Surf Rock Instrumental Review: The Raygun Terror Hermits-Attack Of The Raygun Terror Hermits

Release Date: February 6, 2026

Label: Sharawaji Records

Website

How does a group of musicians come up with a name like The Raygun Terror Hermits? Well, they take two bands, The Terrorsurfs and My Dusty Raygun, and merge them. Of course, you knew that, right? If you’re a diehard surf instro fan, you probably got it straight away. If not, well, sit back and have a listen—then you might understand.

The Raygun Terror Hermits’ “Helldiver” explodes out of your speakers, and you know this band has arrived! The lead guitar speaks loudly with surf tones and stinging notes that linger. The drums and bass rumble along at tremendous speed. This is a powerful track with all the elements of surf and rock one could possibly ask for. Five minutes and eleven seconds of high-octane, rockin’ surf instro is a great way to kickstart this recording.

“The Terrorsurfs - Hoo Hah! (The Unresolved)” jumps as the bands take off on their own. This is a solid transition away from the previous track. The bottom end continues to roll on like a train ready to fly right off the tracks. The guitars do their thing with plenty of twang and reverb as they holler “Hoo-Hah!” In your mind, you are picturing an old TV series like Wagon Train or The Wild Wild West to begin. The fun thing about this music is its ability to transport you back in time, and this one certainly does!

“My Dusty Raygun - He Just Wanted His Machete Back” brings another entirely different slant to your ears. First off, you must love the title. Then, as the music kicks in, you are still impressed by that cranking bottom end—man, they just rock! The guitar’s sound has quite the machine to ride on as lick after lick is peeled off. This one feels like a straight-ahead rocker with a track title to match. There was no question in my mind that these bands could rock—it just sounds better with a little roughness around the edges for some flavor.

“The Surf Hermits - Dance Of The Tentacle” at the beginning reminded me of some early Mermen cuts, with echoing guitars and a certain psych edge. The guitar effects are more restrained compared to the previous tracks. That is not a drawback; it is a great track!

“My Dusty Raygun - $400 In Oysters” comes back at you on fire again. This raygun is not dusty! Some really cool six-string licks come into play before they launch into a full-force rocker, then pull back into the surfy mode, and then return to rocking. It’s rinsing and repeating, with a lot of salt water to keep those oysters moist.

“The Terrorsurfs - Swamp Planet” charges into some surf-spy intrigue. Then the sounds get weird with some organ effects—now it feels like The Creature from the Black Lagoon is going to come creeping out of the water any second. It’s atmospheric and spooky, with well-placed guitar transitions as the backend serves as the engine pushing it to a climax.

“The Surf Hermits - The Sten Is Mightier Than The Sword” winds things up with a last blast of energy and guitar-driven excellence. The wah-wah pedal does its thing with great effect. This ends up being one of my favorites, with crisp leads cutting through the air. It’s a quick but impressive last journey to show off their ability to crank up the volume with workmanlike skill.

Listeners who like a mix of surf, rock, and psych will really enjoy these tracks. Attack Of The Raygun Terror Hermits is a great listen, and the use of the word “attack” comes through loud and clear in the music.

The Terrorsurfs:

BAMALAM - feral bass

Reverend Tonto - twang

King Fuzzo - drum beast

 

My Dusty Raygun :

Frank Rangone - guitar

Devon Lambert - bass

Jared Brathwaite - synth

Jason Deathray - drums

Rodd Raygun - theremin

 

The Surf Hermits:

Jason Deatherage - Drums, Bass, Lead and Rhythm Guitars

Cover Art - Joe Yod, Rude Commissions

Keith “MuzikMan” Hannaleck-Surf Music and Art Founder

February 27, 2026

Tracks:

1. The Raygun Terror Hermits-Helldiver 5:11

2. The Terrorsurfs - Hoo Hah! (The Unresolved) 2:21

3. My Dusty Raygun - He Just Wanted His Machete Back 3:43

4. The Surf Hermits - Dance Of The Tentacle 3:29

5. My Dusty Raygun - $400 In Oysters 2:25

6. The Terrorsurfs - Swamp Planet 3:57

7. The Surf Hermits - The Sten Is Mightier Than The Sword 2:46

Surf Rock Instrumental Review: Langhorns- Showstopper

 Release Date: May 16, 2024

Label: Independent

Website

Since 1998, the Langhorns have released only a handful of recordings, but each one makes an impact. When they resurface, the music world takes notice. Showstopper was their 2024 full-length release.

The band originally started as a duo but quickly evolved into a tight-knit trio (often augmented by horns or organ):

Michael Sellers (Guitar): The band’s leader and primary songwriter, formerly of the Swedish rock band The Sinners.

Martin Berglund (Bass): Co-founder who provides the driving low-end.

Rikard Swärdh (Drums): Joined shortly after the initial sessions to complete the core sound.

Erik Wesser (Organ): A frequent contributor to their studio recordings and live shows.

“Showstopper” gets things rolling. As expected, some high energy and great rhythm kicked in without hesitation. There is constant strumming for a strong bottom layer as the lead guitar goes into twang mode at variable tempos. Three-quarters in, it comes to a very mellow interlude with not much going on, then it explodes back into the original high energy.

“Dr Münster, I Presume?” takes on a different atmosphere, but you knew it would once you looked at the title. It carries a retro sound that would have fit well into The Munsters TV series. Great rhythms from the bass and drums, then an organ comes in for the icing on the cake. I am sure Fred Gwynne is smiling in heaven after hearing this tribute.

“In An Oriental Mood” has an air of mystery courtesy of the organ, the drums, and the bass, and it is very strong here. The guitar’s resonant tone is just right. It creates many cinematic visions with changing directions. One moment it sounds Middle Eastern and the next parts spaghetti western, then back to mysterious organ. Talk about touching upon several sub-genres in one song? Yes, indeed they do!

“The Snoozer” goes in yet another direction with a piano that sounds like a soundtrack to a 50s spy movie. The guitar is beautifully done with some tasteful licks interspersed with the keys. Think of a smoke-filled room, then the beautiful nightclub singer walks out and starts singing, you are mesmerized, transfixed by the image in front of you. Jazzy and surfy all wrapped into one package.

“Project Grudge” reactivates their bouncy surf instro swagger. There is that great retro sound, complete with the grinding organ and twangy notes, morphing into a heavier fuzz tone. Just under two minutes gives you a look at their heavier side.

“Bad Karma” starts with the sound of creaking boards on a ship, and that organ to match comes in, leading you somewhere. This one is a slow burner, with a gradual build in the instrumentation; it leaves you hanging, wondering what will happen next, and that’s the point! This is a world away from the last track, which exhibits once again how diverse and talented this band is. Guitars punctuate the atmosphere with different layers. It fades out with the creaking boards from the lost ghost ship.

“Stoked” is a word that says it all for surfers in Southern California. I think it still does. The course’s energy level shifts dramatically from the prior track. This is why the Langhorns are one of the best in the world at what they do. This is a classic surf rocker!

“Stagger” emulates that world perfectly with a slow, drudging guitar, then shifts to a higher-end tone, and then shifts yet again to piercing notes as the drums and bass hold down the bottom end. The organ is very retro (think The Munsters again).

“The Sweet Farewell” takes you on a smoother route to some island sun and surf. It’s the guitars’ echoing notes that start off getting you there, then the organ adds its ambiance for further scenery. The bass and drums are kept restrained, highlighting the guitar’s passages and transitions. This is the moody atmospheric Langhorns.

“The Standoff” is spaghetti western time as the drums and bass provide the horses’ gallop as our hero rides off into another adventure. Crashing cymbals and organ notes add an air of the unknown. The guitar is superlative, taking many twists and turns. Excellent! (utmärkt!). Notable the drums are making a statement here as well.

“The Hog” is twangy and colorful. It has a laid-back feel, and the guitar has all the characteristics of a ’60s romp in the sun with surfboard in hand. The first wave of influence is strong here, and they are spot on. The organ is key again in making their sound luminous and original.

Leaving the longest track for the finale is perfect. “White Widow” runs 4:34. The sound features a surf background as one layer, with the guitar sounding a bit grungy at first, then reverting to a more rocking sound. The organ enters forcefully, and the volume rises at all stations, culminating in a powerful climax of sound and color. They decide to end this instrumental recording with a flourish, and they do so convincingly.

The Langhorns shift effortlessly between styles on Showstopper, making each track a surprise. Their diversity is their strength, ensuring listeners are never lulled by repetition—every song stands on its own. That’s the hallmark of true musicianship.

Keith “MuzikMan” Hannaleck-Surf Music and Art Founder

February 24, 2026

Tracks:

01. Showstopper 3:00

02. Dr Münster, I Presume? 3:07

03. In An Oriental Mood 3:05

04. The Snoozer 3:21

05. Project Grudge 1:55

06. Bad Karma 5:36

07. Stoked 2:22

08. Stagger 2:38

09. The Sweet Farewell 2:26

10. The Standoff 3:22

11. The Hog 2:29

12. White Widow 4:34

Surf Rock Instrumental Review: Del Sotos-Self Titled

 Release Date: November 12, 2021

Label: Altered State of Reverb

Website

Del Sotos are an instrumental surf rock band from Moscow, Russia. They’ve been active since 2011, playing classic-style surf music with reverb-heavy guitars, twangy tones, and a fun, retro vibe inspired by 1960s surf rock (think Dick Dale or The Ventures, but with their own Russian twists).

The band is led by guitarist Roman Sokolov, who reached out to me to share this self-titled release.

The internet makes the world smaller, and this is a perfect example of that! To hear from a band so far away is always such a welcome treat.

“Sweet Girls of St. Petersburg” gets the party started. Right away, I recognized the excellent separation of instruments, allowing listeners to hear the entire band and each instrument individually. I have always appreciated strong production values like that because I listen that way all the time; it helps me appreciate all positions in a band. A great opener with good energy and flair for the retro surf instro sound!

“Reverboard” is their fast mover, coming in just under two minutes. After reading what they were about, I have to say the description is spot on. They are inspired by the progenitors of the genre, like Dale and The Ventures, and this track is a shining example of that sound.

“Yessentuki Number 17 (Sparkling Water)” starts off with, you guessed it, a glass of water being poured (nope, not a wave this time!). Continuing their consistent approach, you will again notice how each instrument stands out with a clear, crisp sound. Cymbals are crashing on this one (a large glass of water?). This is a real mover and a look back at the roots of this music. Their focus is intended to be that way, and they do it all very well.

“Gift Gun” transitions to a different sound with strummed guitar, then the lead comes in with a spaghetti western color and atmosphere. Then they increase the tempo, and it becomes more complex. This is one of my favorites. I loved the scenario they created.

“Moscow River Coast” uses diverse guitar techniques and effective tremolo and reverb. Here, they sound like a modern band, taking bits and pieces of yesteryear and adding their own stamp, creating a real rocker. Loved the non-stop energy as the guitar weaves in and out, and the bass and drums follow beautifully.

“Music for Lap Dancers” is a title you wouldn’t expect on a surf instro album, yet it still carries elements of the genre. I would refer to it as more of a rock instrumental, though. Good work for a nice change in flow.

“Late” is the longest stretch on the album at 3:31. Once again, they change the tempo and in and out of transitions over to some quick picking in between and around the edges. This is very atmospheric, with a surfy edge. Very tasteful guitar notes with measured bottom end.

“Salt Waves” brings the energy level back up to their core retro sound. It’s like saying “The last one was for relaxing and watching the waves,” but this one will make you want to go buy a vintage surf record from one of the ’60s bands! Great guitar work, as you have come to expect on every track.

“Moon Lover” cranks up the energy level another notch, especially with the drums and bass, and then the Hammond organ arrives in all its glory. That sound is always so distinct, adding another element that changes any song. This is the prime mover so far!

“Step to Me” carries a great deal of rhythm and excellent guitar work, with variable tones and an exceptional foundation from the bass and drums. It’s a real toe-tapper, which many of these tracks are. The mood is bright, and the musicianship is spot on.

“Surfing Аround Fort Boyard” gets a little heavier with some superb tremolo work. This is a great way to close out this recording with some high, colorful energy. The power of the music is on display, and their sound is amazing and so addictive!

The Del Sotos release may be celebrating their fifth year in 2026, but what truly matters is how their music transcends time. I felt like I had one foot in the past and one in the present day, which isn’t easily achieved.

Each track combines a dynamic feel with a nod to classic surf rock.  Their musicianship—brilliant guitar lines, powerhouse bass, and forceful drums—sets a new standard for what current surf instro can achieve. This album doesn’t just revisit the genre’s roots; it reinvents them, proving Del Sotos are a force that can’t be ignored.

Credits:

All music & arrangements by Del Sotos, except 11: music by Paul Koulak, arrangement by Del Sotos

Roman Sokolov - guitar

Dmitry Andreev - bass guitar

Nick Radchenkov - drums

Alexey Blohin - Hammond organ (9)

Keith “MuzikMan” Hannaleck-Surf Music and Art Founder

February 15, 2026

Tracks:

01. Sweet Girls of St. Petersburg 2:28

02. Reverboard 1:57

03. Yessentuki Number 17 (Sparkling Water) 2:00

04. Gift Gun 2:15

05. Moscow River Coast 2:53

06. Music for Lap Dancers 2:02

07. Late 3:31

08. Salt Waves 2:51

09. Moon Lover 2:53

10. Step to Me 2:48

11. Surfing Аround Fort Boyard 2:34

Surf Rock Instrumental Review: Intóxicos-End Times

 Release Date: August 20, 2019

Label: Independent

Website 

It’s time to jump back into the music time machine with Intóxicos and their 2019 release End Times.

I think the premise of this album is to send a message about how the “end times” are right around the corner because of all the subject matter in the track titles. In some cases, their music may not reflect the seriousness of the subject matter.

“Disaster” gets things rolling on this serious topic. Being that surf instro music is so much fun, I was not sure how this would sound. I can say right from the start, I never heard disaster sound so good!

“Poison Wave” has a great melodic riff and a 60s-swinging swagger. Excellent transitions featuring standout musicianship create the right atmosphere.

“Pacific Trash Vortex” has a lot going on and many changes throughout. Toe-tapping rhythms, with exceptional bass and drums backing the twangy with reverberating tones flying off the guitar, answer the call of the oceans.

“Last Refugees” has an island feel to it, and the guitars’ flourishes get you sitting under a palm tree on the beach, sipping that tropical drink as the sun bounces off the waves and surfboards. The sounds are hypnotic. Suddenly, it changes dramatically to a reggae beat, sounding like an entirely different track. It’s a brief burst, then back to the piercing guitar lines to finish.

“Invasion pt. 2” jumps right into a sci-fi movie. The music’s pace is significantly faster on this track. And because of that, it’s like imagining running away from the invaders. Weird emanations come from your speakers as the band sweeps you away once again into their world.

“Paradise Simulation” is something they excel at in their music. That is the idea of any good music: creating a scenario in your mind’s eye, a feeling of being there in an imaginary world. The bass and drums are superb once again as the six-string’s transitory nature unfolds.

“Keep Out” is a warning, but do we really want that? This music is so good! The tremolo sounds are strong here. This one really takes off, giving you a slice of their own trademark traditional surf instrumental sound. Very well done!

“Nuclear Alarm” begins with just that, the sound of an oncoming raid. That is something we never want to hear, and I think that’s the point. The tempo indicates a bit of chaos, then there is a big change about three-quarters in, with the tempo slowing down and some very nice guitar lines, then it finishes with a bang, no pun intended!

“Cyberattack” continues at a frenetic pace, like the quickness and purpose of such an attack; it’s decisive and damaging. There are a few points where they slow down, but they end on a high note.

“End Times” begins in a different territory, creating a somber tone and palette. The use of the organ is essential here as the guitar slows things down so you can absorb what this all means. The guitar sounds like bluesy surf, once again making sure it matches the tracks’ implications. Freaky synths enter the atmosphere, and the grand finale is that mushroom cloud entering the sky with a sonic boom. It is the longest track at 3:50 and one of the best.

End Times is a sonically tasty achievement by Intóxicos, proving that surf instrumental music can tackle weighty themes without sacrificing its raw energy and melodic joy. By weaving apocalyptic subject matter through reverb-drenched guitars and driving rhythms, they’ve expanded what the genre can express—showing that twang and tremolo can carry messages as urgent as any lyrics.

This album doesn’t just paint pictures; it redefines the canvas of what surf instro can be.

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

February 11, 2026

Tracks:

01. Disaster 2:28

02. Poison Wave 2:14

03. Pacific Trash Vortex 3:13

04. Last Refugees 3:25

05. Invasion pt. 2 2:17

06. Paradise Simulation 2:36

07. Keep Out 2:30

08. Nuclear Alarm 2:15

09. Cyberattack 2:13

10. End Times 3:50

Surf Instrumental Review: The Terra Surfers-Mountain Waves

 Release Date: December 9, 2025

Label: Independent

Website

The Terra Surfers conquer nature with their debut EP, Mountain Waves. They are no stranger to the elements, hailing from Colorado Springs.

The cover art is an absolute depiction of surfing mountain style, combining it with their own picturesque view of their surroundings.

Getting you “Nerved Up” sets the mood with some decidedly twangy country-inflected guitar, then switches to a more traditional reverb-inflected surf sound. The bass and drums keep things on track, providing a tight foundation for those beautiful notes to drop. Starting off with a compact, energy-filled rocker was the perfect choice for this 4-track EP.

“Haboob” changes course, and you get the feeling from the track title that you are about to change locations. Suddenly, you are transported to a desert destination thousands of miles away, somewhere in the Middle East. That atmosphere grabs hold of you quickly as you start reminiscing about how the King of Surf Guitar, Dick Dale, sounded at his powerful best. The ebb and flow of the music is fantastic and cinematic. A great track with excellent musicianship from start to finish.

“Solar Vortex” takes you into yet another world as you launch into the mysteries of space and time. This is a sci-fi thriller kind of track. All the traditions of this great music are brought to bear with some fine tremolo from the six-string.  A fast mover with some intense playing at all positions. Tight musicians come together for another power-packed punch of surf instro with a science fiction motif.

“Under the Weather” clocks in over four minutes, and it will take you to another world just as all the previous tracks did. This is a slow burn in progress, as the instrumentation showcases these excellent musicians, highlighting their talents and crafting a rock instrumental classic with elegance and measured timing. This is the most atmospheric and dreamy track to close out this very impressive debut.

The Terra Surfers have crafted something rare with Mountain Waves: four distinct journeys that traverse the full spectrum of surf instrumental expression. To conjure vivid imagery through pure instrumentation demands both vision and restraint—qualities this Colorado Springs trio delivers with remarkable economy and precision. This is a debut that doesn’t just promise potential; it announces arrival.

Credits:

Shawn Gavan - Lead Guitar / Primary Songwriter / Producer.  (formally of the Michigan based surf/spaghetti western band "Guitar UP!")

Emily Gould - Drums (https://www.facebook.com/emilygoulddrumming/)

Bret Major - Bass (https://www.youtube.com/@bretsbassment)

Mark Utz - Rhythm and Lead Guitar / Songwriter

Keith “MuzikMan” Hannaleck-Surf Music and Art

February 1, 2026

 Tracks:

1. Nerved Up 2:32

2. Haboob 3:07

3. Solar Vortex 2:52

4. Under the Weather 4:05

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 Rock Instrumental Review: The Tourmaliners-Live & Alive

 Release Date: November 15, 2024

Label: Pacific Records

Website

The Tourmaliners hail from San Diego, where the weather is warm, and there are many beaches that surfers can enjoy. Being from that area instills a sense of history in their music, which is rooted in classic surf and rock instrumental sounds influenced by bands like The Ventures and The Shadows. You will hear that demonstrated in Live & Alive.

The Tourmaliners Are:

Deven Berryhill - Guitar

Joe Dameron- Guitar

Matt Clowminzer - Bass

John MacElwee- Drums

Live & Alive, recorded live at Tio Leo’s Lounge in San Diego, CA, on July 16, 2024, is my first experience with this band, so it should prove to be a gratifying listen. The atmosphere was vibrant, with an energetic crowd that responded enthusiastically to the surf instrumental sounds, making the live experience even more compelling. Surf instrumental music played live is exciting and explosive. This recording captures the band’s energy in their hometown, providing a clear overview of material from all their recordings.

“Espania” starts the performance. Colorful expressions influenced by Spain fill the air. The guitars provide smooth lines, along with the glissando playing so well known in the surf genre. The bass and drums are massive, but do not drown out the lead guitar; it all blends very well. Over four minutes of vintage surf instro that any fan of the genre will appreciate! A great way to kick things off.

“Point Break” serves as surf reference, and as one would suspect, it’s pure surf instro from start to finish. The music is transitory, just like the surfer’s ride on the waves. The energy is tremendous with another powerful showing from the bass and drums setting the beat for the guitars to ride over. It lives up to its name.

“Coyote” starts with a slower tempo and atmospheric echoing notes that resonate through the air. Your mind wanders into a scenery where the coyote may roam; in this case, I envisioned a spaghetti western movie soundtrack in the desert, like one of the classics with Clint Eastwood. The drums and bass make the necessary adjustments for the definitive tempo and fills. Wordless vocals are added to give it a more realistic big movie screen feel. At 5:13, it is the second longest composition, and every moment is excellent!

“Swanky” gets heavy with fat bass lines and pounding drum sequences, and as the guitar arrives, it matches that intensity with a harder rocking edge than previous tracks. The second guitar is complementary with more subdued lines to balance things out. This track is not only swanky, but it also has some swagger and shows off the powerful chops this band can command.

“Con Permiso” translates to “excuse me.” This is where the band’s twang and reverb are highlighted once again, as the bottom end’s strength provides a solid foundation for everything else the guitars do. About halfway through, you hear some tasteful guitar licks, and the wordless background vocals lend the cinematic atmosphere once more. This shows strong Latin influence, with rapid fingerwork.

“Glasshouse” takes things in a different direction with a nice rhythm guitar and a clear hook that pulls you in right away. The lead guitar explores new territories, showcasing its versatility. While the surf influence is held, there are elements of rock and island sounds that give that feeling of being under a hot sun on a clear day as you watch the tide roll. The bass and drums perfectly pay respect to the genre. Smooth as silk and tastefully done makes it one of my favorites. The 5:39 track is the longest and effectively highlights their varied skills.

“Loco-Moco“ is very retro, reaching back to the first wave of surf, particularly with the guitars. This one is a real moving dance number, with a consistent beat and a rising tempo, from high to low, then back up again. If I were standing in a crowd at this concert listening to this number, my head would never stop bobbing.

“Voyage To Mars” continues the retro sound’s flow. I was brought back to when I first discovered surf instro and instrumental rock, listening to The Ventures and The Shadows. It was like imagining Nokie Edwards and Hank Marvin exchanging licks on stage.

“Surfidia” is their slow burner with a 50s resonant sound like “Sleepwalk.” Classic reverb twang with the waltz-like drums and bass setting the tone for those beautiful guitars to take flight. Tastefully done!

“Tiki Woodbridge” brings you back to the island surf setting. A medium tempo and well-placed guitar lines with a steady bass and drums bring you there instantly. The second guitar is just as essential in making this composition complete, each complementing the other nicely.

“Picante!” returns to the more traditional surf instro spaghetti western sound, with a Latin flair and color. The feeling of that cinematic front row seat to the Western comes to mind again easily. The dueling guitars answer the call as the bass and drums lay down a steady rhythm, and the guitars smoothly cross over the top. It eventually reaches a crescendo, then the tempo drops back down again.

“Grimace” closes out this fantastic set. They don’t hold back, and it starts with frenetic energy as the bass and drums are big again, as the guitar rips through with authority. Razor-sharp guitar lines punctuate the air as the pure power of this band is on display to leave a lasting reminder of just how good they are. This is a killer rocker!

Live & Alive is a superb live recording featuring the many facets of surf instrumental music. The players are spot-on, bring their “A” game, and give the audience a complete course on what surf and instrumental music can be and should be in a live setting.

Keith “MuzikMan” Hannaleck-NAMR Review Founder

December 2, 2025

Tracks:

01. Espania (Live)  04:07 

02. Point Break (Live) 03:32

03. Coyote (Live) 05:13

04. Swanky (Live) 03:08

05. Con Permiso (Live) 03:58

06. Glasshouse (Live) 05:38

07. Loco-Moco (Live) 03:05

08. Voyage To Mars (Live) 02:58

09. Surfidia (Live) 05:15

10. Tiki Woodbridge (Live) 02:44

11. Picante! (Live) 04:07

12. Grimace (Live) 03:44

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 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