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2012 Best of San Antonio Food Winners List

2012 Best of San Antonio Food Winners List

Best of 2012: 2012 Best of San Antonio Food Winners List 4/25/2012
Daft Punk: 'Random Access Memories'

Daft Punk: 'Random Access Memories'

Aural Pleasure Review: Fresh off shattering Spotify streaming records, Daft Punk return with their dance music history lesson, Random Access Memories. Rooted in the slick grooves... By M. R. Brown 5/21/2013
Best Chicken-Fried Steak

Best Chicken-Fried Steak

Best of SA 2012: We don't know about you, but when we need comfort food, a chicken-fried steak is the best thing to fill that hole in the heart and make all the hurt go away. 4/25/2012

Best Sex Toy Shop

Best of SA 2012: Porn online we can understand, but to properly order pleasure products you need an expert guide. It helps if you can see and feel what you're getting yourself into... 4/25/2012
Stella Public House takes pizza and beer to the next level

Stella Public House takes pizza and beer to the next level

Food & Drink: The terms “wood-fired” and“brick oven pizza” have longbeen bandied about as guarantors of quality, though sadly they seldom ring true. What may arrive out... By Scott Andrews 5/15/2013
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Aural Pleasure Review

Atari Teenage Riot: Is This Hyperreal?

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“It’s time to act; it’s time to fight through,” says Nic Endo in the title track for Atari Teenage Riot’s first album in 11 years. This is about as rational as the Clinton-era, anarcho-digital hardcore band gets on this record full of conspiracy theories and obvious political truths. New MC CX KiDTRONiK tells us Barack Obama’s presidency doesn’t make the world post-racial (duh!). Nic Endo maintains that the internet is an instrument of enslavement (nice one, update your “I Own You” sticker yet?). Beyond the pompous, vague political screeds (think United Anarchists of San Antonio College), ATR brings little in the way of musicianship. “Is This Hyperreal?” offers a trace of evolution by flirting with aimless cinematic ambience. Album closer “The Collapse of History” features an uplifting musical progression and a glitchy vocoder sound collage. The rest of the songs begin and end at 11, senselessly blasting all the squelchy bass lines, subdued guitars, distorted synths, and tinny snares, handclaps, and hi-hats on offer in 1992. Worse still, reviews like this one (that call for ATR to be more than angry, suspicious, and musically competent) are likely seen as a vindication of their work by both the band and their fans. Ugh. Avoid.

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