) 02:36

28. THE TROUBADOURS - THE LUTE NUMBER (exclusive digital only bonus track) 01:58

29. THE OMEGA MEN - MAIN THEME (exclusive digital only bonus track) 02:01

Surf Rock Instrumental Tracks: The Deathly Quiet-The Fly with 10,000 Eyes/Tail of the Black Cat

 Two more great and diverse tracks from The Deathly Quiet!

Surf Instro Reviews: Matt Hurray -‘Nofre Nuggets

Release Date: August 12, 2020

Label:  Independent

Website 

From the tender age of 15, Matt Hurray has been honing his skills as a guitarist, a testament to his unwavering dedication to his craft. Hailing from Balboa Island, CA, Hurray draws his musical inspiration from the vibrant surf scene that once ruled the beaches of Southern California in the late 1950s and 1960s.

That is an intro that should give you an idea of what kind of music you are in for with Matt. Since I took that right off the man’s site, I figure that was a good place to start. ‘Nofre Nuggets', released over 5 years ago, is a collection of tracks that continue to admire and reinvigorate the first wave of surf instro.

Discovering surf instro music, regardless of when it was released, is what I enjoy. And then, getting the word out is also essential. And you must love the guys from SoCal, so in tune (no pun intended) with the culture and music of surfing. Based on what I’ve heard on this album, this man seems to have it together.

Covering classic surf instrumental tracks as a personal tribute involves some risks.  You must be outstanding to do it well. Matt did a fine job taking all these tracks and injecting his own energy and sound. I found it all refreshing, and the production is top-notch.

With a generous dose of reverb, melodicism, and a clever mix of acoustic and electric guitar, 'Nofre Nuggets' takes a bold step forward. The volume is cranked up, giving many tracks a modern, robust sound that’s sure to pique your interest.

More than just a nostalgic trip, 'Nofre Nuggets is a gateway to the world of surf music for newcomers. It’s a fresh take on surf lore, inviting you to explore where it all began and how artists like Matt Hurray found their inspiration.

Keith “MuzikMan” Hannaleck-NAMR Review Founder

October 8, 2025

Tracks:

01. Pipeline 3:05

02. Mr. Moto 2:24

03. Theme From "The Endless Summer" 3:38

04. The Rising Surf

05. Perfidia 2:14

06. El Conquistador 1:48

07. Apache 3:31

08. 7th Street (2020) 3:37

09. Penetration 2:22

10. Wipe Out! 2:55

11. Telstar 2:56

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