Best Salsa Club

Best of SA 2013: 4/24/2013
Chris Pérez, Selena’s Husband, Faces His Past and Looks Forward, Musically

Chris Pérez, Selena’s Husband, Faces His Past and Looks Forward, Musically

Music: Chris Pérez never saw it coming. “All I ever wanted to do was play guitar,” he told the Current. “I never thought I’d be the subject of an interview... By Enrique Lopetegui 8/28/2013
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
Chris Perez, husband of slain Tejana icon Selena, tells of romance, suffering

Chris Perez, husband of slain Tejana icon Selena, tells of romance, suffering

Arts & Culture: In one of the final chapters of his book To Selena, With Love (out March 6), Selena's widower Chris Perez mentions that Abraham Quintanilla, his former father-in-law, once... By Enrique Lopetegui 3/7/2012
A Look Back at SA\'s Homebrew History

A Look Back at SA's Homebrew History

The Beer Issue: Homebrewing is a foundational American virtue. Not just Sam Adams smiling back from the bottle that bears his name—virtually all the... By Lance Higdon 10/15/2014

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Aural Pleasure Review

Feist: Metals

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Let's get this out of the way first: there is no "1,2,3,4" on Feist's new record. There's also no "I Feel it All," "My Moon My Man," or anything that will likely get her played on iTunes commercials, covered by James Blake, or match the incredible cultural saturation her 2007 break-out The Reminder achieved. With the long-awaited Metals, Feist has instead delivered a good, if unremarkable record. First, the high points: Feist is trying some new things here, implementing horn lines, string sections, vocal overdubs, and some other interesting production touches that offer a nice change-up from her usual guitar/piano palette. It's the tracks that push farthest in this direction that stand-out, particularly on the stomping, intricately arranged opener "The Bad In Each Other," and in the swelling group-chant vocals that cap off "Undiscovered First." This isn't to say that the stripped-down songs — about half of the 12 total tracks — are no good; they're all perfectly pleasant in a classic Feist-y way. However, their sharp similarity to her earlier work only highlights the aforementioned point: there is no "1,2,3,4" or any stand-out of the bunch that elevates it above agreeable filler.


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