When it came up on songs like The Con’s opener " I Was Married," a refutation of bigots who like to characterize homosexuality as unnatural, it was thinly veiled by poetry: "They seem so very scared of us / I look into the mirror / for evil that just does not exist." It bubbled beneath the surface of their music even as they built a reputation as honest, open role models and willing activists.
#TEGAN AND SARAH I KNOW I KNOW I KNOW HOW TO#
It’s taken Tegan and Sara time to figure out how to reckon with their sexuality in their art, a process that’s surely familiar to many queer people. (It sounds a little like a pop version of Sufjan Stevens’ " To Be Alone With You," another song about love and the intensity it can achieve.) (Even Heartthrob’s most direct songs shied away from the usage of gendered pronouns.) "Boyfriend" is a playful, frothy disco romp about a love triangle complicated by the closet "BWU" glorifies a lifetime commitment that’s flourishing outside the bounds of marriage. It’s an undeniably queer album, and it’s explicit about that queerness in a way that’s unprecedented in the Quins’ discography. Songs take emotional turns on a dime, pivoting from funny to tender and bruised to brassy before you can figure out what’s going on. You can chalk it up to the kind of writing described above: succinct phrases burrow into your head, even as they take on much greater meaning within larger contexts.
#TEGAN AND SARAH I KNOW I KNOW I KNOW FULL#
As Tegan and Sara transformed into a full time job and the band began to go on bigger and more expansive tours, that type of lifestyle would become more difficult.On their new album Love You to Death, the Quins and veteran pop producer Greg Kurstin (handling every track here, up from seven on Heartthrob) run back that album’s concise, sparkling New Wave sound, and the few additions - a slight tilt toward the dynamics of festival-tent EDM, some lamentable pitch-shifting out of DJ Snake’s playbook - aren’t glaring enough to throw you off. Tegan has always been the sister that’s more attracted to the idea of staying in one place, of putting down roots and letting them settle.
It’s your heart inside her chest, it’s the warmth left over in your pockets. This theme becomes more crystallized on later records, most notably on The Con when she copes with distance by hopping on planes and writing letters, but here it’s all metaphysical. That song is sort of like a reminder to be caught up in the moment and a reminder that we are right next to each other and feel very different.Ī lot of Tegan’s songs are about distance and the struggle to feel connected with someone even when there’s a whole ocean between you.
So I always feel like I’m on guard, and I’m always on edge. I’d like everything to last forever, but it doesn’t necessarily. Obviously not everyone feels that way, but certainly for me, I feel like nothing lasts forever. You’re always sort of on the edge of life when everything could end. I think that song was mainly just about the idea that we take for granted our relationships and we take for granted our lives. I always use it as sort of an inspiration when she leaves, even though we’re completely happy and fine and nothing in our lives is really all that dramatic. I’ve been in a relationship for nearly five years now and my partner travels a little bit.
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