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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

Sepultura: Kairos

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If you know of Sepultura, it's probably for their fast, angry, and decidedly political early-to-mid-'90s output. But that was a different Sepultura, one that featured brothers Max and Igor Cavalera, who left the band in 1996 and 2006, respectively. The rest of the band morphed into the modern, oft-eschewed Sepultura, whose detractors need to get over the split and appreciate Kairos for its own merits. Though it has been preceded by a slew of disappointing albums, Kairos proudly resurrects the thrashy, deathy, sludgy glory of Sepultura's pre-groove metal days without sounding dated or derivative. While tracks like "Dialog" and "Mask" threaten to decapitate the listener, Sepultura shines brighter than perhaps they ever have on the uncharacteristically technical "No One Will Stand," where the dearly-missed chops of guitarist Andreas Kisser are allowed a moment in the spotlight. "Structure Violence" hints at the band's earlier experiments with indigenous Brazilian music, eliciting even my Mexican-born mom's appreciation. Though it might be a stretch to put Kairos on par with the groundbreaking output of Sepultura's youth, it is easily the best thing they have done in nearly 20 years. I am pleasantly surprised.

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