I feel like we’ve changed so much since then. We were crying at this restaurant called Mohawk Bend in Los Angeles. Tegan: I remember Sara had written a song for Heartthrob called “Goodbye, Goodbye,” and we loved it but the A&R on our album didn’t. It had to be - what’s the baseball metaphor? - a home run. We knew it was going to be a centerpiece of that album cycle, that it was going to be a talking point. It stands out as a moment in our catalogue where it was not just Tegan’s decision to do a big pop song. There was no way we were going to go in such a different direction without us both being willing to go there.
Sara: When I think about being aligned, I go back to “Closer.” We both had to be on the same page. And I feel like that whole album cycle, Sara was so experimental with her recordings, and it influenced how we heard ourselves.
#TEGAN AND SARA LOVE YOU TO DEATH SONGS HOW TO#
I always tell musicians, especially women musicians, how important it is to learn how to record yourself because then you learn what you really like and it gives you more control. We were sending CDs back and forth, and I remember hearing those two songs and feeling so inspired. Then right after that, Sara moved to Montreal and she found this air organ on the street. Tegan: “So Jealous” or “Walking With a Ghost.” Both of those songs felt like the future of what Tegan and Sara was going to sound like. The song that impressed the other the most Sara: If I had to pick anything, I’d pick any song on This Business of Art where Tegan rapped. I was basically still coming down from high-school acid. Sara’s songs were really melodically developed. There are parts that are really beautiful, but mostly it’s just like Yahtzee - every section is like, What are we gonna throw out there now?! Here’s a new melody! Sara was the superior songwriter in our early career. That’s the problem with a lot of our first songs. It’s lyrically nonsensical, the melodies are not that strong or good, the arrangement of the song is confusing. Tegan: I know you think that, but I’m the one who just tried to learn it and it’s like, no, it’s worse than presentation. I just think that there’s a presentation issue with the song. I get requests constantly to play a song called “Superstar,” and it is a bad song. Ahead of both projects, we asked Tegan and Sara to go through the best and worst moments of their career thus far. A week later, the duo will release their tenth album, Crybaby, which draws from new sonic palettes and collaborative dynamics.
#TEGAN AND SARA LOVE YOU TO DEATH SONGS TV#
In 2019, they penned their own origin story with the publication of their memoir, High School, which will be brought to a larger audience on October 14 in Amazon Freevee’s Clea DuVall–directed TV adaptation. The duo still act as though they have everything to prove, and for the past few years, they’ve been considering their legacy. Today, Tegan and Sara operate with the same full-throated stakes as they did on that career-or-college night in Calgary. For the past 25 years, their career has acted as their middleman, forcing the siblings to spend time together, while their songs have given them dioramic glimpses into each other’s internal worlds.
They won the bet, forging a career that would become a conduit for connection - not only to their largely queer female fan base, who found one another almost immediately on Tegan and Sara–related internet forums, but to each other. They’ve shared a zygote, a womb, a face, a family, a life story, a career, and now, even 25 years into it, Tegan and Sara Quin still sound as urgent as adolescence.Īt age 17, while competing at the 1998 Calgary Garage Warz battle of the bands, Tegan announced onstage that if she and her identical twin sister, Sara, didn’t get first place that night, their mom would force them to go to college. Photo-Illustration: Vulture Photo by Wendy Redfern/Redferns
0 kommentar(er)
