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Best of SA 2013: 4/24/2013
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 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
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

Noxious Foxes: Légs

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Some sub-styles of rock are just limited by their own conventions (like any music with a "-core" tacked on). Enter Brooklyn-based Noxious Foxes and their sophomore effort Légs. It revels in the limitations of math rock, particularly because it does the work of four to five players with only two. Any rock duo has to use cold, calculating technology to sound like a bigger band; it might as well be math rock. Justin Talbott (guitars and keys) stacks looped textures over Richard Levengood's drumwork like an expert bricklayer on coke. Talbott is all sharp edges and clean work, his sounds becoming more kinetically pregnant with each measure. Levengood is along for the ride, but with his own frenetic insanity. It's like he's getting paid a dollar a hit. Across nine tracks, the two of them take us from sadness to panic to panicky sadness with a surplus of punny track titles. They're not interested in making the changes smooth or the melodies legato. This album is a never-ending, unpredictable jazz breakdown programmed by voiceless, funky androids. It's actually pretty okay, a curio for most and a sloppy hummer with plenty of eye contact for the genre's devoted.

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