If Tegan and Sara’s last album, Sainthood, showed the Quinn sisters inching towards commercialism through
a rhythmic snythpop structures, then Heartthrob
finds them taking giant steps towards actually morphing into conformed pop act,
now playing on your teenage niece’s iPod.
For some-myself included-this transition has proved to be
troubling. Stylistic opinion aside, the curious part of it all was “Why now?” Tegan
and Sara Quinn are firmly past thirty, and should theoretically be over trying
to play footsie with Top 40 radio and mainstream America . Wouldn’t it make more
sense to make more of the smartly appointed direction of previous high-points
like The Con or So Jealous? Both of those efforts made a point to branch away from
their acoustic beginnings and Lilith Fair labels while adhering to a higher
standard of quality control.
For Tegan and Sara to begin pining for the lowest common
denominator seemed a bit of a letdown, and Sainthood
ended up confirming that a bit. So
forgive me if my excitement level dropped the moment I heard Heartthrob’s lead-off single “Closer” as
it confirmed the synthpop direction would be continuing, and the Quinn’s would
even be adding more sugar to the mix, making the entire record a tooth-rotting
affair.
Heartthrob is
indeed, all of those previous descriptives-well, maybe “tooth-rotting” is a bit
harsh-but it is also incredibly coy. It doesn’t take long before you’re riding
out the sugar coma from Tegan and Sara’s own HFCS complacency, shamelessly
addicted to the contrived songs they’ve served on this tight ten track package.
The difference with album number seven is how both sisters
seem on board with this controversial departure and commitment to accessibility,
which is Heartthrob’s ironic moment. By
going all in, Tegan and Sara sound strong enough to withstand all the
inevitable attacks of selling out, but what will end up silencing most critics
of their decision is how good Heartthrob
actually sounds.
Within the record’s sonic precision and scaled back lyrical
examination, Tegan and Sara place much of their burden upon the shoulders of
others. Despite all of the cooks in the kitchen, Heartthrob still sounds uniquely like Tegan and Sara. It also shows how good Tegan and Sara
could sound on the radio. By capturing the nuances of the Quinn sisters’ charm
and gutting much of the self-analysis from their lyrics, Heartthrob is more about the essence of Tegan and Sara than a reflection
of their prior work.
But the surprise ends up becoming how compelling Heartthrob is, even when that essence is
filtered through a different part of the sonic spectrum. It’s an inspired and infectious effort, and
one that validates the Quinn sister’s desire to empower a larger audience with
their music.
No comments:
Post a Comment