Sainthood Tegan And Sara Rapidshare
. 'I'll Be Back Someday'Released: July 25, 2019.
'Hey, I'm Just Like You'Released: September 6, 2019. 'Don't Believe the Things They Tell You (They Lie)'Released: September 20, 2019Professional ratingsReview scoresSourceRating7.1/10Hey, I'm Just Like You is the ninth studio album by Canadian duo, released via on September 27, 2019. The album contains re-recordings of unreleased demo songs that the duo recorded as teenagers, and marks a partial return to their original -influenced sound. The lead single, 'I'll Be Back Someday', was released on July 25, 2019. The second single 'Don't Believe the Things They Tell You (They Lie)' was released on September 20, 2019. It was released three days after the publication of their memoir,. Contents.Background While working on their memoir, the duo found dozens of cassette recordings of songs they wrote between the ages of 15 and 17.
From April 2019, they began rewriting parts of the lyrics but kept the 'essence' of each song, and said: 'This is the record we never could have made as teenagers, full of songs we never could have written as adults.' With the announcement, the duo said the album would contain elements of their 'rock and punk roots, with a punch of pop production', and that it is the first 'Tegan and Sara album produced, performed, engineered, mixed, and mastered by a team of all women'.
Tegan & Sara Quin
Promotion Tegan and Sara announced the album on July 9, with a trailer showing home videos of themselves as teenagers playing guitar mixed with new footage of them working on the new versions of the songs.On July 22, the first single from the album, 'I'll Be Back Someday', was announced. It was released on July 25. The second single released was the title track, on September 6th, along with a lyric video consisting of footage of the two as teenagers.A tour in support of the album and their memoir was announced on July 24. It will consist of largely acoustic renditions of songs from the album, as well as older songs and clips of the two in high school. Track listing Adapted from. All tracks produced.
All tracks written by and, except where noted.No.TitleWriter(s)Length1.' Hold My Breath Until I Die'. Quin.
Robotham3:1711.' You Go Away and I Don't Mind'2:5312.' All I Have to Give the World Is Me'2:54Total length:38:08Personnel Adapted from.
Musicians. Tegan Quin – vocals, guitar. Sara Quin – vocals, guitar, glockenspiel. – guitar, keyboards, piano, synths, programming, backing vocals. – drums.
Catherine Hiltz – bassProduction. Alex Hope – producer. Rachael Findlen – engineer. Beatriz Artola – mixing.
Sainthood Tegan And Sara Rapidshare Video
– mastering. Annie Kennedy – assistant engineerDesign. – art direction. Trevor Brady – photographyCharts Chart (2019)Peakposition2143US154References. ^ Cliff, Aimee (September 27, 2019).
Retrieved September 29, 2019. ^ @teganandsara (July 22, 2019).
Retrieved July 23, 2019 – via. Retrieved July 10, 2019. ^ Daw, Stephen (July 9, 2019). Retrieved July 10, 2019. Rettig, James (July 9, 2019). Retrieved July 10, 2019.
^. July 9, 2019. Retrieved July 11, 2019 – via. Retrieved July 23, 2019 – via.
September 6, 2019. Retrieved September 29, 2019. Tegan and Sara.
July 23, 2019. Retrieved July 23, 2019. Retrieved July 26, 2019. Retrieved July 12, 2019 – via Instagram. Retrieved July 12, 2019 – via Instagram. (PDF).
October 7, 2019. Retrieved October 5, 2019. Retrieved October 8, 2019.
Billboard on Twitter. Retrieved October 8, 2019.
Carefully selected case studies could convince you anyone can be a star with a well-timed leak, blog post, or P2P push, but there are still few substitutes for good ol' fashioned hard work. Case in point: Tegan and Sara, who have worked their way up from cult status to wider prominence through a steady regimen of touring and a gradual musical evolution and maturation that's made it harder to ignore their increasingly impressive achievements.Those achievements peaked to date with 2007's The Con, but that shouldn't negate the merits of the Canadian Quin sisters' somewhat likeminded follow-up, Sainthood. The Con, sympathetically produced by Chris Walla, found Tegan and Sara trading the occasional preciousness and banal power-pop tropes of their earlier work for something more eclectic and personal, and Sainthood, which once again enlists Walla, continues to showcase the pair's confidence and peculiarities.What's different is that the Quins have closed the aperture ever so slightly, retaining some of the character of the album's predecessor while applying a slightly sharper focus to the songs and their musical scope. In theory, tracks like 'Don't Rush', 'Hell', 'The Cure', and 'The Ocean' count as power-pop, but tightly wound as they are, they're closer to high-strung 1980s new wave (think: Missing Persons), albeit thankfully short on the attendant affectations and coursing with subtly dark undercurrents.
'I've got the cure for you,' sings Tegan in 'The Cure', and in fact, given the enigmatic lyrics, it's unclear if the object of her attention should accept or refuse the help. Or whether they even have a choice.Those aforementioned songs, incidentally, are Tegan's- the more pop-oriented of the pair.
But to set up such a dialectic does a disservice to sister Sara, whose own pop instincts clear the quirkier hurdles of songs like 'Arrow' or 'Red Belt'. Certainly, 'On Directing' or 'Alligator'- two obvious album highlights, the latter playing like a late-night backroom flip of Madonna's 'Holiday'- don't lack in hooks, but they're developed with a welcome austerity and Sara's disinclination for easy 'big moment' build up and release.Sara's 'Sentimental Tune' is no less restrained; it could easily go for Kelly Clarkson bombast, and maybe would even be better for it, but kept in check, that song- like Sainthood as a whole- achieves a less immediate but perhaps more gratifying impact.
The album's infectious, but with enough edge to temper its undeniable desire to connect. Which it does, just on its own terms, a broadcast from two idiosyncratic musical minds whose biggest talent may be in making their most eccentric traits sound downright normal. After all, from the Quin twins' perspective it's the audience that's accessible, and they know just how to reach them.