Friday December3, 2004 arts.michigandaily.com artspage@michigandaily.com RJ1ego ri4Ja~iq ARTS Tegan and Sara refuse to be intimidated by the irons. Twin Canadian pop duo visits Magic Bag By Jacob Nathan Daily Arts Writer CONCE RT P REV IEW Canadian twin songstresses Tegan and Sara have made one of the most finely produced and accessible pop albums of the year. So Jealous is a roller- coaster of an album; songs hurtle along emotional rails at breakneck speeds. With a stripped down blend of bass, drums and -'Tegan and acoustic guitar, the Sara songs are cozy and Tonight at 8 p.m. warm.These are songs ahout rejec- tion, hope, doubt and uncertainty. Pri- marily though, this album is about love and relationships, which is exactly the kind of album Tegan and Sara wanted to make. TeganandSaraQuin,whohaveplayed together since they were in high school, have continued their tradition of singing and performing uptempo acoustic pop. Sara Quin said that they sidestepped any political messages with this release. "We haven't taken a political approach lyrically ... but there's a quirkiness that would attract a 20-something audience," she said. By keeping relationships as the focus of the album, it is compulsively listenable and endlessly relatable. Tegan and Sara will showcase their exciting brand of pop music and huge emotional scope at the Magic Bag in Ferndale, tonight at 8 p.m. Recording this album was different than recording IffIt Was You, Sara said, because there was a build-up of confi- dence from touring internationally. The women recorded their own songs in their respective bedrooms, eventually paring down these "bedroom demos" to make So Jealous. Sara describes her move to Vancouver, B.C., as a signifi- cant life change that had an influence on her songs. The overall approach in mak- ing the album was also different, as they tried to make "more of a band record that wasn't so focused on vocals ... a little bit cohesive and more textured." The comparisons to performers like Ani DiFranco are endless, but Sara correctly asserts that the kind of music they are making is different. Accord- ing to Sara, she and her sister have been compared to "any woman who has touched an acoustic guitar" and they've been followed by the assump- tion that, "If you're a woman with an acoustic guitar you're going to be folk." So Jealous is clearly not folk, and the notion that it could be becomes unten- ahle after listening to the power-pop classic, "I Know I Know I Know." Growing up in Canada, Tegan and Sara were exposed to a wide array of music by their young and forward- thinking parents. Led Zeppelin and David Bowie are among their parents' favorite artists, but according to Sara, The Talking Heads, and more specifi- cally their subtle use of acoustic guitar to underscore other instruments, has had an impact on their approach to song- writing. Songs like "Where Does the Good Go" and "You Wouldn't Like Me" showcase this style in ways that would make David Byrne proud. Throughout the '80s,bands like the Pixies, Dinosaur Jr. and Violent Femmes were among the girls' favorites. These musicians' styles come through clearly on many tracks, and shows that the diverse musi- cal background of Tegan and Sara has served their songwriting well. Tegan and Sara have made a fan- tastic album that belies both their age and time in the business. The album is masterfully produced and challenges the listener in all the right ways. The live shows are cut from the same cloth, with the personality of the girls coming through in ways it cannot on the album. "Seeing us, we're better live because there's more personality ... we're better than our record." Snake. Solid Snake. 'SOLID' GROUND KoNAMI'S HIT ESPIONAGE SERIES CONTINUES EXCELLENCE By Adam Rottenberg Daily Arts Editor VIDEOGA ME R EVI EW * ** Is "Metal Gear Solid 3" a videogame or an interactive movie? The videogame industry has been increasingly bridging the gap between films and games, but the "Metal Gear Solid" series has always taken that relationship to the limits, with a heavy emphasis on story and style. "Metal Gear Solid 3: Snake Eater" keeps the espio- Metal Gear nage action of the first two Solid 3: games while moving increas- Snake Eater ingly toward that cinematic PS2 aesthetic. Fans miffed at the bait and Kaai switch of "Metal Gear Solid 2" can rest assured that Solid Snake is indeed the hero of this game (good riddance Raiden). Luck- ily, "Metal Gear Solid 3" transplants gamers back into Snake's origins as a young operative at the height of the Cold War '60s. Snake's mission takes him deep into the jungle - a vast departure from the hi-tech compounds of the previous games - and he encounters an unusual array of souped-up enemies and helpful allies. Though the setting has changed, the basic gameplay mechanics remain. "Metal Gear Solid 3" still rewards stealth over open fire, but unlike competitors like "Splinter Cell," itsis still possible to be successful by just running and gunning. The controls are a bit cumbersome when compared to other stealth action games, but 'Metal Gear Solid" veterans will feel right at home. Noticeably absent this time around is a radar for visu- alizing enemy motion - although a sonar of sorts is available in a limited capacity - making stealth movement even harder. Solid Snake's gadgetry might make James Bond jealous, though judging from the title sequence, "Metal Gear Solid 3" seems to be paying homage to 007. Yet the '60s setting inhibits a lot of the , futuristic technology found in the other games, especially in the titu- lar assault weapon. The game takes place years before its predecessors, focus- ing on Snake's beginnings and r the origins of Metal Gear. The plot plays out like a big-budget Hollywood action flick complete with the requisite insane stunts and gratuitous explosions. Gainers eager to just play won't enjoy the video-heavy "Metal Gear Solid 3." Players may watch as many as 20 straight minutes of movie at any given point in the game. While this may be a turnoff in most titles, it works in this series. Besides the setting, the big change in "Snake Eater" is the introductions of camouflage, food (hunting) and curing ailments. Gainers can alter Snake's camouflage, increasing his stealth. Addi- tional uniforms and masks can be found throughout the game, some altering appearances beyond just camouflage. Snake's stamina relies upon constant eating. Food can be found either in rations or by kill- ing animals. Each animal tastes different and the taste reflects its ability to replenish stamina. And as Snake is attacked, the gamer must manually remove bullets, disinfect and bandage the wound. The new burden placed on the player requires added awareness and strategy in combat. Few games can match "Metal Gear Solid 3" in graphics, sound or story. Solid Snake's epic fight against communism may not be as revolutionary as his first few missions were, but it still maintains the scope and quality expected in the series. As games strive to be considered on par with feature films, "Metal Gear Solid 3" shows the next logical step to fulfilling that destiny. Jak 3' proves too scattered for players By Jason Roberts cally and also without pause, produc- Daily Arts Editor ing a fully streamlined flow of events that isn't often seen in games. The vehicles in the game are cer- tainly a welcome addition. Their All in all, "Jak 3," the concluding controls - Jax and his companion chapter in the epic saga of Jak and can now operate up to eight all-ter- his Joe Pesci-sound-alike sidekick rain vehicles - are a joy to use, as Daxter, is a complete and beautiful their maneuvering is tight and well- universe of colorful characters and executed. The voice-acting by all of a linear storyline the characters involved is also a treat; made up of dis- the humorous banter that often comes jointed parts. If Jak 3 with the expansive storyline is actu- that sounds like PS2 ally that: humorous. a contradiction, SCEA Gameplay is varied enough to that's exactly how L CEA Jkeep gamers interested, though often the game feels. frustrated as well. Newcomers to the Despite its strong, likable cast and series are likely to find the missions stunning art direction, "Jak 3" is too overly difficult and frustrating, not fragmented to be a cohesive product only because of the objectives overall in the end. complexity, but because of the way the Despite this, "Jak 3" is an honest, game responds to a player's intended well-produced game. One of the most actions. A platform-jumping example striking aspects is that the developers early on, a mission taken directly out have introduced a streaming system of UbiSoft's "Prince of Persia" title, of gameplay that allows gamers to go demonstrates this. Unfortunately, the from cut scenes to the playable envi- awkward controls of "Jak" don't hold ronment without any pauses or load a candle to the fluidity and feel of times. Saving is done so automati- "Persia." Technical faults aside, the Avant-garde composer mixes jazz and techno My chocobo broke down. They gave me a loaner. mission simply feels like it has been handled before - and handled with more expertise. The incongruent story is also to blame for the overall lack of cohe- sion. The diverse missions provide an entirely different feel, whether it's flying a hang glider "Pilot Wings" style off of the top of a mountain or careening through the enormous environments on an off-road buggy. However, they rarely feel connected to one another and, more important- ly, to the overarching story. "Jak 3" is in the state of a very dif- ficult balancing act, one that can easi- ly accelerate it to greatness or plunge it into the obsolete. Fans of the series will likely consume this extension with ease, as not much has changed since the last installment. Newbies, however, should be warned: This title has a Jekyll-and-Hyde persona that could lead to one of the most reward- ing gaming adventures orone of the most frustrating. By Lloyd Cargo Daily Arts Writer Music REVIEW *'*N Some of the great composers of our generation aren't conducting orchestras, they're programming computers. No. 9's Joe Takayuki joins Kieran Hebden (Fourtet), Richard D. James (Aphex Twin), Michael Sandison and Marcus Eoin (Boards of Canada) as the men at the forefront of electronica. What separates them No.9 from any loner Micro Films with a laptop and LocustMusic l Warp aspirations is their ability to craft image-rich soundscapes that are both original and fascinating. Takayuki's own niche lies somewhere in between acid-jazz and ambient glitch. His second full-length, Micro Films, advances his organic sound slowly from the country into the city of Tokyo. Micro Films begins leisurely with "From Mushi-No-Ne," a headphone masterpiece that blends left-right pan- ning bleeps with crickets and the same soothing Japanese phrase sampled repeatedly until it fades into the next track. The second track, "Impor- tance of Detection," is a standout on an album full of them. The layers of female voices over mellow xylophone and keyboard riffs make this the rare electronic song that has the ability to get stuck in your head. "Get Gut" showcases Takayuki's more acid-jazz side with an upright bass riff over a glitchy beat reminiscent of Aphex Twin. "Emotion of Four Guitar" demonstrates Takayuki's instrumental prowess with a six-string. The track consists solely of four guitars that are combined into an acoustic collage that gradually builds pace climaxing into "Then,,, Will Be Running." The track serves as an extension of "Emotion of Four Guitar," adding a loose beat and mellow keyboards. "Then,,, Will Be Running" is a perfect example of Taka- yuki's ability to create something that's more than the sum of its parts. "And Laugh ..." is a fitting finale that somewhat represents the whole album in a song. The 16-minute opus begins slowly with a piano line that eventually fades into an acoustic guitar lick. The beat kicks in around eight minutes, and not too long after, a sax starts wail- ing. By the time the track starts wind- ing down with another keyboard line, the trip from the countryside to Tokyo and back feels complete. With Micro Films, Takayuki has crafted a beauti- ful journey that's more rewarding with each listen. Toad the Wet Sprocket live release marred by odd timing By Andrew Horowitz Daily Arts Writer Music R EV1 EW * * In 1991, Fear propelled Santa Barbara's Toad the Wet Sprocket to the height of fame. The melodic pop of "All I Want" and "Walk on the Ocean" combined to make the album a bestseller and radio favorite. A few Toad the Wet years later, the group released Dul- Sprocket cinea, followed by In Light Syrup, Welcome a collection of rarities and B-sides. Home: Live Toad's final LP came in 1997, and C the group disbanded shortly after- Calumtia wards. P.S. came in 1999, a great- est hits collection spanning the group's entire recorded output. Such would be their story, except now, like many bands before, Toad have released a posthumous live album from the vaults of Columbia Records. The timing seems somewhat appropriate. The voice of Toad, Glen Phillips, established himself as a skillful songwriter on 2001's sweet Abulum and 2003's Live at Largo. More recently, he joined forces with bluegrass group Nickel Creek to form the well-received Mutual Admiration Society. The rest of Toad, together in a band called Lapdog, reunited with Phillips in 2003 on a Toad the Wet Sprocket reunion tour. The tour spurred renewed interest in the '90s band and left marketers with a window to present a live album. Recorded at the height of their popularity, Welcome Home: Live captures 1992's Toad the Wet Sprocket play- ing Santa Barbara's Arlington Theater. Present are most of Toad's staples and Philips's pleading voice. Guitarist Todd Nichols produces crisp guitar leads that comple- ment Dean Dinning's folkish bass lines and Randy Guss's simplistic Americana drumming. The dead-on backup vocals that helped define the band's friendly sound are impressive. But like too many live recordings, the album adds nothing new to the band's legacy. "Hold Her Down" captures Toad's mix of pop and country charm with a hint of punk. The assertive admonition of rape, however, seems somewhat lighter when put into a concert setting. "Brother" is a little easier to swallow, a sweet love song imbedded deep with admiration. The hits "All I Want," "Fall Down" and "Walk on the Ocean" are each well-represented in lively versions that reiterate the allure of Toad the Wet Sprocket. However, Welcome Home: Live doesn't add any- thing that hasn't been heard. The album comes across as a distant memory of what was. If released a decade ago, perhaps there'd be reason to celebrate. But times have changed, and what was once fresh has become yesterday's news. For those wanting to reminisce, take a listen, but for the rest, Welcome Home: Live is better left forgotten.