With each release, Brandon Hensley has continuously reinvented himself, pushing his sound in new directions. From his debut album “Visions of a Painted Fever” to his first EP “Nostalgic Music Box,” he has continued to experiment, refine, and evolve. Now, with “Surfin’ The 210 On An Empty Tank,” it feels like he’s finally arrived. This latest EP sees Hensley at the peak of his musical creativity, songwriting abilities, and execution of his overall music production values. The only missing piece? A strong vocal collaborator who could help bring his compositions to their fullest potential.
Hensley’s guitar work is the undeniable star of the EP, layering intricate riffs and textures without ever feeling overwhelming. Each track is packed with rich, dynamic tones that build on one another, creating a sound that’s both immersive and energetic. The rhythm section holds everything together with solid, unobtrusive basslines and crisp drumming that never overshadow the guitars. Instead, they provide a steady foundation, allowing Hensley’s playing to shine. The result is a collection of upbeat, fast-paced tracks that feel tailor-made for freeway drives with the top down, the kind of songs that beg to be blasted at full volume on an open road.
The EP kicks off with its title track, “Surfin’ The 210 On An Empty Tank,” a groovy, high energy opener that immediately sets the tone. The guitar riff, perhaps inspired by The Offspring, drives the song forward with a playful, punk-tinged edge. Layered effects like a swirling phaser add depth and make for an especially engaging listen on headphones. While the track radiates fun, carefree energy, a mid-song breakdown offers a brief moment of introspection before launching back into the ride. It’s a strong opener that perfectly encapsulates Hensley’s knack for balancing excitement with just a hint of reflection.
The second track is where it becomes most apparent that Hensley could benefit from a vocalist. With a clear verse-chorus structure, the song feels primed for a strong vocal presence to take it to the next level. Even so, the track still works as an instrumental, blending alternative rock with a touch of Americana for a unique, road-ready sound. And, true to Hensley’s style, there’s another introspective breakdown woven in, because, let’s be honest, would it really be a Hensley song without one?
The third track, “Nine-To-Five and Die,” leans into a heavier sound, almost as if it were a lost demo track from Hensley’s other band, Blood Bullet. The weighty guitars and pounding rhythm section make it one of the more aggressive songs on the EP, but an unconventional time signature during the chorus gives it a distinct identity. And, of course, after the requisite introspective breakdown, the song surges back with layered guitar effects that add a unique texture to the intensity. Despite its grim title, it’s actually one of the more peaceful tracks, at least by Hensley’s standards.
The fourth track, “Star Cup on 150cc,” might sound familiar to Blood Bullet fans, bearing some resemblance to their song “Black Thunder,” but it carves out its own space with a unique identity. This is where the production truly shines, as Hensley’s use of effects and layering proves there’s much more to his artistry than just strong songwriting and guitar chops. The breakdown here takes a different approach, feeling more upbeat and melodic, making it the standout moment of the track. And while the title might suggest a grueling challenge, any Mario Kart fan knows 150cc isn’t even the hardest difficulty. Where’s the 200cc energy, Hensley?
The closing track is another Blood Bullet remix, this time reimagining “Gemstone’s Army.” While it stays rooted in its original form, this version takes a much spacier approach, giving plenty of room for soaring solos and an effortless, jam-in-the-garage energy. It’s easily the best showcase of Hensley’s guitar skills, letting his playing take center stage in a way that feels both loose and refined. As a closer, it wraps up the EP on a strong note, further cementing Hensley’s ability to reinterpret and evolve his sound. With “Surfin’ The 210 On An Empty Tank,” he’s added another solid release to his growing catalog.
Overall, Hensley’s latest EP has showcased his growth as a musician and producer. His ability to craft engaging, layered instrumentals continues to impress. The only thing missing is a vocalist to fully flesh out some of these tracks, but even without one, the music stands strong on its own. Whether he chooses to collaborate with a singer in the future or keeps pushing forward solo, one thing’s for sure, we are already looking forward to whatever he releases next!
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