Grand Master of Rap... le invented r1p and he's coming tc cam juas. No, not Al Gore. Grandimaster Flash Jppears at the Michigin Leage tonigbr at 6 pm. with Kurtis Bkw. michigandaily. com/arts RTS WEDNESDAY SEPTEMBER 27, 2000 Nada Surf kicks off tour at Shelter Gameplay makes foi a truly 'Evil' sequel By Jeff Dickerson For the Daily By Luke Smith For the Daily Doors were at 5, and i arrived promptly at 5:30, only to find that there was a line of about seven peo- ple who hadn't been jet in to the hasement of Saint Andrews vet. Nada Surf The ShelterI September 22, 2000 sclassroom a bout Surely more peo- ple were going to come to see Nada Surf than this. i mean c'mon, these guys blew up on MTV back in the '90. You remem- ber the video, with that cute c h e e 'l e a d e r dancing around and the exceed- ngly dorky Matthew Caws talking ,in a the necessity of beer, and had one of the guys he was talking with light his cigarette for him. Caws took the stage and slung his guitar over his shoulder with little fanfare, as Ira Elliot slid into place behind him at his drum kit. Caws looked at Lorca (bassist) who was still meandering thru the crowd and shrugged. Lorca hopped up on stage and nicked his bass off the amp it had been leaning on, and without hesitation, and just a puff from a cig- arette the band launched into "Hyperspace," the first song on their September release, "The Proximity Effect." The crowd had blossomed into an intimate size of 60 or so. The band continued the set with the second song on "The Proximity Effect," "Amateur" and after that began to mix it up, playing songs from their debut, as well as the new release. The small crowd collective- ly cheered when the opening chords to "Stalemate" off of "high/low" were played, and again roared quiet- ly when the band whipped into "The Plan" another "high/low" track. Caws and Lorca chattered back and forth on mike between songs, and occasionally with the audience. At one point Caws thanked the crowd for coming out, and said he was surprised to see this many peo- ple out for the show. I looked around and thought he was making a joke. He wasn't. Grade: D Resident Evil: Survivor For Playstation Capcom Evil: Survivor" is the most horrify- ing of series, not because of the haunting music or eerie zombies, but because of the god-awful game play. Considering the quality of their earlier . efforts, Capcom's latest COur tesV or uapCOM Chances are you've played one of the previous four "Resident Evil" games for the Playstation or Dreameast. "Resident Courtesy of Nada Surf Nada Surf "rocked" The Shelter last Friday. Would we pay to see them? Nada Chance. ashing one's hair, "once every two -weeks, at least once every two -weeks." These guys were Gods. And now there were just seven >,pcople in front of me to get into the -shelter. Matthew Caws;Daniei Lorca and bra Elliot walked around the Shelter gonchalantly in the post sound check period before the band actually took the stage. I watched as Lorca made --mall talk with some fans, grabbed a This was the first stop on their tour in support of their new record. They had just finished opening a series of dates with Ultimate Fakebook, who bassist Daniel Lorca describes as "Weezer on steroids." ' The band proceeding energetically thru the set, and peaked unveiling a new song, "Treading Water." Before the song Caws said from stage, "We are hoping to record this one during the winter, now that we are our own label, we can release stuff when we want to." The band concluded with a feedback filled version of "Firecracker," and calmly stepped off the stage, immedi- ately setting up their merchandise table in the corner. A crowd swarmed around the band as they exchanged pleasantries with fans. Caws said after the show that they expect to hopefully get some recording done over the winter, and plan on doing another tour in the spring. Nada Surf played virtually flawlessly, their live tracks mirroring what came off of both of their full-length albums. They were performing for a small crowd where everybody knew the words and it was a fitting enough launch to their own tour. It was a show more than worth the six bucks it cost for the ticket. And no,. they didn't play that famous song that was all over MTV Apparently, it's not important to them to be "Popular" anymore. entry into the franchise comes as a stag- gering disappointment. With their fifth game, Capcom chose to revamp (why?) their thriving series. The first thing you'll notice is the first person perspective a la "Doom" and "Quake" rather than a third person view as in the earlier games. Along with the new point of view comes awkward con- trol that will have you constantly running into walls. Unlike most first person shooters, the control in "Survivor" suffers due to the lack of ability to strafe. Another big change made by the folks at Capcom is unlimited ammo. Part of the appeal to the series was the rationing of ammunition in order to proceed through the story. Another new element to the game is the reappearance of zombies after you've eradicated them. When re-entering a room you'll have to mow down the same zombies you waxed just a minute ago. As for the aesthetics, the graphics ate standard Playstation fare. Don't expect any hi-resolution cut scenes as were riously displayed in the other games. backgrounds lack detail and seefn to be thrown together while the zoibbies therh- selves have little variations. The audio suffers from sinilai prob lems. Voice acting and "Resident Evil go hand in hand. Whether it's the campy feel of the original game or the realism o the sequels, the sounds were always right on. Such is not the case in the- latest installment. The voices are poor; the music is trite, and the sound effects uninspiring. "Resident Evil: Survivor" is a'perfect example of an awful game that flies o the shelves simply because of the illustri- ous name attached to it. The-half-as ed production leaves for a game that wilt be soon forgotten. The previous Resident Evil games are some of the finiest on the market today, it's a shame the trend did not continue. Go pick up one of the orig inal games and pass over this lackl title. .a Gadfly Records pursues originality over mainstream commercialisn By Sonya Sutherland 5r the Daily In the days of super teen divas and thong bongs, on what record label will you find the iumber one Russian country-bluegrass band ? Yes, such a band does exist, and its Nork can be found among the 82 other unique releases on the Gadfly Record label. What you won't hear on the radio but will find at iuan.gad//vr cords.com is a mcenacerie of unusual sounds ranging from Ole aforementioned Russian group to country cellists to Australian jazz-tinged rock artists. Founded in 1990 by Mitch Cantor, Gadfly Records pledges to present projects that are ffbeat -musical projects that you won't find anywhere else. Even though Gadfly is host to artists from the UK, Sweden, Australia, Finland and Russia, it still remains a small independent label with less than 100 acts in its stable. Releasing 12-13 new records each year, Gadfly has simply picked an edge and stuck to it. Being a smaller label has its advantages, and Gadfly is able to give its artists the cre- ative license that helps to maintain long-term relationships. "If an .Irtist wants to talk to me they can simply pick up the phone and get me. Thev don't have the run around of a larg- er label which transfers you to someone's secretary," said Cantor. He added, "We have had Grammy winners. top bands and unique bands that stay with us because of the personal relationship we have." Aside from constant communication with its artists, Gadfly's vantage point lies in peculiar sounds that the larger labels have overlooked, which prefer to release a more image-driven, profitable and often times less thought-provok- ing albums. Gadfly has no interest in promoting an artist based on their appearance and instead it looks through dozens of submissions for what the label feels could add to its overall feel. "Often we get demos that sound like the could sell. They are pop tunes that everyone has heard before. We don't want that. We would rather have less artists than ones that would just sell," Cantor said. "It takes millions of dollars to put out those super groups, to get a video on MTV and we don't want that. We want to reach the listener who appreciates music and doing that is like a really hard crossword puzzle. Finding an audi- ence is especially hard these days because the radio isn't what it used to be" Instead of targeting consumers with mediocre music, Gadfly relies on their fan base to spread their popularity. "We have artists that were famous years ago and their fan base doesn't just disappear, they are still out there somewhere." Since Gadfly produces less mainstream acts, the label cannot rely on record stores to pro- mote its releases. Working with a web page and a catalogue, Gadfly sells its products directly to. consumers with out having to spend millions on publicity.' Maintaining a strong fan base, Gadfly Records continues to grow. Looking forward into the next years, the label hopes to exp and bring harmony into lives that. are ot wise over-saturated with the sameold tune. "Record labels these days cater to a spoon- fed generation disinterested in new music, Cantor said. "Gadfly, on the other hand, aims to please the often over looked 20-50 year old listen- ing group ... 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