Hunters of the Alps Debut EP

The year was 1859 when Italian general Giuseppe Garibaldi of currant-filled-biscuit fame trudged across the snow-capped peaks in the shadow of the Matterhorn, trailed diligently by his special military corps in the midst of the Second Italian War of Independence. Like his namesake, lead vocalist Mario Giancarlo Garibaldi utilises the moniker of those intrepid soldiers for Peruvian (now Miami-based) synth pop outfit: Hunters of the Alps.

With the vigour and enthusiasm of a potential employee at a job interview, the band launches everything in their arsenal at self-titled EP opener, ‘Time (How to Love).’ ‘Isn’t it a shame we’re wasting time’ muses Garibaldi with Morrissey-esque apathy, over the piercing strums of guitarist Jorge Velásquez and Alex De Renzis’s energetic percussion, while smatterings of melancholic synths gasp for air below the surface.

Elsewhere, ‘It’s You’ pulls Christopher Walken’s portrayal of producer Bruce Dickinson into the studio to shout passionately about the need for ‘more cowbell’ on a bridge that demonstrates the band are at their best when they want you to dance.

Yet for all their musical competency Hunters of the Alps often harken back to other artists, with the wall of sound introduction of ‘Light Away’ evoking the sonic expanses of M83 and the preliminary drum machine of ‘The Pace’ referring back to classic New Order, herein lies the band’s biggest weakness; the lack of a definable voice. That said the EP is a fitting introduction to what the group have to offer and maybe if they keep lumbering across that vast alpine landscape eventually they’ll stumble upon some gold.



Written by: Matthew Barnard


Rambler Playlist March 6th

This week’s playlist is all about attitude with four bold and aggressive tracks to get the adrenaline pumping. The first track comes to us from Cure For Paranoia, a “trippy, soul-infused, hip-hop” quartet out of Dallas’ Deep Ellum. ‘Bad Impression’ is a menacing track with a head-bouncing beat and intimidating lyrics. The rapid bassline knocks as cumbia-esque howls and rings fill the background all wrapped together with a hyper, articulate delivery from frontman, Cameron McCloud and special guest, Topic.

The next track, ‘Mustang Kids,’ comes to us from Zella Day’s KICKER album, one of the most complete albums we’ve come across lately. ‘Mustang Kids’ is a certain kind of special. This passionate and ambitious track featuring Baby E takes Zella’s arousing sound to a ravenous level. ‘Mustang Kids’ is pissed-off pop for a new generation.

I will make no secret of the fact that I’m a huge Mobley fan. This Austin-based, “solo” showman is a straight-up beast that defines post-genre pop with originality and adventurous experimentation. Typically a one-man band, Mobley, collaborated with Houston two-piece rockers, Catch Fever, on his latest track, ‘Dreamers‘. A distorted drum beat and monstrous robotic duet engulf Mobley’s airy vocals texturing this track with an antagonistic overtone. Light and dark battle as the mood of ‘Dreamers’ evolves from brooding and malevolent to progressive and uplifting with the chorus of “are you gonna change or are you gonna die?”

Emily Bell’s latest track is a promising preview from her upcoming Kali EP due out April 21. This tenacious ‘Godess of Destruction’ channels her raw, primal femininity with ‘Can’t Talk Back,’ an  energetic garage rock track with avant-garde flare. Bell hits peak ferocity with the howling chorus of this powerful women’s anthem proving she’s the tremor in our earthquake and sugar in our milkshake. If you like this track, you’ll love the video which features Bell padded in ‘pigskin polyester’ channeling her inner J.J. Watt with the all-female Austin Raiders.

Erin Tobey: Middlemaze

Very rarely can an album clinch a listener with the opening chord. However, Erin Tobey’s Middlemaze is a pleasant exception as the leisurely crawling bassline of ‘I’m Young’ transcends the listener into a starry folk soundscape beyond the gravity of conventional genre classification. Written over years of “moving slowly outward from deep within an interior world,” Middlemaze is a rich and reflective album about “life after being young.”


Tobey professes the strength of her love on ‘I’m Young’ with a tender, yet, calm and assertive voice “strong enough to move a mountain.” The minute-long intro sets a groovy tone and allows the ethereal vocals to pull the listener on a soothing journey. Tobey shows a distinct indie rock familiarity with the guitar heavy arrangements of ‘Medicine Garden’ and ‘Baby Monitor’ while the synth-charged ‘Work It Out’ and bouncy ‘Leaf Pile’ add enjoyable pop to the album. The smooth and slow ‘Lonely Daughter’ and ‘Flotsam in the Wake’ establish a strong folk foundation with the latter strolling at a pace similar to Iron & Wine hit ‘Cinder and Smoke’.

The entirety of Middlemaze shimmers with a soothing atmospheric coating, yet, each track possesses a unique autonomous identity. It’s been over a decade since Tobey’s self-titled debut and she returns on Middlemaze a matured and sophisticated vocalist who has crafted a beautiful style of her own.

Middlemaze release date June 3

Written by: Doug Leach (

Photo credit: Chaz Mottinger

Shannon Labrie: War & Peace

Nashville singer-songwriter Shannon LaBrie bares her broken bones with her sophomore album, War & Peace. The album’s 12 moody tracks bleed from the pages of LaBrie’s tear-soaked diary to paint the vivid spectrum of emotions that have colored the singer’s reflective canvas. LaBrie has forged War & Peace through her personal experiences and has now given the world a simple yet gripping soundtrack to her story.

The Americana chanteuse unloads poetic lyrics through a lush, smoky voice to articulate feelings we have all felt but may have lacked the courage to express. The weight of her words bury into the listener’s conscience and stir lingering emotions bubbling below the surface. LaBrie strives to make her audience feel something…anything at all and she achieves that and so much more with War & Peace.


LaBrie sets the tone early and opens War & Peace with howling electric strings on “It’s Political.” The album’s single was released in February and serves as LaBrie’s melodic disdain of current American politics. She slows the tempo and allows her voice to take center stage on “For You” and flexes her vocal range on “Crumble.” However, it’s the belting chorus of “Took My Whole Life” that really gets the listener grooving.
LaBrie unleashes a thunderstorm of emotions on “Heaven Crashed Down,” the album’s most poignant and moving track. The spine-tingling lyrics spike through the listener sending an aftershock of goosebumps as she poetically recalls losing her father. “I’ve never been able to write about him. So that song was groundbreaking for me,” admits LaBrie.

Her fan favorite, “Alcohol,” is another chilling recollection of an unfortunate scenario many of us are all too familiar with. “So many fans have approached me and personally thanked me for writing that song,” claims the singer. LaBrie’s ‘intoxicating’ voice smoothly dances across the dark surface of this beautifully sad chamber ode to provide a surreal narrative.

The mood of War & Peace lightens and at the end we find a lightly-jazzed, rainy day melody of finding tranquility and happiness with “Then There’s You.” With her conclusion, LaBrie reminds us that the universe grants just as much pleasure as pain.

War & Piece is a refreshing dose of openness and sincerity in songwriting. The lyrics are heavy and direct, however, relatable and familiar. LaBrie is a bold songwriter that sings her story with a courageous voice. The melodies remain pleasantly simple mixing electric and acoustic between tracks and layering piano keys over the backdrop of the album. The project never threatens to become too oversaturated with instruments and remains authentic to its singer-songwriter roots. LaBrie capably blends Country and Americana with slight elements of pop and jazz to give the album an authentic sound outside of a standard classification.

The intimate album strikes the listener on an emotional rather than cerebral level. That is not to say the album is not thought-provoking, as certain tracks will undoubtedly pry relatable memories from the listener’s subconscious. However, LaBrie prefers to express how she feels rather than what she thinks and the album should appeal to a much larger audience for this. War & Peace is an enjoyably sincere album that digs into the listener’s gut and delivers one of the most honest listening experiences of 2016.


Written by: Douglas Leach (

Black Fret: The Peterson Bros., Eric Tessmer, Jane Ellen Bryant

Black Fret flooded the banks of Onion Creek Saturday evening pouring muddy, rock-filled blues from the historic home of Austin’s Music and Entertainment Manager, Don Pitts. Iconic Shady Grove was on hand serving partygoers Tex-Mex pork and chicken tacos while Ben E. Keith kept the Alaskan Whites, Moscow Mules and Merlots flowing from the bar.

Teenage blues phenoms and 2016 Black Fret nominees, The Peterson Brothers, set the party off and got the crowd rocking early with ‘Don’t You Lie to Me.’ The Bastrop boys, Glenn (Guitar & Lead Vocals) and Alex (Bass) Peterson, have an infectious on-stage chemistry and infuse the blues with a lively, outgoing energy that shoots through the crowd. “They deliver more smiles per measure than any band in Austin” as they sway back-and-forth in unison, play to the crowd and even hop off stage to play through the crowd. The brothers paused a 30 second freeze-frame before soloing right into crowd favorite, ‘I Gotta Go’ then delivered a bluesy, central Texas version of The Spinners’ classic, ‘I’ll Be Around’. Alex Peterson cooled the crowd of the late July heat with a chilling, fiddled rendition of ‘Amazing Grace.’ The Peterson Brothers’ set was so captivating even the residents of Onion Creek took to the skies with a couple of ‘V’ flyovers to capture a birds-eye of these funky blues brothers.


Black Fret founders, Matt Ott and Colin Kendrick filled the break between sets with interesting news and updates regarding the organization and its artists. In Ott’s words, “I’m really good at killing time up here” However, when it comes to Black Fret, that statement couldn’t be any further from the truth. Over the past two years the organization has raised more than $280,000 and helped local musicians schedule 198 national tour dates. Black Fret artists have also contributed to 44 fundraisers for other local organizations and charities. Oddly enough, the next musician that took the stage was not a grant nominee…not yet at least.

A breeze finally blew through the blanketing humidity when Austin’s own guitar prodigy, Eric Tessmer, unleashed a cyclone of lightning fast riffs from his personalized “Tessmer” Fender. The vibrant blues-rocker electrified the crowd with an intense, solo-filled performance packed with several new tracks from his upcoming EP; check out the release party, Friday 7/29 at Antone’s. Tessmer opened his set with howling vocals on ‘See You Tonight’ and nearly caused the amps to short-circuit with a wicked solo midway through blues-groovy ‘Ms. Fortune Teller’. He plucked flute-like squeals from his Stratocaster and laid down powerful, string yanking licks reminiscent of…dare I say…Stevie. Tessmer paid homage to another guitar legend with a sweet cover of Jimi’s ‘Are You Experienced’ and closed the set with a brand new track and a rapid-fire drum solo.
“The depth of talent in this town is amazing,” proclaimed Ott. And after witnessing Tessmer’s high-octane performance, this assertion, I believe, is an understatement made even more evident when talented newcomer Jane Ellen Bryant closed the evening with a 3-song set that included hot new single ‘Twenties.’ Bryant is a rare singer whose singing capacity, somehow, someway, stretches further during her live performance. However, that’s an opinion I dare not voice with Bryant’s super-producer, Frenchie Smith, standing a mere few feet away. There’s no denying her vocal range is utterly mesmerizing on the assumed harmoniously tame ‘Want it With You.’ The Austin songstress took the crowd home on a “high-note” with a vocal rich cover of Prince’s ‘Kiss’.

Black Fret continues to host listening sessions showcasing the best of local talent. The depth of that local talent, in my opinion, is fan-friggin-tabulous.


Written by: Douglas Leach (

Photos courtesy of: Becca Kadison and Black Fret

Walker Lukens: Never Understood EP

In a city bursting with creative energy, Walker Lukens has begun to shine with supernova luminosity. The Austin-based, alt-pop songwriter set the summer off with the video debut of hit single ‘Lifted’ from his upcoming EP, Never Understood, out Oct 14th via Modern Outsider. The 4-track EP was produced by Spoons drummer, Jim Eno, at his Public Hi Fi studio in Austin and recorded with Lukens’ backing band, The Side Arms.

Lukens, determined to make America ‘lifted’ again, gets straight to the point with EP opener, ‘Jacket On Ya Shoulders’, a densely textured, bluesy rock number filled with rattling percussion, jangling tambourines and a well-placed, sporadic splash of swollen strings. ‘Lifted, the EP’s heavy-hitting single is enticingly eerie with looping background howls and a thick bassline all pulled together by Luken’s distinctive vocal distortion and a catchy hook. The haunting creaks and muffled intro of ‘The Touch’ lead to some dark assumptions before the most vibrant and funky jam of the EP kicks in with synthesized keys and wonderfully chaotic electronics. Lukens closes the EP with the soulful title track that features a pleasant dose of Eno on the keys.

There’s nothing subtle about Never Understood. The EP is bold, adventurous and sensory ‘lifting.’

Catch Walker Lukens and The Side Arms at 3TEN Austin City Limits Live on Oct 14th for the Never Understood release party.

Photo Credit: Chris Corona

Written by: Douglas Leach (

Girl Rising with Gina Chavez

Six years ago, Gina Chavez waved goodbye to her Salvadoran sisters at La Escuela Salesiana Maria Auxiliadora. She has since become a multi-award winning Latin folk singer and a world traveling U.S. Cultural Ambassador. However, her heart has never left Soyapango, San Salvador. Chavez continues to support her Central American sisters through Niñas Arriba, the non-profit scholarship fund she cofounded following her Salesian mission to Soyapango in 2009.

Niñas Arriba celebrated a major milestone this April when Xiomara Cordova became the fund’s first beneficiary to earn a college degree. Chavez will commemorate this monumental achievement alongside Cordova and special guests, Sara Hickman and Suzanna Choffel, on August 13th at the Stateside at the Paramount Theater for the 5th Annual Niñas Arriba Benefit Concert.


These are exciting times for Chavez. She recently returned from a five country, Latin American tour with the U.S. State Department’s American Music Abroad program and is finally settling back into the north Austin townhome she shares with longtime partner, Niñas Arriba Cofounder and consigliere of all things “Gina Chavez music,” Jodi Granado. “I’m ready to dive in and reflect on all of these recent blessings and really crank out some new tunes,” claims Chavez.

It’s been over two years since Chavez released her groundbreaking album, Up.Rooted, and in the wake of its success, she has received numerous accolades to decorate her home. Sure, the nine Austin Music Awards that adorn her living room wall are impressive…almost as much as the legion of MLB bobble-heads standing guard over Pudge Rodriguez’s signed 8×10 on the shelf…arguably the home’s most prized possession. But most of all, it’s the abundance of Virgin de Guadalupe imagery decorating Chavez’s “hacienda” that’s truly attention grabbing.

“We’re both Catholics and we love our faith,” admits Chavez. “We met at the UT Catholic center, oddly enough, but that’s a whole ‘nother story,” she chuckles.

It was their commitment to faith and stewardship that led the devout couple to volunteer in Soyapango, an impoverished San Salvadoran suburb dominated by La Mara Salvatrucha (MS-13) violence. “We wanted to do something similar to long-term mission work,” sates Chavez. “At the time, I had a ‘growing music career.’ But, I wanted to learn more Spanish for that career and we both wanted to connect with our Latin roots.”

“For 8 months, we lived on a compound with a bunch of ‘corky’ nuns and taught English to around 300 girls, aged 11-21. We stayed at the school with 18 internas (boarding school girls). We all performed chores, then morning-prayer and then we’d all go to school together. At night, we’d go to evening-prayer, eat dinner and then we’d help them with homework. We got to know the girls very well and at the end of our mission, it was pretty hard to just say goodbye. By that point, they had become our sisters.”

Chavez and Granado debated raising additional funds to stretch their time in El Salvador a few more months. “However, we realized this mission was never about us. It was about the girls,” recounts Granado. “What more could we do to help these young woman?”

“During one of the last volunteer classes, we were speaking with the graduating seniors about their plans. We asked, ‘who wants to go to college?’ And all of their hands went up. Then we asked, ‘well, who’s going through the process and is actually going to go?’ Everybody dropped their hands.”


It all really boiled down to money. The average Salvadoran salary at the time was around $200/month…and that’s a healthy, full-time salary. Sure, Salvadoran students can attend the public university, and yes, technically that’s free. “But, you can’t really get a job with that degree. Plus, the faculty would go on strike for months at a time,” claims Chavez.

Therefore, in order to obtain a decent education, Salvadorans need to attend a private university. However, tuition for a private, Catholic university in San Salvador can cost around $75/month. The cost essentially ruled out any possibility of a private education for the graduating internas at La Escuela Salesiana Maria Auxiliadora.

“So, Gina and I thought, ‘why don’t we create a college scholarship fund for these young women who we considered our sisters?’” recalls Granado. “Four of the girls were about to graduate. So, we chose to start with them. At the very least, we could pay $75 a month and just figure it out. And that’s how Niñas Arriba began.”

VIDES, the faith-based volunteer organization that originally sent the couple to Soyapango, agreed to financially sponsor Niñas Arriba’s in the beginning. All donations ran through VIDES with 100% of the funds going to la Universidad Don Bosco, the local Catholic school in San Salvador.

The university runs the fund as if it’s their own scholarship program enforcing specific requirements the students must meet. The scholarship covers all academic fees, transportation, plus two meals a day…essentially everything excluding room and board.

Now in its fifth year, Niñas Arriba has expanded beyond just a college scholarship fund.
“Before we knew it, Xiomara was entering her final year in college. We thought, ‘oh my goodness! What’s she going to do now?’” asks Granado.

The couple began discussing the issue with David Holiday, Director of Stone Rooms Concerts and current Niñas Arriba fiscal sponsor. Holiday, who has spent a great deal of time in El Salvador with a vast network of resources connected the pair with the Director of the innovative non-profit, Glasswing International.

Glasswing agreed to provide Cordova with an internship position and Chavez and Granado would pay her stipend. At the end of Cordova’s 6-month internship, she can be re-evaluated for full-time employment.


“We are trying to expand and help these girls connect within the professional world to find full-time employment,” states Chavez. “It’s just like here. You can have a degree. But, you also need to have connections, and you need to know how to work those connections….even more so in third-world countries.”

“Xiomara’s situation is very exciting. She’s been placed on a multi-million-dollar project to help revitalize Parque Cuscatlan in San Salvador. There’s so much synergy at work here,” Chavez gleefully states. “Laura Esparza, the Theater Director for our upcoming benefit concert at the Stateside Theater also happens to be a Director at the Austin Parks Department. She has already scheduled Xiomara to connect with several of her colleagues when she is here for the benefit concert and Laura wants to equip her so she can return to San Salvador with ideas that have worked in other parts of the world. It’s all been such a community effort,” states Chavez.

“That’s the beautiful thing, we put ourselves out there with our full hearts and invited people to come along for this journey to help these young women…and people came. When we started, it was just an idea…let’s see what happens. We had no intentions of developing into a non-profit, with large benefit concerts and silent auctions. We just saw these girls as our family and you take care of family,” states Chavez. “We can’t stop now. This is making a significant impact in these girls’ lives and right now, our hearts and love are with them in El Salvador.”


Photos by: Phillip Leach (

Written by: Douglas Leach (