Tegan & Sara Answer Ten Questions About Love | Autostraddle
Have you ever wondered what it takes to win the heart of a Quin? Dyke quizzed Tegan and Sara on love, relationships and their ideal dates. Tegan (left) and Sara Quin perform at Coachella in , following the release of the Their relationship with that time is thus vastly different. Tegan appeared on Against Me!'s song "Borne of the FM Waves of the Heart", and also appears in the music video.
InTegan and Sara opened for the band fun. Tegan and Sara toured with Perry from September to October Quin[ edit ] Tegan appeared on Against Me! In AprilTegan wrote and recorded a song titled "His Love" at the request of Augusten Burroughs as a contribution to the audio version of his book A Wolf at the Table. She also appeared in the music video. Sara appears on Jonathan Coulton 's album Artificial Heartproviding vocals for the album's remake of the song Coulton wrote for Valve's game Portal" Still Alive ".
They later called the song "the first time we'd co-written with somebody, so it was the first time someone was giving us feedback on what we'd written Sara and I were both so obsessed with him liking the song enough to put it on his record that we both were writing on it. It was a true collaboration; there's like two sections that Sara wrote, and three that I wrote.
Tegan and Sara: ‘We couldn’t tell each other we hated being on stage’ | Music | The Guardian
An "Alligator" remix EP was released by the duo on iTunes in The EP consisted of remixes of their song "Alligator" by different artists. They also appeared in the music video for "Body Work". Another collaboration with a dance artist was on a song with David Guetta and Alesso for Guetta's re-release album Nothing But the Beat 2. As a parallel too, so many of the hardcore fans were teenagers when the album came out. Do you agree that it's crystallized the teenage experience?
We hesitated, resented and pushed back against being classified that way.
So much of it was sexism. The language around this record was coded in: I've gone back and read the press. Men have written their best things in their teen years or their twenties — prolific artists like Kurt Cobain or Hendrix.
We were not babies. We were 27 years old. We had lived a lot of life. Because we were women it was so hard to take what we were doing seriously. Teenagers were flocking to the shows. We went from playing people to selling out auditoriums for 3, people. It wasn't women, it was men too, a lot of the emo or hardcore people. It was at that point that we realized there was a wide range of people coming and it was important not to negate their experiences.
We wanted to protect them. They had every right to get emotional, to get The Con tattoos on their bodies. We realized that just because we're women doesn't make it less valid. Speaking of emo, some suggest The Con was a record that was emo in spirit, if not in sound, and wasn't heteronormative nor necessarily gendered. People who didn't pander to being heterosexual, white and male saw a perspective that reflected their reality. Was this the first lease of life you experienced outside of the indie rock battlefield you'd been contending with for a decade?
Truthfully I still felt [on the outside] all through The Con. I didn't start to feel a shift away from that until the end of [the album] Sainthood. We were still in the muck. Things got somewhat better but in some ways our success made things worse initially. We were stoked that we'd got on MTV but that increased the weird crap that was said about us online and the weird people showing up at shows. We started to get lewd photos [from men].
Visibility means more of everything — good and bad. I was shell shocked. It's funny because The Con was when I felt so validated. Sara and I were in different places. It was such a transcendent moment in my life. We turned that corner. There were thousands of people singing along. There were moments for sure — important press that was so complimentary but so backhanded. I was enraged about that. That's where I'd invested a lot of my value. We lived in different cities and had different circles.
I felt like we were part of a new alternative indie rock scene. The pop punk scene reached out. It was a key point where I started to make friends with people in bands I liked. They loved our record. That was when we cashed in. I was like, "This rules!
It felt worse to me. It felt hopeless, like we would never be taken seriously by the people who I take seriously. We'd never be written about by the people I desperately wanted to be understood by. I still feel that way. I feel a thousand per cent better but it lingers. I see my peers getting the accolades I still long for. The Con was so difficult for me because of that. We got more popular but we didn't get the respect. You mentioned proving people wrong.
You demo'd the hell out of the songs before you worked with Chris Walla. You were calling the shots. Then you documented it so there was evidence. I don't know that we ever used the word "proof" but The Con was our final step in proving that we were worthy of the accolades, the nominations, getting signed as teenagers. We'd put thousands of hours into travelling around the world.
It was our way of saying, "We've co-produced our records, we're gonna do it our way and record all of our ideas. He said that we should do it exactly the way we were doing it. Every single one of our collaborators gave us full credit and said, "This was their idea. Was the connection with Walla a kindred one because Death Cab For Cutie had also experienced being ripped by the critic world despite huge fanbases? To me, Chris was also one of those gatekeepers.
When I opened up and shared my feelings about how we saw our industry and Chris was like, "Duh! That's how everyone feels.
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No one likes their press, no one thinks anyone gets it," it was news to me. I remember thinking, "It's different 'cause you're a guy. The original Pitchfork review of The Con had this line in it about Chris.
- Tegan & Sara Answer Ten Questions About Love
- Tegan and Sara
The publicist complained and Pitchfork took that out. The rest of the review was garbage That review is terrible. It describes you as 'tampon rock'. And you know what? She became a big fan. I've talked to her again. I used that as an example to Chris of the power he had. I will have to live with that forever. I didn't feel like we had anyone.
But we were defiant. At that stage we were anti-establishment. I was sick and tired of reading that we were manufactured. We were so DIY. We were business owners running everything.
We were the bosses from the beginning. So we had to record everything and literally show people that we were doing it. The record did well, the fans liked it, we were playing huge rooms, we started a whole haircut fad, there was a culture around us.
And we didn't know any of [that] was going on. Because there was no social media. All I saw was that there were a hundred kids standing by the bus.
How 'The Con' Almost Broke Tegan And Sara
Emy [Storey, Artistic Director and Sara's ex] has all these film rolls of Tegan and I standing by the bus with the fans. Back then it was like, "Get a load of this! I remember going to Europe to do festivals at the end of that cycle. I remember coming home and going, "Wow, people are really nice.
But we were just touring and didn't have access to that information. We still felt alienated. We were worried people wouldn't get the record and the press reflected that. But from the first shows I knew there was something special. I relied more on the connection to the fans than any other detail. I'd just look into their faces.
There was something about it that people feel torn up about, which was good because I was so torn up. My knees would shake onstage. It was my first experience of people having a visceral reaction. Do you think the confidence that came from making your most off-kilter music had an irreversible effect on your songwriting and performing going forward?
It became part of our narrative to be sincere and make music that connects. We were in charge and the audience had to trust us. It cemented that this is what the band was gonna be. No matter how big it was. Even at the heights of [ album] Heartthrob we were still that band. Did The Con also close the chapter on a certain kind of sound?
From that moment on you moved into more electronics. The Con opened a door, then you took the confidence and experimented That's how I saw it. The more technology we had in our hands the more experimental we'd get. The Con was experimental because I wasn't just recording myself playing guitar and singing.
I used GarageBand and ProTools. On Sainthood I programmed drums. By Heartthrob I said, "I hate guitars. I guess we did close a chapter. I just don't think people realized it was the fifth chapter. I started to feel resentful of guitar culture.
It felt sexist to me. If you were a woman playing guitar you had to be otherworldly, the most amazing guitar player that anyone had ever seen. Every guy is allowed to be average.
All the press commented that we're average guitar players.
So I thought, "Excuse me for playing the wooden penis.