Album Review

After 10 years of professionally releasing albums, Tegan and Sara have certainly come a long way.
From the acoustic-based tracks on their independant debut, Under Feet Like Ours, to their most recent release, Sainthood, the Quin sisters have grown into a whole other band.
Just a warning though: that's not necessarily a compliment.
Certainly, the sisters' desire to expand their sound is admirable, but after 2007's relatively frustrating The Con, perhaps they should have reverted a little. The Con had well crafted pop songs usually under three-minutes in length, and three clocking in under two-minutes. Had some of those brief tracks been fleshed out and replaced a couple of the weaker tracks, it would have been a masterpiece.
With Sainthood, all expectations were thrown out the window. After establishing themselves as a veritable force of pop-rock with If It Was You and So Jealous - interchangeably their best records - they challenged themselves and came up short. So who knew what to expect with Sainthood?
If lead single "Hell" was any indication, it was a return to the intensity of their earlier albums. It is one of their best songs to date, and up there against the likes of "I Hear Noises" and "Speak Slow" as their best single. With this, the hooks were baited, and fans bit.
But could the rest of the record follow through?
It begins promisingly enough. "Arrow" is the perfect combination of their ability to craft impeccable pop tunes with their desire to experiment - the punchy verses and catchy-as-hell chorus could only heighten expectations for the remaining 11 unheard tracks.
"Don't Rush" sounds like the mantra that Tegan must have had in her mind trying to polish the song. The song's chorus does what all T&S choruses do - get stuck in your head. Unfortunately, the verses are lacking any discernable melody, and because of this, it falls short.
Following "Hell", things get a little shaky, but the wheels stay on. "On Directing" and "Red Belt" are good, but not great, and certainly not as good as early videos of the songs performed live suggested they could have been. "The Cure" picks things up with an classic T&S chorus, and an awesome tempo change with their signature harmonies in the bridge.
But then - and sorry loyal Tegan and Sara fans if you disagree, which you probably will - it all takes a turn for the worse.
"Northshore" is a badass pop-punk track, certainly, but feels out of place in its track placing, and could have served better in the place of "Don't Rush" or "On Directing". "Night Watch" and "Paperback Head" lack anything really memorable and border on annoying. But between those two tracks lies the album's biggest offense - the pseudo-disco "Alligator". As a longtime fan of the band, since "The First" to be exact, I can say with certainty, this is the worst song in their catalogue.
The twins save this sinking ship with three of the best tracks they've released since So Jealous. "The Ocean", "Sentimental Tune" and "Someday" all go to prove that the duo write their best songs with their hearts on the floor and their guitars in hand.
It's strange - an album that's lyrical themes are so entrenched in devotion, Tegan and Sara seem hell-bent on testing their fans' devotion. But given the benefit of doubt, and their track record, maybe we should blame producer Chris Walla (again). [Sire]
-Matthew Hadley