Music From The Martian Gras
Toulouse Engelhardt
Music From The Martian Gras is the tenth album by American guitarist and composer Toulouse Engelhardt, often dubbed the “Segovia of Surf,” and it plays like a playful yet meticulously crafted instrumental space opera. Released in 2026 on CD and black‑vinyl LP, the roughly 37‑minute record contains nine instrumental pieces that trace an intergalactic journey—more whimsical than dystopian—through twangy galaxies, jazz‑tinged nebulae, and cinematic soundscapes anchored by Engelhardt’s virtuosic, finger‑style guitar work. Reviewers describe it as “out of this world” and “ahead of its time,” highlighting how it marries his surf‑guitar roots with classical, folk, and prog‑fusion touches while still feeling light on its feet and story‑driven rather than showy for its own sake.
The tracklist—including pieces such as Come Back To Earth With Me Princess Davana, Tommy’s Robot, Return To Mare Tranquillatatis, Roswell Romp, Above The Magellanic Clouds, and other cosmic vignettes—unfolds like chapters in a wordless sci‑fi film. Clean, resonant acoustic tones sit alongside more electrified colors, and Engelhardt threads in humor and nostalgia (surf licks, space‑age bachelor‑pad vibes) without losing the lyrical, melodic core that has defined his work since his 1975 debut Toullusions. The result is a tightly sequenced, narrative‑feeling album that lets listeners drift, race, and dance through an imagined Martian carnival—“Martian Gras”—showcasing how a single guitar, in the right hands, can suggest an entire universe of characters, landscapes, and adventures.
Music From The Martian Gras
Toulouse Engelhardt
Music From The Martian Gras is the tenth album by American guitarist and composer Toulouse Engelhardt, often dubbed the “Segovia of Surf,” and it plays like a playful yet meticulously crafted instrumental space opera. Released in 2026 on CD and black‑vinyl LP, the roughly 37‑minute record contains nine instrumental pieces that trace an intergalactic journey—more whimsical than dystopian—through twangy galaxies, jazz‑tinged nebulae, and cinematic soundscapes anchored by Engelhardt’s virtuosic, finger‑style guitar work. Reviewers describe it as “out of this world” and “ahead of its time,” highlighting how it marries his surf‑guitar roots with classical, folk, and prog‑fusion touches while still feeling light on its feet and story‑driven rather than showy for its own sake.
The tracklist—including pieces such as Come Back To Earth With Me Princess Davana, Tommy’s Robot, Return To Mare Tranquillatatis, Roswell Romp, Above The Magellanic Clouds, and other cosmic vignettes—unfolds like chapters in a wordless sci‑fi film. Clean, resonant acoustic tones sit alongside more electrified colors, and Engelhardt threads in humor and nostalgia (surf licks, space‑age bachelor‑pad vibes) without losing the lyrical, melodic core that has defined his work since his 1975 debut Toullusions. The result is a tightly sequenced, narrative‑feeling album that lets listeners drift, race, and dance through an imagined Martian carnival—“Martian Gras”—showcasing how a single guitar, in the right hands, can suggest an entire universe of characters, landscapes, and adventures.