HeartThrob by Tegan and Sara album review and Posters.
There’s no through-line to the method Tegan and Sara think about love on their seventh studio cd. Often love heals all injuries; other times it’s the cut itself. And sometimes it works as a mere accessory to more important matters, as in the disc’s lead single, “Better.” “All I dream of recently,” they sing over a pulsating disco-rock groove, “is the best ways to get you beneath me.”.
Consistencies do not get closer, or stranger, than the those of Tegan and Sara. Their voices meld so perfectly, they can seem like mirrors, reflecting each other into infinity.
Genetics had something to do with it. Tegan and Sara aren’t just bandmates, they’re additionally identical twins. Small wonder they in some cases seem to be staying in their very own “Patty Duke Program,” playfully perplexing us with their purposes and identities.
If “Heartthrob” provides a believably irregular vision of how love happens, the cd does it with an immediacy and a directness that feels brand-new for these Canadian twin sisters, who have built a devoted following of indie-minded fans. In “Bye-bye, Goodbye” and “Drove Me Wild” they trade homey folk-pop guitars for sparkling new-wave synths, while “How Come You Don’t Want Me” rides an ’80s – design drum-machine beat reminiscent of the Person League struck that virtually shares its title.
“Heartthrob” represents a major rethink on their design, a possibly far more commercial one. Rather than the darting, nerdy guitar-based noise of old, they’ve gone for something richer and deeper, found in the soft pillows of synth-pop. Aided by manufacturers as canny as Mike Elizondo (Maroon 5, Carrie Underwood), they’ve adopted an overall “I Love the ’80s” method.
To fit it, the sisters sensualized their tunes. They’re longer and more comprehensive, with a couple of speed bumps strategically placed occasionally to separate their racing noise of old.
You could associate that sonic shift in part to producer Greg Kurstin, who offers “Heartthrob” a few of the mega-pop gloss he’s given current hits by Pink and Kelly Clarkson. (” I Couldn’t Be Your Buddy” has a keyboard noise relatively repurposed from Kurstin’s deal with Lily Allen.) In immediate, deeply felt tunes such as “Better” and “I’m Not Your Hero,” Tegan and Sara appear determined to be comprehended– disparities, contradictions and all. Juicy, radio-bait choruses may just be a means to an end.
Normally, the sisters’ vocals got an overhaul of their own. They sing apart more often, and each of them tries to tap into something less girlish, more womanly. (They are, after all, now 32.) The result alters the entire texture of the Tegan and Sara noise, though, happily, they’ve maintained their flair for harmony, hooks and tunes.
The solitary, “Closer,” with its warm bed of synthesizers, could not be catchier. Like many tunes below, you’ll want to sing along by the second time through.
The sisters likewise tempered their lyrical perspective. While they utilized to specialize in pining and put-downs (of themselves), here they take care of heartbreak in a more observational method. They even sing one turndown piece in the third person (” Shock to Your System”).
It’s a smoother, friendlier sound than their old panicked one.– with the essential strangeness of their consistencies intact– the sisters’ slicking-up hasn’t amounted to a selling-out.
There’s no through-line to the method Tegan and Sara think about love on their seventh studio cd. Often love heals all cuts; various other times it’s the cut itself. Tegan and Sara aren’t simply bandmates, they’re additionally identical twins. In immediate, deeply felt tunes such as “Closer” and “I’m Not Your Hero,” Tegan and Sara appear determined to be understood– inconsistencies, contradictions and all. The result alters the whole texture of the Tegan and Sara noise, however, gladly, they have actually kept their flair for consistency, hooks and tunes.