Ryan's Tegan and Sara Review

Love stories are tricky, and telling them in song there’s no exception to that. Part of this stems from cynicism – there is a lot of film, music, and literature that go around calling themselves love stories, but they're really empty, and talk about what is at best a childish understanding of the emotions involved and at worst a form of emotional sociopathy. Take a look at the “romantic comedies” that fill up the movie theatres in the summer, or the “love songs” that fill up the Billboard charts and you get an idea of what I'm talking about. Part of it also stems from the fact that falling in love is a scary and dangerous thing. An author I like, Wil McCarthy, once compared love to gravity – a powerful force, but one that can destroy you if you're not careful around it.

Tegan and Sara Quin realize this about love, but they went and wrote an album about love anyways. Sainthood realizes the pitfalls of writing about love – as the ladies sing on Hell, “These words are over-used”, but that's the thing about love: the cliches don't matter anymore, and it doesn't matter that the fire will burn you if you get to close. You're in love, and you want to let the whole damn world know.

Now, once you've acknowledged that there's a lot of cliches out there about love, you become obligated to avoid those cliches, and Tegan and Sara do that well with this album by not only focusing on the positive rush of endorphines you get in that initial stage of immature love. Instead, they've crafted an album that covers the entire narrative arc of a relationship. The first stage of the album is the first three songs: Arrow, Don't Rush, and Hell, which look at the initial attraction and starting of a relationship, and the emotional roller-coasters that result from that. The next two songs look at the infatuation of the early stages of a relationship. The Cure marks a move away from this – there's a notable change in the narrative voice and in the subject matter of the lyrics, and you can tell that we're getting a more mature, understated view of love – one that's willing to sacrifice, and put the other person ahead of yourself.

Sadly, though, this is not one of those love stories that end happily; the last few tracks look at the end of a relationship, and they give the album a bit of a bittersweet aftertaste as a result. It's more sweet than bitter, though, and like the narrator of this love story, you feel like you've learned from the experience. Listening to albums all the way through, in the order the artist laid them out in, has fallen out of favour in the past decade, but this is one of those albums that demands it to get the full experience.

Love, and its joys and pitfalls, a lot for an album to take on, especially one that's as short as Sainthood is (the entire thing clocks in under 40 minutes). It's short in the same way that a Hemingway story's short, though – everything extra and unnecessary has been cut away, leaving only the beating heart of the story. And a damn well told story it was. There have been a lot of strong albums on this year's shortlist, but in this reviewer's opinion, at least, Sainthood stands head and shoulders above the rest of them.

Gary's Tegan and Sara Review

Seconds into the track On Directing Tegan Quin (or maybe it's Sara) let's fire the line "eyes focused like a microscope." And while probably relating to matters of the heart she could easily be talking about the impressive album she and her sister have put together - Sainthood.

This is without a doubt the tightest, most economical album of the Polaris bunch. Every note has been accounted for, every harmony justified. It's clear these girls are as serious as a heart attack when it comes to putting an album together. This is as polished and nimble as you can ask for in music, and clearly only the most essential pieces were included, anything extraneous was tossed aside.

But don't assume this means the music is cold or in any way detached. Despite their cut-throst approach to recording, these two can open up and bare their souls with the best of them. Heartbreakers like Night Watch and Sentimental Song are as autobiographical as they come and sound right at home peppered amongst a mixture of new wave jerkers and old school punk rockers.

Which is the other admirable thing about Tegan and Sara - their amazing knowledge and respect of musical history. There's a little something for everyone here whether you're looking for Thin White Duke era Bowie (Red Belt) or something approximating Social Distortion (Hell, Northshore).

Some people may not love the repetitive lyrics or the jerky guitar-synth tug of war but with the help of producer Chris Walla (Death Cab For Cutie) the sisters make it work almost every time and successfully too. They've got a knack for sniffing out the necessary parts and doing away with the rest.

This album could easily be announced next week as the Polaris winner and would have my full endorsement. With the exception of perhaps BSS and Kwarka, Tegan and Sara have assembled the most complete and cohesive album of the competition.

We truly did save the best for last.

Dave's Tegan and Sara Review

Tegan and Sara seem to fill a void for people. Every album they release seems to be something that a certain group of people is craving at the time. For me Sainthood is filling the Riot GRRRL of the 90’s , it’s just evolved it for my tastes. I was fan of the L7s and Bikini Kills, the Eric’s Trips (Julie Doiron singing), 7 Year Bitch songs from the 90s – and this sounds like it was the adopted child of those bands – redheaded and all.

Upon first list Sainthood seems to be honouring the GRRRL era in a very appropriate way. Catchy, hooky, and full of sing-a-long songs that get stuck in your head for days at a time – that’s what really hooked me into this album, but it’s not what kept me around. Once I had let the album play top to bottom, I couldn’t believe it was over. Each song is short and sweet and really, really concise. It’s like original pop song kind of writing, where anything longer that 3 mins feels like an epic journey for Tegan and Sara – and eventually for listeners. It’s refreshing considering some of the recent releases that have enjoyed success with 4+ minutes of nonsense - this is a lean record, I like it.

It maybe trim, however, for me it all sounds very alike. It’s not that every song sounds like every other song, it’s the pace of the album feels the same top to bottom. With the exception of “Night Watch” and “Northshore” every song seems to be painting different pictures with the same pallet. Tegan and Sara don’t seem to be pushing themselves on the production side of things –focused on lyrics, they are able to sing a story with the best of the best in this country, but their music writing feels stagnant and stuck.

I can’t help but think that this album was released near the end of 2009. That it was able to survive the whole year, and still be considered one of the 10 best Canadian albums of the year and be short listed for Polaris Prize 2010 is really a testament to Tegan and Sara’s presence as a force within the industry - as they sing on “Alligator” “relentless yes it’s true”.

DAVE’S KEY TRACKS: ‘The Ocean’; ‘Alligator’; ‘Don’t Rush’; ‘On Directing’

Post #10: Tegan and Sara

ALBUM: Sainthood

ARTIST: Tegan and Sara

HOMETOWN: Calgary, AB

Ryan's Shad review

I didn't listen to a lot of rap when I was growing up, so I always feel a little out of my element when asked to judge or comment on it. It's not that I'm not willing to do it, just that I acknowledge that I'm not familiar with the history or form of it, so any opinion I have is somewhat limited.

That being said, there was a lot in this album that I really enjoyed, and a lot that doesn't fit in with the stereotypes that rap usually gets hung with. TSOL feels like a personal reflection that Shad's making on his life, and as a result it's humble, reflective, and spiritual, with healthy doses of sarcasm and self-deprecation peppered throughout it. Shad has clearly put a lot of himself into this album, and while it may at times seem to be rather patchwork and heavily produced (which, given that there were eight different producers working on different songs, is a fair claim), it's still clear that all those songs are presenting facets of the same author.

The end result is something very complex and interesting. Shad raps about racism and politics, about gender inequality and the negative effect it has on the rap scene, but also is someone who feels at home rapping about Green Lantern and “spelling out BOOBIES on the calculator.” Being able to balance those serious subjects with humour without detracting from either takes a lot of talent and experience; Shad might be a young man, but he's got an old soul, and it shows throughout the album.

Standout track: Rose Garden, which is also the first single off the record, has a nice, soulful backbeat that balances well with Shad's rhymes.

Gary's Shad Review

Shad, I feel like we have a few things in common you and I. We both have a strong affinity for the 90s (as witnessed here) and we both think we're pretty handy with a clever turn of phrase. And where you're nominated for a Polaris Prize, I'm writing about the Polaris Prize. Ok this is starting to get tenuous.

So 9 weeks in and we're finally reviewing the first hip-hop album of the bunch (and no I do not count Radio Radio as anything like hip-hop). And call it what you will - a love letter, an homage or just straight influence - it's clear Shad's roots are firmly planted in 90s rap.

All the great touchstones are there - A Tribe Called Quest, De La Soul and especially the Pharcyde (just check out the video for Rose Garden). Like his influences he doesn't take him self too seriously but at the same time can deliver an impactful message with his rhymes. Plus the production isn't mired with that repetitive Timberland bullshit that seems to infect so much hip hop these days, but instead drops some old-school bass lines and funky drums.

So then why didn't I like this album more?

For me it's good but never great. With the exception of maybe album opener Rose Garden, TSOL aims for far bigger things then it delivers. Many times Shad is too clever by half and goes to the same lyrical well too often (close like Glenn, hit College like the Danoforth, etc). And anyone who rhymes rappin with nappin is just lazy.

For me this album has too many of those moments where it almost reaches greatness but doesn't quite make it. Shad is clearly very talented and I feel like aligned with the right producer he could achieve that high water mark. But TSOL just isn't it.

Dave's Shad Review

There is something about Canadian Hip Hop that prevents its from being as popular and widely accepted as it’s US counter part. Canadian TV went through the same thing recently, as have Canadian movies, and I’m sure other artists as well. Hell Canadian rock/alt scene went through it twice in the last 50 years. I guess there is something Canadian about not craving stories created by our fellow country people – but once we do, we can’t get enough of them. Shad’s TSOL is a perfect example of this for me.

TSOL was very quietly released across the country, pop stations didn’t jump on it right away, our video stations didn’t give spins, but slowly over the last few months it has percolated into mainstream sources (the same way K’naan’s album did this time last year). All I can say about that is – it is more than well deserved for this artist and album and everything it represents.

TSOL has solid production all over it, and that is cause enough for it to stand out alone. “Yaa I Get It” is a banger, and was a phenomenal choice as a first single. Throughout the album the beats don’t disappoint either “Keep Shinning” creates the vibe of female empowerment from the man’s point of view smoothly. “Rose Garden” takes a soul tilt and the production opens it’s arms wide to invite everyone into enjoy the track – and as far as I can tell it's working. There is also a wide diversity of production on TSOL, “At The Same Time” slows down and incorporates a slower, more minimalistic production sound – something that I could've used a little more of on TSOL at times.

For me though Shad’s lyrics are what stand out on TSOL, there is a modern flow, with a wink to his influences. It’s easy to see Shad has been influenced by Kanye West and his style of rapping about self-awareness, but where Shad really shines, is where he gives us his insecurities and his faults without apologizing for them. “Rose Garden” is all about this – “I promise I’ll be with you no matter what the issue, and there will be some issues to address.” As a lead track, Shad lays it on the line for us – proving he’s not here to hide anything of himself on this album. “A Good Name” takes us inside the origins of who he is even more, exploring the personal relationship with his father, his name, and his heritage.

I truly believe this is a solid piece of art from top to bottom, and I hope that it gets the ears it deserves. But as I write this, I’m taken into my own insecurities, and do I like this because it tips its hat to the hip hop I grew up with - Tribe Called Quest, Roots, and The Pharcyde? Or does it sound so different to the hip-hop I listen to now that it’s refreshing? Either way I still believe it’s a solid album top to bottom and that it easily sits in the top three on this list for me and is a real contender for my choice this year.

DAVE’S KEY TRACK: ‘Rose Garden’; ‘A Good Name’; ‘Yaa I Get It’; ‘Keep Shinnig’; ‘At The Same Time’

POST #9: SHAD

ARTIST: Shad

ALBUM: TSOL

HOMETOWN: London, ON

Ryan's Sadies Review

There's a unique challenge to being an established act. Being a new act is challenging as well, of course, because it's hard to get exposure and you always end up getting compared to other artists. Being established is challenging too, though, because you not only are compeeting against other artists, you're also competing against the younger version of yourself, and you have to make music that's different from the old stuff, but not too different, because you want a sense of continuity to what you're doing. When you're as prolific a group of artists as The Sadies – Darker Circles is the band's eighth album in the eleven years they've been together – it's got to be even more difficult.

So how do you meet that challenge? Again, if you're the Sadies, you just don't worry about it and go do your thing - making kickass collections of tunes. If you've listened to the Sadies before, you have a rough idea of what to expect here – alt-country that still manages to have a lot of raucous energy to it, and which keeps your hips swinging just enough to keep you paying attention to the lyrics without you getting lost in the dance. There's not a lot of “innovation” here over the format of their older music, but that's largely because they've found a format that works, and there's enough “new”in the lyrics to make up for it. These are songs that are relevatory, reflective, and resonant – songs of experience, songs of being on the road, songs of real life and all the messiness that goes with it. If you like the feel of something that's familiar, but new at the same time, this is an album for you.

In short: this was a really solid album, full of songs that got me thinking and got my bum shaking at the same time. It's exactly what I needed to listen to this week, especially after being disappointed with the last couple of albums we've looked at on the blog.

Gary's The Sadies Review

It's been along time since you would associat the terms A side and B side when to an album. There's no need to flip a record anymore or turn the tape and so we think of albums as one cohesive idea. But there was a time when a band would take that brief intermission while you ceremonially flipped to side B and switch up the sound or set you off on a completely new musical journey.

I mention this because knowingly or not The Sadies have given a nod to this bygone era with their album Darker Circles.

To wit, tracks 1 through 5 are pure Canadiana, embracing a decidedly 90s alt-country sound that puts me in mind of Blue Rodeo and Prairie Oyster. The songs are rich and deeply emotive and instantly draw you in.

Cut Corners and Another Day Again are instantly memorable, while Tell Here What I Said is a gorgeous love letter to someone long gone.

Meanwhile tracks 6-11 take a decidedly different turn opting for more of a 70s AM Gold feel. The country swagger is still very much present (maybe more than I would have liked) but now tinged with a little honky-tonk and that warm glow of the 70s . Gordon Lightfoot would be proud.

For some this stark contrast in style could be seen as jarring or even off-putting and they'd have a case. This sometimes feels like two albums almost at odds with each other. Some will embrace the throw-back country twang of side B while others will see it as a confusing and unanticipated left turn. Count me in that second group.

But at the end of the day that doesn't matter because it's clear The Sadies made exactly the album they wanted to, split personality and all. A fully complete Side A and Side B.