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Alternative & Indie - Released September 27, 2019 | Sire

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Alternative & Indie - Released July 23, 2007 | Vapor - Sire

Although identical twin sisters Tegan and Sara Quin first appeared in the music scene in the late '90s playing the kind of folk-rock and folk-punk more associated with other Lilith Fair (in which they participated) artists of the time, by the time 2007 rolled around they had moved into much poppier territory. It was a progression, to be sure, from This Business of Art to their fourth Vapor full-length -- one that can be heard in the time spent on production, the louder guitars -- but that still may not prepare listeners for The Con. Produced by Death Cab for Cutie's Chris Walla, the album is full of quirky, Aqueduct-like keyboards, punchy bass from Weezer's Matt Sharp and AFI's Hunter Burgan, and even some guitar help from Kaki King that stretch and shove their way into the spaces between Tegan and Sara's hook-driven melodies and clean harmonies, more complex than anything they've done before. Though each sister writes and sings lead on seven tracks, it is Sara especially who writes the more intricate pieces ("Relief Next to Me," "Like O, Like H"), showing a more adult songwriter, one who has matured since her first work came out, while Tegan draws more from simpler emo and pop-punk arrangements ("Nineteen," "Hop a Plane"), her songs more straightforward, both compositionally and lyrically, than her sister's. But this isn't to say that there's a kind of disparity or harsh contrast on The Con. Much like the duo's voices, which share a timbre, a clear relationship, even if their actual tonality differs, the songs on the album complement each other, play off the other's strengths, and make the record very much an entity instead of simply a collection of tracks, setting it off as an impressive step forward in their already commendable discography. ~ Marisa Brown
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Alternative & Indie - Released June 3, 2016 | Vapor - Sire

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Pop - Released June 3, 2016 | Warner Records

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Alternative & Indie - Released September 20, 2019 | Sire

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Alternative & Indie - Released September 14, 2004 | Vapor - Sire

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Alternative & Indie - Released September 14, 2004 | Vapor - Sire

Tegan and Sara's third album, So Jealous, is by far their most ambitious and liveliest record, opening up their punk-folk sound with a heavy dose of new wave sensibility and pop hooks. They started moving in this direction on their previous album, but here they dive headfirst into slick, shiny surfaces, insistent synths, clean guitars, and bright, playful melodies that sound sunny even in minor keys. This musical revamp doesn't betray their nervy emotionalism. Instead, it focuses them, giving their music style and flair that focuses them while making the duo more accessible. And So Jealous is indeed the Tegan and Sara album that could play to a wider audience, but the group remains an acquired taste for one reason: their thin, squeaky voices and close harmonies can be grating to the uninitiated. Nevertheless, for those who have acquired that taste, So Jealous is the most satisfying album Tegan and Sara have yet made. ~ Stephen Thomas Erlewine
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Alternative & Indie - Released January 29, 2013 | Vapor - Warner Bros.

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Alternative & Indie - Released January 28, 2013 | Vapor - Warner Records

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Alternative & Indie - Released July 25, 2019 | Sire

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Alternative & Indie - Released June 3, 2016 | Vapor - Sire

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Alternative & Indie - Released January 29, 2013 | Vapor - Warner Records

On their 2009 album Sainthood, Tegan and Sara made some tentative steps into the pop mainstream by stripping their sound down to the bare essentials and delivering a batch of their hookiest songs to date. Four years later, on 2013's Heartthrob, the duo dives into the pop mainstream headfirst. Working mainly with producer Greg Kurstin, the duo's approach is slick and punchy with lots of synthesizers, programmed drums, and a sound that falls somewhere between Robyn and Katy Perry on the pop spectrum. While longtime fans might be a bit perplexed by the shift, they will find plenty of familiar ground to cling to as the record plays and the smartly written and tear-filled songs follow one after another. Indeed, the core musical values that have always made Tegan and Sara special, like their ability to write super-hooky melodies, their willingness to strip their emotions bare, and their powerful voices, remain fully intact on Heartthrob, and the shiny package that surrounds them only seems to have made their collective impact stronger. The insistent impact of the album's opening track serves as a statement of intent -- "Closer" comes bursting out of the speakers in a rush of barely contained emotion and sports the type of thrilling chorus that fills your heart with joy as you breathlessly sing along. The rest of the album has the same sonic impact and emotional power as it alternates between new wave-influenced rockers ("Goodbye, Goodbye," "Drove Me Wild") and moody and dramatic midtempo tracks ("Love They Say," "How Come You Don't Want Me") that wouldn't have been out of place on an early Cyndi Lauper record, before finishing with a pair of bleak synth pop heartbreak ballads ("Now I'm All Messed Up," "Shock to Your System") that make La Roux sound like Bananarama. After a long career spent making subtle adjustments to their approach, it took some real guts to make such a drastic change, and the gamble pays off for them. Heartthrob is the sound of Tegan and Sara taking on modern pop music head-on and winning in triumphant style. One would have to go a long way to find a pop record that is as easy to swallow, yet contains such depth. Welcome to the mainstream, Tegan and Sara...thanks for classing the place up a bit. ~ Tim Sendra
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Alternative & Indie - Released September 27, 2019 | Sire

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Dance - Released March 8, 2013 | Vapor - Warner Records

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Alternative & Indie - Released August 14, 2007 | Vapor - Sire

Tegan and Sara's If It Was You can quickly be summed up by using a few terms from music land that everyone should be familiar with: Lilith Fair, Alanis Morissette, power pop, and hooks. Combine all the ideas and you have Tegan and Sara. There are acoustic moments on If It Was You; there are also full-on pop/ rock moments. The singing is the primary focus of the album, with both sisters carrying the weight of the vocal work. Going back to their punk roots seems to have helped, as many of the songs seem more raw than what one might expect from a formerly acoustic duo. It seems that success is almost guaranteed for an act such as this, seeing as they've played with Ryan Adams, Neil Young, and Rufus Wainwright, and also appeared on The Late Show with David Letterman. Not a bad offering that is sure to catch on -- as long as it can get noticed in that large bin of music labeled "lots of talent and commercial potential...we just need the right people to hear us." ~ Kurt Morris
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Pop - Released June 3, 2016 | Warner Records

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Tegan and Sara have never been shy about changing up their sound, but 2013's Heartthrob was their biggest leap yet, one so drastic that it left some of their fans behind. Their slickly produced modern pop sound also gained them lots of new fans in return without sacrificing the intense emotions, lyrical insight, and songcraft their earlier albums delivered. Turns out the sisters are great pop vocalists, too. Their next album, 2016's Love You to Death, stuck to the same basic template, retaining Greg Kurstin as producer and surrounding their heartbreak ballads and empowering new wave rockers with glitteringly clean synths, percolating drum machines, and state of the art production. In the middle of it all are the stripped-raw, painfully honest vocals of the sisters telling the truth and laying themselves emotionally bare. Their version of pop music doesn't involve California girls or disco balls, AutoTune or EDM. Beneath the freshly scrubbed surfaces, the songs are as powerful and real as anything they did as an acoustic duo or an alt-rock band. The harsh truths of "Boyfriend" or "That Girl" aren't typical in pop music and that's why the duo are able to connect with listeners on a deeper level even as the huge pop hooks have them singing along. And there are lots of hooks on Love You to Death. Maybe none as splashy as the previous album's "Closer," though "U-Turn" comes close, but the overall catchiness level is just a little bit higher here. The rollicking "Dying to Know," the punchy "Stop Desire," and "B/W/U," which clothes its sadness in bubbling synth pop, would have been highlights on Heartthrob. Their ballad game is strong, too, with Sara's breathtaking piano-led "100X" leading the way and the album-ending, montage-ready "Hang on to the Night" very close behind. Love You to Death is a brilliant consolidation of what Tegan and Sara started on Heartthrob, taking their deeply felt songs to the masses without losing any of what made them so great, so real, and ultimately so relatable no matter what one's situation in life may be to begin with. Their honesty and intelligence shine through at all times, and they take the sublime parts of the modern pop landscape, while giving no time to the ridiculous. Like Heartthrob, this is pop music that is all heart all the time, and for that, the sisters deserve every accolade that comes their way. ~ Tim Sendra
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Pop - Released September 30, 2014 | Vapor - Warner Records

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Alternative & Indie - Released December 16, 2011 | Vapor - Warner Records

Although identical twin sisters Tegan and Sara Quin first appeared in the music scene in the late '90s playing the kind of folk-rock and folk-punk more associated with other Lilith Fair (in which they participated) artists of the time, by the time 2007 rolled around they had moved into much poppier territory. It was a progression, to be sure, from This Business of Art to their fourth Vapor full-length -- one that can be heard in the time spent on production, the louder guitars -- but that still may not prepare listeners for The Con. Produced by Death Cab for Cutie's Chris Walla, the album is full of quirky, Aqueduct-like keyboards, punchy bass from Weezer's Matt Sharp and AFI's Hunter Burgan, and even some guitar help from Kaki King that stretch and shove their way into the spaces between Tegan and Sara's hook-driven melodies and clean harmonies, more complex than anything they've done before. Though each sister writes and sings lead on seven tracks, it is Sara especially who writes the more intricate pieces ("Relief Next to Me," "Like O, Like H"), showing a more adult songwriter, one who has matured since her first work came out, while Tegan draws more from simpler emo and pop-punk arrangements ("Nineteen," "Hop a Plane"), her songs more straightforward, both compositionally and lyrically, than her sister's. But this isn't to say that there's a kind of disparity or harsh contrast on The Con. Much like the duo's voices, which share a timbre, a clear relationship, even if their actual tonality differs, the songs on the album complement each other, play off the other's strengths, and make the record very much an entity instead of simply a collection of tracks, setting it off as an impressive step forward in their already commendable discography. ~ Marisa Brown
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Pop - Released November 4, 2016 | Warner Records

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Alternative & Indie - Released October 23, 2009 | Vapor - Sire