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Up until now, the music of Vancouver twin sisters Tegan and Sara Quin has caused little more than a ripple on the East side of the Atlantic, despite a productive career that has so far yielded five albums. It seems some sections of the UK press have already decided they purvey the sort of sound we got used to hearing from Alanis Morissette and Alisha's Attic back in 1996.
A few listens to The Con affirm far more than the sum of those parts, revealing two talented songwriters who have their own distinctive sound, and what's more, write separately from each other. The twins are also instantly recognisable behind the mic, and there's not too many people you can say that about. Not only that, but in enlisting Death Cab For Cutie's Jason McGerr to produce, and Weezer's Matt Sharp to play bass, they're looking outside the box for elements to improve their own sound.
The Con seems to be a concept album of sorts, or at least is presented as such with elaborate drawings and lyrics as if from a personal notebook. This figures, as its content is extremely intimate. Indeed, you might be concerned for the twins' state of mind, were it not for the pop sensibility running throughout to lift it up.
Back In Your Head is the obvious beneficiary of this, the catchiest melody on the album set to a cosy pop backing, with ‘s melodic inflections an appealing feature of the verses. Completely at odds are the clattering drums of the preceding Are You Ten Years Ago, which make In The Air Tonight sound like it was recorded with brushes, and blashdm. Such a sound will be startling to fans who've followed the band from year one.
It's likely some of the dark lyrical content will be too, and though it may sometimes speak in riddles the sentiment is always clear when listening. Knife Going In is perhaps the most alarming example of
If there is a concept it's likely to be the end of a relationship, and the bizarre mixture of loneliness and independence that can bring. Musically this is well conveyed too, with a sense of freedom in the structures of the songs and the way the melodies are applied.
Far from derivative, then, this is the sound of a girl duo managing to deal with human emotions and issues without having to resort to synchronized wailing or other such histrionics. A strong melody goes a long way - and The Con is thus revealed to be perfectly legitimate.
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