Receive Weekly Email and Text Message Updates:
Sign up for latest info on concerts, dining, promotions and more!
Go!

Related Stories ...

Most Popular

Reader's Picks

Top Recommendations

A short list of Phoenix's most popular hot spots.
user content provided by: LikeMe.net & Phoenix New Times

National Features >

  • City Pages

    Michele Bachmann, Unmuzzled

    You don't need to read Sarah Palin's book to hear the ravings of a mad woman.

    By Matt Snyders

  • Miami New Times

    Pimp Daddy

    The rise and fall of a chubby sex-cult leader.

    By Natalie O'Neill

  • Riverfront Times

    Babe 'n' Arms

    Tom was a hot-tempered cross-dresser with a garage full of guns--and then he became Rachel.

    By Nicholas Phillips

  • Dallas Observer

    The Fight for Texas

    Rick Perry and Kay Bailey Hutchison are locked in a battle over the soul of the GOP. They're also running for governor.

    By Sam Merten

Tegan and Sara

Share

  • rss

By Chris Parker

Published on April 22, 2008 at 4:42pm

Though twins Tegan and Sara Quinn grew up on punk, they've demonstrably honed their pop instincts and graduated from folk-tinged New Wave/pop-punk to something more sophisticated over the course of their four albums. Last year's The Con consolidates the gains made on 2004's critical breakthrough, So Jealous, with crafted, well-polished tracks. Produced by Death Cab for Cutie's Chris Walla with instrumental help from Matt Sharp (Weezer/The Rentals) and guitarist Kaki King among others, The Con is a dynamic album that, while hardly lush, boasts enveloping, idiosyncratic atmospheres. It addresses Tegan and Sara's greatest weakness to date — indistinctive arrangements. They're not Fiona Apple yet, but the greater complexity improves the flow of the album, which actually gathers steam over its 14 tracks. Overall, The Con possesses a dark beauty, from the pulsing, anxious "Relief New to Me" to the haunted feel of "Are You Ten Years Ago" to the jangly, burbling "Burn Your Life Down," which suggests the pop swoon of early Juliana Hatfield. While the emotional tenor can be overwrought, it complements the music's shadowy, repressed tension.