Surf Rock Instrumental Review: The Surf Hermits - Road Trip

 Release Date: August 4, 2023

Label: Independent

Website

The Surf Hermits is the one-man show of multi-instrumentalist Jason Deathrage. A one-man band is not new currently; however, the admiration I have for someone of this caliber never wanes for this listener.

Road Trip is written, produced, and performed by Jason Deatherage.

Things start with “Ursa Major” and resonating twang and driving rhythms that get your blood pumping right at the outset of this 12-track slice of surf rock instrumental. Punctuated by fluid, piercing lead guitar runs, then ending with some cool wah-wah effects, this track has everything that makes surf rock so great!

“Red Dust Rider” is that crazy looking dude on the cover of this album. The colorful artwork by Rude Commissions pops with urgency. The guitar playing is transitional, switching from surfy twang to flat-out rock lines. The combination is lethal and so effective.  Again, you get some wah-wah effects, then a quick switch back to more fuzzy surf lines. All the while, a second rhythm guitar keeps the energy consistent along with the drums and bass.

“Towards An Empty Land” opens with atmospheric guitar notes that build the composition. Wordless vocals arrive, adding another layer and making it sound like a worthy movie soundtrack. I really like the tone of this man’s guitar and the way he can transition so easily within one song. Tastefully done while maintaining a rock edge.

“When Waves Collide” is classic modern surf. An irresistible toe-tapping rhythm permeates this one. It reminded me of some of my favorite Merrell Fankhauser tracks, with that island/surf feel. I could listen to this kind of music for hours, love it! Excellent guitar work.

“Mountains Of Madness” continues along the same lines, however, with a darker edge to it. The bass and drums are the steering wheel, while the guitars are the accelerator. The sounds are full and twangy, resonating surf rock at its best. The effects come in towards the end with the wah-wah, which always adds another dimension to the overall sound.  It winds things up with a hard-driving finality.

Now it’s time to take a “Road Trip.” The title track should be the most important one to focus on for its effects on the listener’s consciousness. The guitar playing on this track is superb! Full of effects with the leads and some good rhythm backing from the second guitar and bottom end, this is one of the most complete compositions that will resonate with the surf instro audience.

“Dr. Zira's Velvety Lips” is an interesting title. This one has a retro sound, with all the guitar notes. It does get a bit more complex as it transitions; however, it then retreats to the original lines. Think of the first wave of surf with a modern touch and some rock elements woven in for color and energy. Interesting way to end it as well.

“The Faces Of Our Fathers” is a slow-burner with silky-smooth lead guitar and strummed acoustic backing. The drums and bass perfectly complement this step away from the energetic rockers. This is the tasteful island vibe I absolutely love to hear. A great example of diversity and all-around talent on display.

“Yugen” is the longest track, clocking in at 4:38. This one takes another turn in sound and texture. The strumming guitar provides a constant rhythm as the leads take on a different tone this time. The drums and bass build along the way as the lead has that surfy twang that holds on to you without fail again. Then there are some different guitar transitions we have not heard yet. The time spent is needed, given all the different tempos and changes. Three-quarters of the way in, it morphs into an all-out surf rocker that reminded me of something The Space Cossacks would do. So good!

“Night Flight To R'lyeh” has a notable driving bass line as the guitar moves in and out of changes. The tone here carries a certain amount of mystery, as indicated by the track title. It’s all about creating an atmosphere. On the one hand, there is the surf instro with a Middle Eastern influence, then flat-out psych rock. Very complex.

“Mission To The Dreamworld” speeds things up again with a lot of quick licks and driving rhythms. The echoing guitar lines are the trademark of The Surf Hermits sound, and here is a great example of that, regardless of what direction the guitar goes. Three-quarters of the way into this, there is a dramatic change, and it goes into full-on rock mode.

“Speaking With Ghosts” is the closing track and the only one under the three-minute mark.  This serves as a goodbye for now and a reminder of the resonant surf tones that this music commands at every turn. The drums and bass complete their fills, finishing off the spooky motif nicely.

Road Trip stands as a testament to Jason Deathrage’s musical vision and skill. The seamless blend of surf and rock elements keeps the listener engaged throughout, offering both energy and nuance with every track. Fans of instrumental surf—and anyone seeking a fresh take on the genre—will find plenty to enjoy in this dynamic, expertly crafted album.

Keith “MuzikMan” Hannaleck-Surf Music and Art Founder

March 31, 2026

Tracks:

01. Ursa Major 3:05

02. Red Dust Rider 3:44

03. Towards An Empty Land 3:32

04. When Waves Collide 3:20

05. Mountains Of Madness 3:01

06. Road Trip 3:08

07. Dr. Zira's Velvety Lips 3:12

08. The Faces Of Our Fathers 3:22

09. Yugen 4:38

10. Night Flight To R'lyeh 3:33

11. Mission To The Dreamworld 3:17

12. Speaking With Ghosts 2:32

Surf Rock Instrumental Review: Various Artists-Deep Eddy Records New Music Sampler 2026

 Release Date: February 24, 2026

Label: Deep Eddy Records

Website

Ted James’ label, Deep Eddy Records, has put together a 10-track sampler for surf instrumental fans. It also features his bands, The Nematoads and Squid Vicious.

The KBK kicks it off with a real rocker titled “75878986-26 (Initialize Transmission).” This is a powerful blast of rock to get the blood and waves flowing. Man or Astroman? came to mind a few times, with the background dialogue going on and the way the guitars combined surf and rock elements so impressively.

RAHMUS – “October's Theme” continues the high-energy surf rock.  This one has a different tone and atmosphere with some good echoing reverb. It’s an in-your-face rocker that says Listen! And you will. Tight and musically superb!

The Neptones – “Bikini Atoll” changes direction entirely, taking on a more thematic, western-flavored surf-rock flavor. Then it shifts into a more traditional surf sound, with twangy notes. Solid sounds that create an atmosphere of the first wave, with newer technologies woven in for effect. Very cool.

The Nematoads – “Abdel Jafar, Middle Eastern Spy” flips the script in another direction. After all, this is a sampler of different styles and sub-genres of surf instro. The guitar lures you into another world with a Middle Eastern motif of mystery. This is not your typical two-minute drive; it’s five minutes and four seconds full of complexities and guitar fireworks. The layers of instrumentation keep you captivated from start to finish. This is the best of surf and rock combined.

“Squid Vicious - Ink Jet” is a rhythm-filled, twangy, fast mover with some organ fills here and there. The tremolo parts are very good, and the drums and bass thrive in this environment. Impressive with no filler.

The KBK – “Dare Not Speak Its Name”  is a superb surf rocker that moves at tremendous speed, with tempo changes that highlight its diversity and strength. This is the kind of track that has everything I enjoy about surf instro,

RAHMUS – “No Acceptable Compromise” begins with a quick political statement that is quite humorous. And the track title falls right in line with that opening dialogue. This one is heavy with a pounding bottom end. The guitar’s resonating tones are a highlight.

The Neptones – “Majestic (La Mesa Grande)” goes spaghetti western with rapid picking and runs that keep it all moving, while the drums and bass are restrained, letting the guitars take the lead and painting the necessary scenario.

The Nematoads – “Fleas of 1000 Camels” returns to the desert scenery, with atmospheric sounds as the guitar is the paintbrush and the drums and bass the canvas, all the colors take shape quickly. Here, they take surf instrumental and morph it into something different and mysterious, thanks to excellent musicianship.

Squid Vicious – “Overlord” closes things out with another long stretch at five minutes and four seconds once again. It is interesting how that ended up lasting the same amount of time as the other long burner! The sound begins with hints of days gone by, with many more complexities and layers, including the organ, which complements everything else so well. This is an excellent rocker with all the trimmings. There is no window dressing here; it’s a flat-out rocker with great musicians giving their all on one track. Towards the end, you hear some tremolo, then another switch in tempo, and it takes things into an entirely different direction. Very progressive!

Deep Eddy Records' New Music Sampler 2026 delivers a vibrant journey through 10 tracks that capture the full spectrum of surf instrumental music. With relentless energy and impressive variety, this collection highlights the genre’s evolving sound while staying true to its roots. If you’re looking for a sampler that embodies the spirit and excitement of surf instrumentals, this release more than delivers.

Keith “MuzikMan” Hannaleck-Surf Music and Art Founder

March 16, 2026

Tracks:

01. The KBK - 75878986-26 (Initialize Transmission) 03:49

02. RAHMUS - October's Theme 02:22

03. The Neptones - Bikini Atoll 02:45

04. The Nematoads - Abdel Jafar, Middle Eastern Spy 05:04

05. Squid Vicious - Ink Jet 02:16

06. The KBK - Dare Not Speak Its Name 03:14

07. RAHMUS - No Acceptable Compromise 02:05

08. The Neptones - Majestic (La Mesa Grande) 02:15

09. The Nematoads - Fleas of 1000 Camels 03:45

10. Squid Vicious - Overlord 05:04

Rock-Surf Instrumental Review: The Other Timelines & The 4D Man-Music For Alternate Realities Vol. 1

Release Date: January 5, 2026

Label: Tabu Recordings

Website

The Other Timelines & The 4D Man are the current project of Jonny Browning (Man or Astro Man?, Jonny and The Shamen). Music For Alternate Realities Vol. 1 is one of Tabu Recordings’ newest series on 7” vinyl. They consider it to be a glimpse of the future of surf instro. And I must agree!

“dronesYVR” starts cranking right away. This is explosive instrumental surf music that transitions back and forth through sequences of different six-string effects. The drums and bass are right in step, traveling at hyper speed to keep up with all the guitars’ speedy deliveries. High-energy unrelenting music!

“dronesBHM” begins differently, with a tempo change more like what traditional surf listeners would be accustomed to. However, the sounds are far removed from anything traditional, to be sure! The twang and reverb of surf are intact, but there are many things going on to take note of here. A complete transition from the previous track, maintaining a high level of energy, but presented differently this time. Just under two minutes.

“Dyslexic Cinema” blasts off into another space and time with a synth chirping and swirling as the guitars answer back. The drums keep time nicely, and the bass is heavy and pronounced. Kind of like metal meets surf, and it all falls somewhere in the middle. This cranks in a different way, once again giving the listener another dimension of music to enjoy. Very good!

“Revenge of the Gamma People” winds up this 4-track amalgamation of rock, surf, metal, and all-out instrumental variety. Once again, we are off and running on a different road. The rock-and-metal edges push things along as the drums and bass continue their masterful answer to the call. This time, there is some shredding on the guitar, with just a little hint of surf here and there, but it is more of a flat-out instrumental rocker with a lot of power and vigor.

The Other Timelines & The 4D Man’s Music For Alternate Realities Vol. 1 isn’t just a record, it’s a ticket to sonic worlds you’ve never imagined. Every track propels you through a thrilling collision of surf, rock, and metal, challenging your expectations and rewarding your curiosity. If you crave music that dares to venture beyond the ordinary, this release will electrify your senses and leave you wanting more. Don’t miss the chance to experience a new frontier in instrumental music.

Keith “MuzikMan” Hannaleck-Surf Music and Art Founder

March 11, 2026

Tracks:

1. dronesYVR 2:42

2. dronesBHM 1:54

3. Dyslexic Cinema 2:49

4. Revenge of the Gamma People 2:48

Surf Rock Instrumental Review: Lords of Atlantis-Self Titled

Release Date: June 26, 2023

Label: Tabu Recordings

Website

The self-titled Lords of Atlantis recording is now one of those recordings that carries an air of lore in the surf instrumental community. Featuring the lead guitarist Ivan Pongracic (The Madeira, The Space Cossacks), it ranks as one of the finest releases of the genre in recent years.

There is quite a mixture of talents with Ivan from other well-known bands, including the following:

Jeremy DeHart-Rhythm Guitar, Bass Guitar, Lead Guitar (The Manakooras, Aqualads, The A-Men).

Jonpaul Balak-Bass guitar (Insect Surfers, Tikiyaki Orchestra, The Scimitars).

Dane Carter-Drums and Percussion (The Madeira, The Troubadours).

A wealth of experience and talent converges to create this surf instro supergroup, setting them apart from other, more popular acts from other genres that often receive all the credit and attention. What distinguishes this community is its humility and genuine appreciation for one another. Rather than following trends, they set them—driven by a true passion for making music.

Success is measured not by fame but by the satisfaction of one's art. This humility and lack of awareness may contribute to the genre’s underappreciation, but it hasn’t hindered its global growth. Ultimately, the ongoing need to spotlight this music—no matter when it was created—inspires me to raise the consciousness of music lovers and celebrate its significance.

“Chariots of the Gods” begins in a mellow way, then explodes for a time, then reverts to the original melody. After that segment, you will hear more defined lead guitar runs jump out front before all the instruments move the tempo to the next level. Towards the finale, the drums take the spotlight and segue into the next track seamlessly without pause. This is a good example of surf instro on fire!

“Temple of Poseidon” picks up instantly after the previous track and has a nice mellow surf sound with the necessary twang and reverb. The bass sounds rhythmic as the drums keep time with crashing cymbals for effect.

“Leading Edge” kicks it back into high gear again, with tremolo taking hold, the bottom end is strong and tightly woven into the guitar’s movements. This is another instance where the guitar playing shines, with its tempo shifts and an aggressive yet tasteful push forward. Nearly three minutes of musical perfection.

“Libertas!” carries a more traditional surf vibe and pace, slowing things down with an island-in-the-sun atmosphere before the tempo picks up. The guitar is superb, and the tremolo is the highlight, showcasing that style of rapid-picking artistry. The bass and drums at the beginning have a jazz feel before shifting to match the guitar's pace, which I found interesting.

“Long Live the King!” resonates with the rock aspects of the genre and a classic first-wave sound and rhythm. The King of Surf Guitar is Dick Dale, and it is a great tribute to his legacy and sound. The power and majesty of surfing, the culture, and the music that became intrinsically connected to it rock here! A great group effort and message received.

“Eye of the Sahara” takes things in a different direction. The guitar's resonant tones create the necessary scenario in your mind. As you traverse the desert, the band takes you there in a heartbeat. Some of the passages are sheer beauty, and others grab your attention with a sudden, powerful change. The explosive guitar that enters on occasion makes sure they have your full attention.

“Seaglass” has an acoustic guitar backing with some lovely, crisp, ringing licks from the electric guitar. This composition shows how the band can pull back and deliver some tasty playing that holds at all positions. That “island surf” feel returns, reminding us how beautiful this music is, like waves shimmering in the sunlight.

“Maroc 7” is where Ivan draws on his lifetime of love for The Shadows and incorporates it into his style and approach. The strumming guitar has a Latin essence, pushing it along as tremolo and reverb rules the day. Excellent change of pace and overall sound, showcasing more diversity.

“The Bastion” is one of two tracks over four minutes. The layers of instrumentation and guitars are a highlight. It felt like a Mediterranean influence was at work here, with the drums and bass in line with the guitars' transitory nature. This is one of the more complex presentations because of how the bottom end responded to all the changes.

“The Fiery Trident” takes off into more rocking territory straight away, once again changing course entirely, then switching over to a more mellow guitar strumming and picking. The key to this music is hearing all the changes, textures, and overall mood they can create. Nearly halfway through, the tremolo kicks in, and the trajectory of the entire composition changes, emulating the word 'fiery,' then back again; it goes in a circle with these changes. Amazing guitar work once again with tremendous support from the rhythm section.

“Barbary Corsairs” takes on a different tone, with a meatier beginning, then quickly switches to the more explosive, resonating guitar notes. This kind of guitar playing reminded me of why I loved The Space Cossacks so much and still do to this day. There is a brief, quieter transition on guitar, then directly back to the powerful pinpoint bursts of notes that make tracks like this so exciting and memorable.

“Atlas” keeps the rock essence flowing with an energetic opening, then steps back a pace as the guitar focuses on more accentuated notes, with strong rhythms from the bass and drums, and then the quick transitions to the power base this band commands at the flip of a switch. Tremolo and reverb are superb as things take off into yet another direction with the tempos! Killer surf instro with a lot of oomph!

“Sands of Mauritania” is the closer and their longest track, clocking in at 5:13. It is an atmospheric composition tastefully executed. It has all the elements of the mellower side of surf instro that we all can appreciate. The drums and bass move along with an easy touch, as I have previously noted, in a more jazz-influenced style, accentuating the guitar tone and maintaining an even pace. Musical bliss from beginning to end.

The Lords of Atlantis' self-titled recording is more than a collection of remarkable tracks—it's a testament to the enduring spirit and innovation of surf instrumental music. Each song is a musical journey, blending tradition with fearless creativity, and together they form a vibrant tapestry that both honors the genre’s roots and carves out new territory. This album doesn’t just invite listeners to experience surf music; it compels them to feel its pulse, celebrate its evolution, and recognize the artistry that will keep it alive for generations to come

Keith “MuzikMan” Hannaleck-Surf Music and Art Founder

March 9, 2026

Tracks:

01. Chariots of the Gods 3:21

02. Temple of Poseidon 2:22

03. Leading Edge 2:54

04. Libertas! 3:11

05. Long Live the King! 3:31

06. Eye of the Sahara 3:15

07. Seaglass 3:20

08. Maroc 7 2:35

09. The Bastion 4:07

10. The Fiery Trident 3:58

11. Barbary Corsairs 2:45

12. Atlas 4:12

13. Sands of Mauritania 5:13

Surf Rock Instrumental Review: The Surf Hermits Jam!! Volume 1

 Release Date: January 17, 2025

Label: Independent

Website

The Surf Hermits Jam!! Volume 1 is an album of Surf Hermits tunes featuring special guests trading off with Jason Deatherage over brand new original songs and some great guitarists from all over the international surf scene including special guests Sam Williams, Sys Malakian, Arno De Cea, Rodd Keen, Mark Nicol, Chris Stewart, Max Gonzo, Sean Eddy, Jim Colby, and The Breakers (Members of The Breakers, Underwater Bosses, The Surf Junkies, Agent Octopus, Black Valley Moon, Sys Malakian, The Angry Red Planet, S.H.A.R.P., The Eddys, and Arno De Cea).

All songs written, performed, and produced by Jason Deatherage.

“Sayulita Swell - feat. Sys Malakian" gets things going clean, and crips leads from the guitar. This is a smooth rocker with resonating twang throughout. The rhythm section is tight as the guitar navigates its many transitions. Lots of hooks and rhythms. Some nice tremolo comes in as you are heading towards the end. The perfect track to get this started.

"A Tower In The Distance - feat. Rodd Keen" is a change of scenery with an island in the sun, relaxed like tempo. Tasteful guitar licks, with acoustic strumming in the background, set the pace, along with the drums and bass. Some fine lead lines are featured here, then around three-quarters of the way in, the volume rises with another layer of instrumental voices as the lead really takes off into a great solo, then it fades out. One of the longer, more complex cuts.

“To Fall From The Kingdom Of Air - feat. Arno de Cea” brings you back to a faster tempo and more traditional surf rock sounds. Twang works well here, with explosive transitions that keep the excitement high. Then, as you head three-quarters of the way in, it really takes off with some serious guitar jamming with effects and fireworks. It goes from a surf instro to a full-on rocker.

“The Town Without A Frown - feat. Sean Eddy” is a classic surf instro sound with crisp guitar runs and the rapid backend featuring some equally fast drum rolls. It morphs into a first-wave surf rock sound with all the trimmings. Then there is (what sounds like) the Eddie Van Halen finger-tapping technique, which was a surprise. Excellent and bursting with unrestrained energy!

“Hurricane Watch - feat. Sam Williams” is what you would anticipate with what the title would suggest. A driving rhythm from the bottom end and the resonating notes. This is the kind of surf instro that got my attention many years ago. As soon as that thought entered my mind, it changed into something else. More layers of guitars are merged with a fuller sound, and the tempos get higher as the lead continues through all kinds of transitions. Then it gradually fades out.

“Shark Salad - feat. Max Gonzo” begins with a reggae guitar, then switches to a rocker, then back again. This is one of the more interesting tracks for differentiating between genres. It really takes off eventually, with some guitar runs and a locomotive drum-and-bass behind it all. It is surely a tasty salad and a great appetizer for any surf instro meal you may be having.

“Laser Brain - feat. Chris Stewart” is a real toe tapper with some tremolo bursts and pinpoint leads done well. A strumming guitar provides the perfect partner for the lead to stand out. It’s the rhythms that catch your ear, and that includes the lead guitar work. Laser-like guitar right to your brain, as the title would suggest. I loved the way it ended and faded out.

“Return To The Valley - feat. Jim Colby” takes you into some different scenery and a more laid-back pace. Think bluesy licks with a picturesque landscape entering your mind’s eye. Lead guitar is fantastic with a steady strumming acoustic behind it (which I always find important), while the bass and drums are restrained enough to hold their own without overpowering the focus. This is one of the most atmospheric and beautifully layered tracks on the recording.

“Dropping In - feat The Breakers” is entirely different from all the previous tracks because of the way it starts. The drums kick in, then horns, and suddenly it switches right over to a rocker. All the while this is happening, and right from the start, the bass is killer. Some slick guitar work is going on here with some cool effects. The longest track at 4:45, and it does not waste a second; they bring all their powerful talents to bear. The saxophone makes an appearance, giving it a first wave, early-60s touch. This was a great track, a continuation of the previous track’s longevity and superior musicianship.

“Telegraph Beach - feat. Mark Nicol” winds up this incredible instrumental mix. This one is another real rocker, with a guitar that explodes with colorful transient lines, while the drums and bass are solid. I heard a touch of western flair in an almost spaghetti-western way. This is a great way to finalize all this music. It takes you rockin’ with the music resonating and reverberating in your ears after it’s all done.

The Surf Hermits Jam!! Volume 1 stands as one of the most exhilarating and memorable albums I’ve experienced this year—a testament to the electrifying heights surf music can reach when world-class musicians unite. This record isn’t just a showcase of talent; it’s a rallying cry for the genre, demanding the wider recognition it so clearly deserves.

Keith “MuzikMan” Hannaleck-Surf Music and Art Founder

March 3, 2026

Tracks:

01. Sayulita Swell - feat. Sys Malakian 3:52

02. A Tower In The Distance - feat. Rodd Keen 4:09

03. To Fall From The Kingdom Of Air - feat. Arno de Cea 3:03

04. The Town Without A Frown - feat. Sean Eddy 3:34

05. Hurricane Watch - feat. Sam Williams 3:05

06. Shark Salad - feat. Max Gonzo 4:03

07. Laser Brain - feat. Chris Stewart 3:33

08. Return To The Valley - feat. Jim Colby 4:18

09. Dropping In - feat The Breakers 4:44

10. Telegraph Beach - feat. Mark Nicol 4:02

Surf Rock Instrumental Review: Atomic Drag-Rave from the Grave EP

                                                        Release Date: October 25, 2024

Label: Black Tragick Records/Doom Bat Records

Website

Atomic Drag is run by Lee McDaid, who is a solo musician from Northern Ireland. I reached out to him regarding all his work, and he kindly granted me access to his entire catalog on Bandcamp.

The Rave from the Grave EP came out around Halloween in 2024, and based on the cover art, title, and tracks, it looks as though he hit the mark.

The title track “Rave from the Grave” gets the blood pumping (no pun intended). Right away, there are the melodic, twangy guitar lines, and the bass is heavy and strong. A nice transition is made with some melding guitar lines, then the organ joins in to accentuate the creepiness of the concept we are focusing on here. Things come to a head towards the end, with everything merging.

“Dogman Vs. Dobhar-chú” moves at a frenetic pace with rapid picking, and bass and drums pair up to keep that intensity as Lee takes that pick and goes down the strings from top to bottom for that wow effect. It all happens so fast, but that is the idea; this is a fight between creatures of the unknown.

“Once a Dead Man...” stretches things out for over three minutes. There is more time to establish all his ideas within a single track, and he does so effectively. The atmosphere is one of spookiness and anticipation. The organ gives it that horror edge as he adds some talking to the mix, so you get the feeling you are watching it on the big screen. Excellent track!

“Beyond the Valley of the Drag” maintains the EP’s continuity with nonstop energy. This is yet another fast mover with all the trimmings, rapid picking, punctuated guitar placement, the bottom end moving along just as quickly, and that tremolo guitar work and the creepy organ notes are for the final touch. It’s all there in one potent package.

Atomic Drag’s Rave from the Grave EP is more than just an adventure-packed instrumental; it’s a vivid, cinematic journey that exhibits the power of one artist’s vision. Lee McDaid’s ability to craft such dynamic and immersive tracks on his own is nothing short of remarkable. This EP doesn’t just entertain you from the first note and refuses to let go, leaving a lasting impression long after the final track ends.

Keith “MuzikMan” Hannaleck-Surf Music and Art Founder

March 2, 2026

Tracks:

1. Rave from the Grave 02:21

2. Dogman Vs. Dobhar-chú 02:01

3. Once a Dead Man... 03:26

4. Beyond the Valley of the Drag 02:19

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