Beaches Be Trippin\': Five Texas Coast Spots Worth the Drive

Beaches Be Trippin': Five Texas Coast Spots Worth the Drive

Arts & Culture: Let’s face it, most of us Lone Stars view the Texas coast as a poor man’s Waikiki. Hell, maybe just a poor man’s Panama Beach — only to be used... By Callie Enlow 7/10/2013
New Sensation: SA’s Austin Mahone and teen pop superstardom

New Sensation: SA’s Austin Mahone and teen pop superstardom

Music: Like the bulk of Austin Mahone’s Instagram account, this one’s a selfie. In a white tank top, hair coifed up real big, Mahone arranges his facial... By Matt Stieb 7/22/2014
Op-Ed: Don’t deny Ivy Taylor’s chance to ‘evolve’

Op-Ed: Don’t deny Ivy Taylor’s chance to ‘evolve’

News: The San Antonio City Council may gain a major accomplishment in the city’s already progressive history in race relations. When Julian Castro announced his... By Frederick Williams 7/2/2014
Free Things to Do: Kid-friendly

Free Things to Do: Kid-friendly

Free Guide: It’s almost summer, which means that your government-subsidized free daycare (aka public school) goes on hiatus thanks to an archaic allegiance to a rural agriculture economic system that hasn’t been in play for decades. What to do with the wee ones whining 5/21/2014

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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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