Discussion in 'Charts, rates etc' started by Trouble in Paradise, Sep 28, 2020.
A bit repetitive but I actually liked this one. Gave it an 8.
Was kind of gutted this wasn't in instead because its an INSTANT 10
I don't like Rendezvous but as far as the video goes? serve a bit!
Not @soratami reading my drafts! Here’s your next teaser: The next elimination will be our first album cut and our first non @Music Is Death 10!
Um what the fuck ya'll...it's WAY too early for an album cut...
Hopefully it's either You Go Away and I Celebrate or Keep Them Close 'Cause They Will 0 You Too
The write-up for Miss Benny was more interesting than the song
I gave Miss Benny a 6, soz! And if it's an album track going next it has to be Tegan & Sara or one of the interludes from Muna/Shura (though I think they deserve to hang around a little longer). Maybe Hello I'm Right Here or Please Help Me.
This tag made me think I was losing a high score already dd.
That's what I think too. I'd say an interlude seems likeliest.
Nn, honestly, this wasn't commentary so much as just sheer exasperation. I put more effort into the follow-up drag (one of several) I left in the extensive list of musical 2020 LGBTQ indviduals I felt compelled to include in my ballot to miss @Trouble in Paradise, just to keep her from having to stoop to these depths again.
Said list including at least two trans male persons so at least we're safe in that department.
This is a great time to shout out @LE0Night for helping me compile this song list! He introduced me to many of these artists and pushed for the inclusion of some great discoveries (Shygirl, TR/ST to name a few). Also his ballot made me laugh so much my fiancé started getting jealous dd
Yeah I think so too. Grow can go I guess.
GROW can GO?!
And speaking about the write-up, Mermaids only came to my attention after their open letter to R*wl*ng and they're such a vital part of the fight against TERF rhetoric in the UK it can't be stressed enough
The idea that any Tegan and Sara track should go before Grow is laughable.
I’m glad @Music Is Death is stanning with me. I’m sceptical that there would be a Tegan and Sara song I tenned that he didn’t. *queue quotification by @Trouble in Paradise*
Grow is the better of the interlude tracks to me actually if it needed to be one of those, I think Sweet Melody is the most useless
Grow into the complete electrifying-ness of Number One Fan is a moment.
READ AUDRE LORDE
109. "You Go Away and I Don't Mind" by Tegan and Sara
Number One Fans: 10 x 1 (@TéléDex) 9.3 x 1 (@pop3blow2) 9.25 x 1 (@Music Is Death)
This Goes Away and They Don't Mind: 3 x 1 (@Cutlery) 3.5 x 1 (@BeingNormal)
My Score: 5.5
5 Voters: 110
10 Voters: 113 (Moira Rose voice: can you IMAGINE?!)
15 Voters: 107
20 Voters: 111
I'm complicated, I was raised by icons
Touched by saints, still powerless
Yes, the unthinkable has happened! We are losing a Tegan and Sara album cut while interludes and lesser extras hang in for another round. As you can tell from my score, I'm not exactly sad to see this one go even if I do adore my Canadian twins. This song just never coalesces into something great, instead feeling like a Frankenstein monster of hooks that just don't land. The opening verse has some great lyrics but the production is off putting. I could see the production choices maybe working if it led to a connected chorus but instead this just kind of explodes into a big pop rock chorus that leaves me cold. And the less said about the "pre-chorus" the better.
Even if I'm being a bit cruel, I can't help but love the teeange angst behind it all. And as I researched for write ups, I found this incredible quote that really gave the song a special meaning:
One thing that surprised the sisters was how their songwriting became more direct as they explored their identities. At first, they wrote in the third person or from the perspectives of fictional characters. (For example, the album's lead single, "I'll Be Back Someday," was originally about a made-up character and titled "Johnny, My Friend."
"There was an instinct when we first started writing songs, to be a bit more opaque about it," Sara says. "Sort of like, ‘I don't know, it's a song! What's it about? Who knows! It's just words, I wrote them down!' It sounds so simple now, but it was significant to me to be able to [write and sing lyrics like], ‘You go away and I don't mind / You go away and I'll be fine.' That felt scary. Who's you? That means that someone's going to say, who's the ‘you' in the song? And in that moment I would have to say, like, 'Who, my girlfriend?'" This shift was powerful for the sisters: "Once we discovered that we could write in a direct way, that was very exciting and intoxicating," says Sara. "There was bravery required, I think, to say to ourselves, ‘Okay, I'm going to sing to you.'
First and foremost, what sort of St Vincentism is "Johnny, My Friend!" Secondly, how heart achingly vulnerable is the quote "There was bravery required, I think, to say to ourselves, "Okay, I'm going to sing to you." And remember they were teenage girls in the 90's writing these songs! There wasn't a Halsey or Lil Nas X on the charts, there wasn't even a Brandi Carlile or....Tegan and Sara leading the way in independent music scenes. These young queer women took it upon themselves to say "My queerness has value, the stories of my life and particularly my love deserve to be written about." That's radical!
I think why that quote also got to me is that I had assumed it was about Tegan and Sara's relationship to each other. As any sibling can attest, the lyric "You go away and I don't mind" can capture some of the less favorable aspects of sharing parent(s). Tegan and Sara have always been wicked open about the struggles between them and the way it's both benefited and hurt the band. In promo for their previous record Love You to Death Sara spoke about how their relationship has shifted over time and informed her own song writing:
What kinds of conflicts were you having with Tegan?
We have conflict like most siblings. I think it’s aggravated or heightened because we spend so much time together. Right now is honestly a really good time for us. I’ve been thinking about how I never really write about Tegan; it’s a private thing when you have such a public relationship. I think because things are good between us right now, it’s easier to look back at times when things were bad and it’s an interesting topic to write about because I haven’t done it often.
“White Knuckles” and “100x” on Love You to Death are about your sibling relationship. How did those songs come about?
With this whole record, I was looking into who I am as a person. It really started 12 or 13 years ago, when I moved up to Montreal. It was the first time in my life that I’d ever lived without Tegan. I made friends and started a romantic relationship. It was my first real adult life. I wasn’t just Tegan’s sister or a twin. It was crazy to think of myself as an individual. A lot of this album is thinking about that time: who I was, what it really meant to be on my own, the insecurity that came with it.
While I may not be the biggest Love You to Death stan, I have to say "100x" is just a phenomenal song and well worth a listen! Now who wants to start some conflicts in the thread?
Let's start with low scorer, back up host, and artwork extraordinaire @Cutlery: Such a puzzling track. The mystery being how come it sounds SO UGLY. It kind of reminisces the melodies of I'll Be Back Someday but with none of the same quality meat in its bones. Just a carcass with few, rotten remains. Maybe if it was some B-side or bonus track… but as things are, I can't accept that this is part of the album.
On the other hand we have T&S defender @Music Is Death, he has a different take on the chorus/verse difference than me: Another synthy pop-rock type bop with a foot-tapping chorus, which might be the best part, though I like how it’s so different from the slower verses.
@Phonetics Girl spent a lot of time with all the main albums (and made my heart sing by doing so!) and found this benefitted from that time: Another grower! Time for Lana_Winters_this_is_good.gif
Ohh this was one of my higher rated Tegan & Sara songs at 8.5, sad!
Whelp, at least you didn’t quote me. And I got a fantastic writeup from @Trouble in Paradise which perfectly explains why they wanted to rework old songs and the importance of doing so. I get so mad when I see people shit on the concept of Hey, I’m Just Like You.
Also @Trouble in Paradise this is so clearly about Sara’s first girlfriend going on exchange to Montreal. I wish you still had the book so you could quote from it. Personally, I think these lyrics show a maturity beyond Sara’s years. I can’t imagine being so okay with giving up a girlfriend in the 1990s in Western Canada; I’d be like “you’re the only other gay, you can’t leave me!” Instead Sara already has another girl lined up on the side ddd.
Separate names with a comma.