“Please Help Me” and “You Go Away And I Don’t Mind” both failed to stand out to me. From here, though, I feel like the album starts to run together a little bit. The vocal mixing is fantastic, and it captured my attention as soon as I heard it. Its hook is easily one of the strongest and most forceful on the album. ![]() “I Don’t Owe You Anything” comes next, and I’m surprised this hasn’t been a single yet. While I wish the ultimate payoff of that build felt more like a destination than a dropoff, the sheer beauty of this song was enough to make it a favorite. ![]() However, some gorgeously-textured strings and an organic build that holds throughout the song quickly replaced my skepticism with complete attention. This was a definite favorite.Īt first, I thought the next track, “Hello, I’m Right Here,” would just serve as the album’s requisite generic piano ballad to offset the heavier song that came before it. It builds nicely to its drop, which features some smooth R&B-influenced drum pads and grandiose guitars that pivot the song into a rock direction that felt refreshing to hear at this point in the album. Following that up is “Don’t Believe The Things They Tell You (They Lie),” which was actually written in 1996 and was one of the first songs the duo ever wrote. The third track on this album, “I’ll Be Back Someday,” was the album’s lead single for reasons that make sense the first time you hear it: it’s a bit of garage-rock-meets-The-Cars that has a definite level of catchiness the rest of the album had yet to present to this point. It’s perfectly fine, but doesn’t stand out. This became the first song in Tegan and Sara’s discography to earn an explicit label when it was released as the album’s second single. ![]() The first of those, title track “Hey, I’m Just Like You,” jumps back and forth between a spacey, more ambient and echoey verse with a bright, almost-glitzy chorus section. The bridge breaks down into a really cool half-time feel, which only loses its luster because the next two songs follow the same trend. From the first note, we’re introduced to a chiming, chorusy guitar in the background that, combined with a plucky synthesizer and some ultra-tight percussion, would feel familiar and welcome to fans of neo-80s pop. The album opens with “Hold My Breath Until I Die,” a dreamy bit of synthpop with an anthemic chorus that features the type of vocal countermelodies that have become a staple of the duo’s sound over the years. Sonically, they provided exactly what someone would expect from a Tegan and Sara album in 2019, with perhaps a slight tendency to dip into more modern and trendy production techniques. ![]() Before long, the album had taken shape, and the project became the band’s first to be produced, performed, engineered, mixed, and mastered by a team of all women. They started to make slight tweaks to the songs and began re-recording them. In it were a collection of songs they wrote in the mid-1990s. The album was born out of a box of old tapes that identical twin sisters Tegan and Sara Quin found while writing their new memoir High School. The album further bolsters a discography that extends over twenty years, during which they have established themselves as icons in both the LGBTQ and indie-pop communities. Canadian pop duo Tegan and Sara released their ninth album “Hey, I’m Just Like You” on Friday, September 27.
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