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

 Release Date: October 31, 2025

Label: Missing Fink Records

Website

SURF ZOMBIES are:

Brook Hoover - Guitar

Trevor Treiber - Bass

Ian Williams - Guitar

Luke Ferguson – Drums

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Keith “MuzikMan” Hannaleck-Surf Music and Art Founder

December 10, 2025

Tracks:

01. Brain Rock 02:14

02. Dug Out 02:13

03. Punkin' Juice 02:53

04. Full Moon on Prom Night 02:42

05. Scream Soda 02:28

06. Bouncing Baby Bones 02:48

07. Wooly Willis 02:38

08. Gill-man Crashes the Party 02:27

09. King of the Sting 02:48

10. The T-Rex Twist 02:06

11. Greetins Cretins 02:25

12. The Outlaw's Last Dance 02:57

13. Midnight Macho Mambo 02:41

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

 Release Date: December 20, 2024

Label: Independent

Website

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

Blue Wave Theory Are:

Bob Trimble - guitars, percussion

Chiemena Ukazim - bass, tenor sax

Rick Eddy - drums, percussion

Steve Rabeler – guitars

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

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

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

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

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

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

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

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

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

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

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

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

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

Keith “MuzikMan” Hannaleck-Surf Music and Art Founder

December 6, 2025

Tracks:

01. Greensleeves 03:39

02. Rudolph the Red-Nosed Reindeer 03:38

03. Blue Christmas 02:18

04. Mele Kalikimaka 02:34

05. The Little Drummer Boy 04:29

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

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

08. Frosty the Snowman 02:24

09. Sleigh Ride 04:37

10. Auld Lang Syne 01:56

Surf Rock Instrumental Review: The 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