Tegan and Sara

Over the past 10 years, I have encountered few artists that posses the profound ability to polarize an audience like Tegan and Sara.  For instance, some friends of mine absolutely love them (It becomes a bit scary actually), while others would rather listen to an entire album of Nickelback or 3 Doors Down than be subjected to a minute of this Canadian duo's music.  Personally, I find myself in the former group, or at least I did for a couple months in 2008.  Every so often, our teenage temperament uncloaks itself and yearns for a musical match with which to compliment itself.  Occasionally peppered with more juvenile themes (Yes, there's a song called "Nineteen"), Tegan and Sara's music suits this very purpose quite well --  at least it did for me (Should I be embarrassed?).  Of course, the bulk of their music represents much more than an 'indie' Avril Lavigne or Kelly Clarkson knockoff.

Although their music has never really won over many critics, this has more to do with their style of alt-rock (This isn't exactly the most well-received genre within elite indie circles) than their inability to excel as songwriters.  In fact, their music over the past 10+ years has been quite diverse and shown tremendous complexity, especially those songs composed by Sara.  Regardless, they aren't obsessed with pushing the limits of listeners' sensibilities (Animal Collective, Washed Out) and haven't exactly capitalized on a foreign culture in any kitschy way (Vampire Weekend, Paul Simon).  In reality, they release well-crafted alt-rock songs -- and have been for all five LPs -- that have profound staying power, and this is why I consider them among the great singer-songwriters of the Aughts. 

And yes, I believe those horrendous mullets are now gone. 


Albums:  Sainthood (2009), The Con (2007), So Jealous (2004), If It Was You (2002)

Tracks:  The Con, Hop A Plane, Dark Come Soon, Call It Off, Walking with a Ghost, Living Room, Monday Monday Monday,