Tegan & Sara's new album Sainthoodis now streaming live from
their myspace. In part two of our Sainthood review, we review
Sainthood album track-by-track in obsessive detail so we can
all talk about it constantly forever!
Hello Autostraddle, this is Intern Emily! If you're among those
eagerly anticipating October 27th's arrival (or Oct 23 if you live in
Australia), the good news is that Tegan & Sara recognize our
impatience and have decided to stream the entire Sainthood
album on the internet RIGHT NOW! Coincidentally, I've prepared a
track-by-track breakdown so that as you listen to the album, we can
obsess together in the comments section. Crystal will be joining me
for parts of this conversation because she has some residual feelings
from writing the album review, but also because I have an epic Sara
bias and someone around here has to be the voice of reason. Crystal
has clearly edited this part in.
Isn't this great!? If you're not already jumping at the thought of
hearing new Tegan & Sara songs then I'm not sure what else I can do
for you. Seriously though, this is a very exciting time in our lives.
Not only am I about to analyse each track in great detail, but you
also have an opportunity to win a copy of Sainthood and have
your name drawn out of Laneia's fedora. And there's still something
that's going to be better than all of these things combined showing up
here really soon. I know, right? What could it be!
But for now, turn the volume up and GET READY.
1. Arrow [Sara]
Emily: Tegan & Sara begin Sainthood with a risky track. To
be honest, the first 30 seconds of Arrow scared me - "what the hell is
this? Is the whole album like this?". Comfort came when the chorus
went back to the usual Tegan & Sara style.
Sara displays her strong vocals a lot on this album and especially on
this track. Arrow may be overlooked 'cause of the stronger tracks
which follow it. But the more I listen to it the further up the
favourite list it climbs.
Crystal: I was a little nervous when I heard the beginning of
this track, but I was also excited. It was different, and not having a
super strong attachment to The Con, I was ready for it to take
me somewhere new. It did, too. There's beauty in this track's
simplicity and the switchup to the upbeat chorus keeps things
interesting. But I don't understand the lyrics, I mean sugar spell it
out.
Emily: I don't know what this song is about, but I'd never
claim to know what any Tegan & Sara song is about unless they explain
it, especially Sara's. She often rocks strange & cryptic lyrics. I
can't tell if she's the arrow or the target, can you?
Sometimes I feel like all of Sara's lyrics are about sex, but very
cleverly disguised.
I feel the breeze, your feathers of an arrow
Out in my yard, feathers of an arrow
I take my aim, you feel me coming close
2. Don't Rush [Tegan]
Emily: Don't Rush is unmistakably Tegan & Sara, yet it wouldn't
have fit any prior albums because it's definitely a point they've
grown to. With heavy, metronomic synths pulsating under a hooky verse
and even hookier chorus, Don't Rush makes me want to dance like a
crazy person. This is definitely as a pump up song. You know who's
pumped? Crystal. Srsly, she has not shut up about this song.
Crystal: This song has been stuck on high rotation in my head
for WEEKS. I've been singing it out loud, non-stop, and this has
attracted a lot of curious and also frustrated stares because it's not
released and so no-one knows it's an actual song yet. And to be fair
my rendition is also a little pitchy. I think the bass line on this
track makes the strongest first impression on this album, it's killer.
Emily: Though the tune is "less emotional" than others, Tegan
still successfully breaks my heart: I'd love to find my other, love to
find you… Or maybe I'm just single? Sigh.
Although Tegan hates Superstar, this track says still continues to
enjoy spoken word. I don't really like Superstar either and I'm not
that huge a fan of the spoken word they used in Are You Ten Years
Ago?, but I love the way she uses it here, especially in the bridge.
One way to erase bad ideas
I won't see you when you arrive
One way to escape bad ideas well
I won't cry to you
Not that you will mind
Sidenote: Riese and Alex love Are You Ten Years Ago?
3. Hell [Tegan]
Emily: Sainthood's first single, Hell, is a catchy, crowd-pleasing
pop-rock song about an article Tegan read about her neighbourhood that
described the four blocks as "hell". Even though I have a hard time
discerning what Tegan is singing in the verses, I can't stop singing
along with the chorus.
As stated in the press release, "Inspired by emotional longing and the
quiet actions we hope may be noticed by the objects of our affection,
Sainthood is about obsession with romantic ideals." Tegan & Sara can
try as they might to write about other things, but they always seem to
come back to love and relationships - not just the sexual, but all of
it. That's how I relate to Tegan & Sara the most - no matter how hard
I try, everything seems to be about love even when it's not about
relationships.
This track is probably about Tegan's relationship with herself, living
in a place that someone else has described as hell. Described by Tegan
here, "I wrote these songs [Hell and The Cure] about the neighborhood,
but they're really just metaphors for love."
I know you feel it too, these words get overused
When we get up and over it and over them, up and over it and over them
4. On Directing [Sara]
Emily: I love Sara Quin. Let that be known. Why do I love Sara
Quin? Because she wrote Back in Your Head and THIS. This is perfect,
this is Sara, this is the kind of amazingness I expect and she's
delivered, she always does. She sings "Go steady with me. I know it
turns you off when I get talking like a teen," and I think everyone,
everywhere - except maybe Crystal - knows what she's talking about.
How many times have you tried to talk to someone and ended up sounding
like an idiot? Like a high school kid? All you want to say is "go
steady with me".
Crystal: I guess I am the exception because while I like this
song fine, I don't really relate to it. The only response it evoked
from me was: 'Yeah, you're right - sometimes it is a turn off when
people talk like a teen.' But to be fair, I didn't really relate to
Back In Your Head either and so these tracks are probably not written
for me, only for people with hearts.
Emily: While I appreciate our differences, I just need to say
OH MY GOD I CAN'T BELIEVE YOU DON'T RELATE TO BACK IN YOUR HEAD.
Moving on.
There are topics that are cliched, y'know. Like love, for example. But
I think what distinguishes a good writer from a great writer is their
ability to write about common topics but make them sound new,
different, exciting, profound - those who make you think, 'wow I never
thought of it like that before'. Tegan & Sara do it time and time
again, see: Dark Come Soon, Back In Your Head, etc. Now I'm adding On
Directing to the list.
This song makes me think of a high school science class, when you're
supposed to be looking through a microscope but you keep glancing
sideways at the cute girl over there. Unrequited love hurts. Also, the
drums on this song are amazing.
You directing me, you dressed up I lose my grip, I lose my focus
Make those eyes at me, I lose my grip, I lose my focus
5. Red Belt [Sara]
Emily: What is this song about? I have no idea, Sara won't tell us.
Red Belt is a real gem that could easily be overlooked because it's
right after On Directing and is a little slower and could get lost in
the mid-tracklist vortex. Like I said in our Sainthood album
review, if you listen to Tegan & Sara as background music then you'll
probably never fully appreciate them. I urge everyone to listen to Red
Belt carefully, because it has become better every time I've heard it.
Sara's voice is so soothing. Also, I love the weird keyboard thing in
the background. Crystal says that's not a technical term but whatevs.
If you didn't believe me when I said Sara is a lyrical genius/weirdo,
maybe you'll catch on when she sings "I've got a red belt around my
mind. Hands tied, around these words. I wish you'd call but I know
that you're out tonight." Do you hear that? That's the sound of my
heart breaking.
Crystal: I still don't get it, lyrically. However this is one
of my preferred 'Sara songs' on the album, it's very well written and
I particularly love the electro in it. I continue to have no idea what
she's singing about, however I am starting to form the opinion that
maybe Sara's songs are impervious to interpretation, that she is far
more clever than I and that I should just accept this.
Slow down, you have a tendency to rush back into your past
Slow down, you transfer all your weight and disappear
You kneel, to condition all the feelings that you feel
6. The Cure [Tegan]
Emily: Like Hell, The Cure is also written about Tegan's
neighborhood in Vancouver. I'm guessing instead of "making the
changes" she wanted to, she wrote this song, which is fine, 'cause,
like, obvs, Sainthood.
The Cure isn't risky or "out there". It's fairly predictable for most
of the song, except for the bridge which builds up into awesomeness.
Tegan always has a sort of pleading desperation in her voice which I
love and can really be evidenced in her demo of Hop a Plane.
Oh, I must keep going so you must too.
Personally, I like Hell better.
Crystal: Personally I like The Cure better. I like the clipped
words in the verses, the immediacy and the way she sounds like she's
rushing the lyrics to fit them all in. And I'm glad Emily mentioned
the bridge because it is hands-down my favourite moment of this entire
album. I don't know how it's possible for a few bars to make me feel
this good.
I know the world's been mean to you, I've got a cure, hold tight
I know the world's been cruel to you, I've got a cure for its crimes
7. Northshore [Tegan]
Emily: We know Tegan is more likely to write a grungy rock song
than Sara. We've seen it before, as early as when she wrote Time
Running for If It Was You, and Hop a Plane for The Con.
On Sainthood we had the dreamy Red Belt, followed by the more
relaxed The Cure, which has now lead us to.. whoa. Northshore is a
two-minute explosion of awesome in-your-face punk rock. It took a
while for me to get used to this song but the more I listen, the more
it grows on me. True to the Sara fan club, I LOVE her background
vocals: "sick abooout this, soooo addictive". Kind of like this song.
You know when you're mad and you just yell/rant at someone without
stopping to get everything off your chest? I feel that's happening in
Northshore, that Tegan's like "BACK OFF YOU CAN'T DO ANYTHING TILL I'M
DONE RANTING". Once I got over the initial surprise, I was like "Yeah!
Go Tegan!". Also, I just want you to know that I often rock out to
this song at 6:30am.
Crystal: I can't help but to love this song, it leans closer
the style of music that I enjoy listening to when I don't have to
write about it, the 2-minute short fast bursts of energy that have
cultivated many questionable love affairs with bands like Green Day
and Jebediah. I'm attracted to the way Tegan throws down in this
track, she does it so well. I equally love that the lyrics are a
little dark and angsty, even verging on masochistic, it's a nice
addition to this record.
Something's so sick about this, my misery's so addictive
I'm halfway there watching northshore from the floor
Singing to you over my shoulder
8. Night Watch [Sara]
Emily: I think I rarely like a Tegan & Sara song upon first
listen. Night Watch has a seriously catchy melody and makes me think
of an old mansion where a woman was murdered. I don't think that's
what Night Watch is about. This is a weird one. Also, I think it's the
first time they're writing about their parents divorce, something
they've talked about in interviews fairly openly. Some fans might not
catch on to this song at first because it's almost frustrating in its
slow, aggressive beat. Or maybe that's just me.
Crystal said she read somewhere that this track is written from their
parents' perspective, but she can't remember where she read it or if
it was even a reliable source and so that's helpful. This track makes
me imagine a little Sara sitting on the stairs at night listening to
her parents fighting [this is just my imagination, clearly I know
nothing about their childhood]. When Sara sings "I deserve this
anguish on my house" it makes me think of a younger version of herself
believing that everything is her fault, 'cause kids always think
tragedy is their fault. Despite the short, repetitive lyrics, there's
something intensely personal about them that makes it harder to
criticize than a song about love. Whether or not it's written from
their parents' perspective or if it was indeed Sara's, it offers
insight into their childhood and I find that fascinating.
I've got grounds for divorce, it's in my blood this divorce
I've separated everybody, I need distance from your body
I've deserve this anguish on my house.
9. Alligator [Sara]
Emily: I only just said that it's unusual for me to like a song on
first listen - and Alligator is a definite exception. I was instantly
attracted to this song for reasons I can't explain, probably the same
intuition that makes me clearly biased toward Sara. Let's be honest;
Alligator has some of the weirdest lyrics on the album, even in
comparison to Paperback Head which I'm going to talk you through next.
But it's almost as if the more abstract lyrics Sara writes, the more I
like her songs. Because I've almost given up on trying to figure out
what Alligator means, I've allowed myself to just listen without
analyzing it. That being said, if anyone has any theories about what
this track is about then I would love to hear them.
The first time Tegan & Sara played Alligator live, at Rifflianda, Sara
said "I'm pretty much terrified, for this one. I don't think it's
gonna be bad, I just think it's gonna be .. interesting," and then
described it as "a dancey one". Well, it is "dancey". It's also stands
out as one of the more polished tracks on the album. Someone pointed
out to me that this is one of the first times where both Tegan & Sara
play keyboards live, which is an interesting factoid. I've also heard
people claim that the reason they can't get into Tegan & Sara is
because of their voices. Sara doesn't necessarily show off her vocal
skills in Alligator, but they definitely have a presence here you
can't ignore - powerful, forceful and spot on.
Crystal: Unlike Emily, this track did take a long time to grow
on me. But when it did, it did so in a serious way. I like that it's a
bit of a departure from other songs they've done, it's one of my
favourite songs of Sara's. Once again I'm not super keen on the lyrics
but I think we've established now that we're just not riding the same
lyrical wavelength.
Sensitive, it's true
Alligator tears cried over you
Run around on me, sooner die without
Run around on me, die without
10. Paperback Head [Tegan & Sara zomg]
Emily: Oh my God you guys! This is the first we're ever hearing of
Tegan & Sara writing together! Let's take a minute to think about
this. After about 11 years of making music, we have never heard a true
Tegan & Sara collaboration - well not unless you count This is
Everything, which Sara allegedly wrote the first few lines of and then
Tegan finished it. So my expectations were high.
This is a strange song, but it's grown on me, they always do. It's dry
and reminds me of something foreign and exotic, which is why I
orginally thought this was a Sara song, because she sings it and the
lyrics are very Sara-esque, meaning I have no idea what they are
about. Being familiar with the works of Tegan & Sara, I'm going to go
out on a limb and say it's probably about love or something, or maybe
Madonna.
I would describe Paperback Head as dreamy and smokey, which is
probably not helpful in any way, I can't accurately describe
instrument sounds like real music reviewers can. But I can tell you
this: Paperback Head opens up perfectly for THE FINAL THREE/the big
bangs/the most amazing songs on the whole album.
Crystal: I didn't have any expectations for this track and I'm
glad, because Tegan totally sold out. JK, I love you Tegan. But I do
agree with Emily's observation that this song sounds more like
something Sara would create, mainly based on lyrics, which are a
little strange. How strange? When providing me with lyrics for
inclusion into this review, Emily was only able to decipher one line
out of the entire song. That line was:
A material girl.
Crystal: I couldn't help but to laugh and think, really? This
is the best you've got?
I'm kidding though, lyrics are such a personal thing and these are
better than anything I've written ever including this paragraph. I
think this is a decent track and it really does holds its own on this
record album. If this is their first shot at co-writing songs together
then I think the future sounds bright.
11. The Ocean [Tegan]
Emily: If there's one thing that Tegan & Sara are good at, it's
writing lyrics that everyone can relate to. Tegan displays that
ability brilliantly in The Ocean, a song that's full of frustration,
sadness, longing, and desperation.
"Well, I know what I want, and what I want is right here with you".
The Ocean makes me sad. It makes me think of driving down the
California coastline with the top pulled down and the sun setting on
the water. I don't know if that has anything to do with the meaning
but it makes me think of Tegan maybe leaving something behind or
remembering what she used to have. Crystal says that it reminds her of
someone sitting in a lifeguard's post on the shoreline of a California
beach, staring out into the ocean in deep thought, like they did on
Baywatch. What does it make you think of?
The feelings behind this song changed with every listen, but I think
I've landed on nostalgia and maybe a touch of jealously and
bitterness. I imagine that Tegan is wrestling with her feelings for a
former lover who she wishes she didn't care about but somehow can't
let go of. She keeps repeating the line "If I imagine you, body next
to another", which emphasizes the idea that everytime she thinks
about/sees the other person she's imagining them with someone else. It
hurts/sucks and she wishes the other person would "stop crying over
me" because it's over and the damage is done. This is truly, truly a
beautiful song. The lyrics are candid and heartbreaking. I feel like
I'm going to come back to this song over the years and cry a lot.
Crystal: I probably will too. I'd like to note that Emily and I
totally geeked out over this song, exchanging multiple essays about
what Tegan could have possibly meant when she sung this or said or
wrote that, I didn't recognise myself. I don't really have anything
else to add except this is an easy contender for the top 3 songs on
this record.
On the drive back here I was worried over nothing
On the drive back there tears spilling over something
When I imagine you, body next to another.
12. Sentimental Tune [Sara]
Emily: Sentimental Tune is a continuation of The Ocean's
beautiful, heartbreaking sound. This track starts off simple,
gradually builds, then explodes. Sara's gone and done all of my
favorite things here, with her weird lyrics and her ability to make a
song really powerful and to make me feel. Though this is not
dissimilar from previous stuff Tegan & Sara have done, it's still a
noticable departure and I like that. It fits very really well at the
end of this album.
In my mind, this is one of the most full and complete tracks of the
record. Even though this is a Sara song, I feel like they really came
together on this one. It sounds natural from beginning to end, like we
should just sit back and let things unfolds.
Sara writes some of the most beautiful, yet simple, words on the album here:
Watch, with a bit of friction,
I'll be under your clothes with a bit of focus
I'll be under your skin
Now you know, you know it now, and so.
Does Sentimental Tune remind anyone else of On Directing? Not in terms
of sound, but more of lyrics … I almost feel like it's a continuation,
like On Directing is the beginning, the courtship, and then
Sentimental Tune is when they've 'settled down' and Sara's like, "now
you know I'm [insert blank of whatever Sara is - weird/crazy]". She
could be talking about the con, how we present this perfect side of
ourselves to people we first meet, but then that guard eventually
comes down and they see right through us.
Sara is soft but calculating, warm and learning. I always find myself
repeating the lines "Hard-hearted don't worry I'm ready for a fight.
Unnerved, the nerve, you're nervous… nervous that I'm right".
Crystal: I find myself repeating those lines too, this entire
song is ridiculously hooky and memorable, she's done an incredible
job. I appreciate the lyrics specifically, I think somewhere deep down
I wish I wrote the phrase "with your cause and affection".
Overall this is just very clever and tight and cool track, so much so
that it really does make me wonder if all of Sara's other songs are
equally brilliant and I'm just missing something. [Emily: yes and
yes.] I have no idea what this song is about, but I feel like she's
singing about me. That's all I can really say about that.
13. Someday [Tegan]
Emily: When listening to Sainthood for the first time, Someday
evoked the biggest reaction from me. I emailed Crystal immediately
with: "Someday: cheesy or brilliant? When I first heard the lyrics my
first response was "Really, Tegan? Really?", but it's since become the
track I've listened to the most."
With this last track, Crystal and I have finally agreed on something:
Someday is our favourite track on Sainthood. At first listen,
this track may sound like an anthem a garage band might be inclined to
write, one of those "fuck you, world! we're gonna be famous one day!"
tracks - but IT'S NOT, and that's partly why it's so great. This isn't
about how the world has wronged Tegan. It makes me think of a 17-year
old Tegan getting over a first relationship and putting on a false
bravado to prove she's going to become something, like she's trying to
convince herself rather than anyone else.
Someday it evokes a real emotion, it hits close to home. Instead of
trying to be perfect and shove it in everyone else's face, it's saying
"I might become a decent human being one day, I might make my
parents/family/friends proud and that's all that matters". It's not
about changing the world, it's about changing yourself for the better.
This track is a really nice way to finish off the album. It's
emotional without being depressing, hopeful without being cocky.
'Cause, really, we all want to believe that we might do something
worthwhile someday.
Crystal: I cannot really add too much more to what Emily has
said, it's perfect. This track isn't only my favourite on the album,
but it's very close to becoming my favourite song in Tegan & Sara's
entire catalogue, only marginally surpassed by Dark Come Soon and
maybe also that song about the wherever all the trees went. Someday
affects me in the same way that Dark Come Soon does, I relate and I
feel and I empathise to the extent that my gut hurts each and every
time. That reaction is hard to come by, not even (most of) my all-time
favourite artists have made me feel like Tegan makes me feel right
here.
Might paint something I might want to hang here someday.
Might write something I might want to say to you someday.
Might do something I'll be proud of someday.
Mark my words I might be something someday.
-
Emily's final thoughts:
'Tegan & Sara keep getting better. Everything we love about them came
through on Sainthood — and then some. The last three songs on
the album are so good, I would be happy if all they had released was a
3 track EP. Instead, they released a whole album full of win and my
heart is bursting. Allow me to fangirl for a moment: there is no other
artist/group that I care about more than Tegan & Sara. Except maybe
Autowin. But she doesn't make music.
I don't think there was ever a question of whether Sainthood
would measure up to The Con. Everyone expected whatever came
out of the studio to be good, we just didn't know how good. Well, I
say, Tegan & Sara have delivered. Now brb I have to go listen to
Sainthood and pretend that Tegan & Sara are my friends.