Saturday, January 16, 2010

Twins' tour Ottawa-bound


Indie rock duo Tegan and Sara are not new to the music business. They’ve been releasing studio albums since 1999, and have collaborated with many big artists, including Against Me! and TiĆ«sto.

In fact, their latest release, Sainthood, is their sixth studio album. It also marks the twins’ first attempt at writing songs together.

“It was quite challenging to sit in a room and watch someone else write and give suggestions without hurting each other’s feelings,” Tegan said on the phone from Vancouver, where she currently lives.

Sara lives in Montreal, which is why Tegan says the Internet has been particularly useful over the years when they were simply collaborating on songs, as opposed to writing side by side.

In the end, only one co-written song, “Paperback Head,” made the cut for the album, but Tegan says the writing experience was an interesting one.

“Considering we’ve collaborated with each other on records for 14 years, it was really nice to try something new, and I feel a real attachment to those songs,” she said.

Both women write their music first, adding the lyrics later, Tegan explained, citing their classical training as the reason for this process.

Although they were trained on the piano, Tegan said she is more confident writing on the guitar — the instrument on which she wrote her first 100 songs.

“I think our band is pretty all over the place,” she said, explaining that some songs are predominantly guitar-based, while others focus on the keyboard. “The song really ends up calling out for what it wants.”

The cover art for Sainthood comments on people’s expectations of them because they are twins Tegan said.

“We’re constantly being analyzed as a partnership and people are always talking about the way we look,” she said. “We’re very different. We live in different cities, and I don’t think we look much alike at all, but we decided it might be fun to play with this idea of being identical.”

The album cover shows Tegan sticking her head through a cardboard cut-out, with Sara, dressed like the figure, in front.

“We were playing with the idea that part of me was real, but part, I’m projecting,” Tegan said, adding that some people might not notice that it’s cardboard. “I’m doing such a good job at projecting this image that you may not even know that I’m projecting an image. You might just think it’s me.”

The band is currently playing sold-out shows across Canada, performing 27 songs per night, according to their Twitter feed, with Australian band An Horse — a band they have been planning to bring on a Canadian tour for years.

Tegan said Sara has been highly involved in An Horse’s career, ever since they met at a record store in Australia.

“Besides our personal relationship with them, I think they’re fantastic writers,” Tegan said. “Everywhere else in the world where we’ve toured with them, they’ve done so well and I just felt it was the right fit to have them for the tour.”

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Originally published in the Charlatan, Carleton University's independent student newspaper

Friday, December 11, 2009

Die Mannequin Concert Review


Die Mannequin
Friday, Dec. 1, 2009
Live Lounge


Care Failure, the leading lady of the Toronto punk band, Die Mannequin, rocked the stage with her incredible style and performance Dec. 4 at Ottawa’s Live Lounge.

She began the show crawling across the stage, as Anthony Bleed, the bassist, mimed shooting her with his guitar. She stumbled around the stage, making the fans scream as the band began its raw punk set.

Although the band recently finished a tour with Marilyn Manson, playing arena shows across the nation, Failure said the band much prefers smaller venues.

"If I had my way, there'd be no stage — just the crowd," she said. I can see why.

Failure jumped off the stage into the audience, singing part of “Where Poppies Grow” while she was immersed in the crowd. She pulled audience members up on stage to join her for “Autumn Cannibalist.”

I have never seen so much audience interaction at a concert, and I don’t think it could possibly work as well in an arena venue.

She finished the show by crowd surfing to the back of the venue, where she spent time at the merchandise booth meeting fans and signing autographs (or in some cases, messages written on their breasts).

Many of the songs on the set list were not on either of the band’s major releases. They did not play “Saved by Strangers”— one of their biggest singles. Instead, they did a cover of a Turbonegro song.

Die Mannequin’s performance of “Bad Medicine” had many audience members singing along. It was complete with Failure singing into a megaphone to imitate the vocal effects from the recording.

The merchandise seller mentioned that the show was a late one because Failure wasn’t feeling well. It didn’t show in her performance.

It was a high-energy, microphone-throwing, bruise-inducing, punk rock show.

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Originally published in the Charlatan, Carleton University's independent student newspaper

Thursday, November 5, 2009

Tegan and Sara - Sainthood (Review)

Sainthood
Tegan and Sara
Warner Music

4/5

The new album Sainthood from Canadian twin duo Tegan and Sara is an excellent collection of synthesizer-driven songs predominantly about troubled love.

The album is a natural progression from their previous album, The Con, in that the apparent mood is different but the style and music is essentially very similar.

Many of the songs seem to have a more positive and upbeat sound than the sad melodies found in many songs on The Con.

The first single, “Hell,” has a more radio-friendly pop sound compared to their previous singles.

However, the songs don’t stray from what fans have come to expect from Tegan and Sara – expressions of melancholy love affairs, supported by guitars and synthesizers, and fronted by their unique vocals.

The vocal style is what sets this band apart from the abundance of popular indie-sounding bands. Tegan and Sara sound similar, as one would expect from identical twins, but there is enough difference to distinguish between them.

One voice complements the other, and their vocal harmonies are just as striking as in their previous albums, though not as prevalent.

On first listen, the most memorable song is the opener, “Arrow.” The synthesizer-based song has a distinctive edgy sound, and demonstrates how effectively the band uses their vocal harmonies.

On their blog, Tegan explained the first single was inspired by a headline in the Vancouver Sun, which described her then-new neighbourhood in Vancouver’s Downtown Eastside as “four blocks of hell.”

The lyrics, like most of their other songs, are about a troubled romance, in this case, unrequited love.

While the album is a solid offering to hardcore fans and newcomers alike, it doesn’t leave as strong an impression as The Con did.

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Originally published in the Charlatan, Carleton University's independent student newspaper

Friday, February 22, 2008

Cancer Bats grow beards, fan base

Cancer Bats can do more than just grow facial hair. The group are currently on tour promoting their latest hardcore record, Hail Destroyer, and will be hitting Mavericks on Feb. 16. (Photo provided)

Whether it’s their loud, aggressive sounds or the fact they say they simply love to play music, the Cancer Bats have erupted onto the hardcore music scene this past year.

Singer Liam Cormier described the band’s sound as “dirty, rock ‘n’ roll and hardcore.”

Their new album, Hail Destroyer, will be released April 22 but Ottawa fans will be able to get their Cancer Bats fill early when they play a show at Maverick’s Feb. 16.

“Ottawa’s always been one of the best cities for us, like where we’ve done in Ontario, or Canada, or even in general,” said Cormier.

“Every time we go back, it’s always the best.”

This Toronto-based quartet has only been around since May 2004 but it quickly found success touring with bands such as Alexisonfire, Rise Against and Billy Talent.

The group has played shows in venues with capacities in the thousands, such as when it opened for Billy Talent at Toronto’s Molson Amphitheatre in front of 17,000 people.

“We’ve also got this whole tour with [the Bronx] and Rise Against in Europe,” said Cormier.

“One of my favourite [bands to play with] is probably the Bronx [...] so getting a chance to tour with them was awesome.”

The Cancer Bats have been on many tours around the world since the release of their debut studio album, Birthing the Giant. Recently, their unique sound has been getting them recognized by fans in countries far from Canada.

“When we were going to Australia to play some shows there, we had a layover in Singapore,” said Cormier.

“We were just in the middle of the airport and this kid in a coffee shop actually recognized us in a band and knew who our band was.”

Cormier said the band’s unique name originated from drummer Mike Peters’ childhood.

“When he grew up, his family lived out in the woods, and they built a cabin,” explained Cormier.

“There were bats that lived in the ceiling and so when Mike was a kid, he used to tell his mom that he was scared of these bats because he thought that they would give him cancer.”

The band has gone through multiple lineup changes, and is now made up of Cormier and Peters, as well as guitarist Scott Middleton, with whom Cormier started the band.

The newest addition is bassist Jaye Schwartzer.

Though Cormier said Schwartzer did not contribute to the upcoming album, he has been touring with them for many months.

“Official, full-time headbanger, we could say that,” said Cormier, adding that Schwartzer did contribute to teaching the rest of the band how to grow beards.

“We like having a lot of fun with what we do,” Cormier said.

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Originally published in the Charlatan, Carleton University's independent student newspaper