![]() They served as executive producers on High School, the Amazon Freevee adaptation of their bestselling 2019 memoir of the same name, which stars TikTok personalities Railey and Seazynn Gilliland as younger versions of themselves and premieres Oct. It doesn’t work and it bores us, and I think that’s a good thing.”Ĭrybaby is the cornerstone, they say, of a new chapter of Tegan and Sara that includes more than just music. ![]() What started as a plan to record just a few songs turned into an entire album that fizzes and crackles with a newfound scrappiness on songs like the manic “I’m Okay” or the galloping “Pretty Shitty Time.” “If we are going to make albums,” Tegan says, “we’re going to make them in a way that we never have. So after a string of glossy synth-pop albums like 2013’s Taylor Swift-approved Heartthrob, they switched things up and hit the studio last summer with producer John Congleton (St. “It was all that energy and all that buildup that happened for so many of us when we were sitting still. I felt that from Tegan, even if Tegan didn’t always feel that about her own music,” Sara says. “It’s that adrenaline and terror right before you decide to break up with someone or know you’re about to break up. (Though the tender “Yellow” touches on healing old wounds in their sibling relationship.) Yet the feeling that everything around them was starting over seeped into their creative process. 21 on new indie home Mom + Pop Music, the band’s own “breakup album.” They’re not actually splitting up, and for the most part, they’re not even writing about each other. Sara calls their 10th album, Crybaby, out Oct. That interpersonal reckoning fueled a musical one. (The therapist even helped interview prospective managers.) To move forward, they had to untangle their relationship as sisters from their relationship as bandmates. ![]() Their therapist, who had a background in human resources and family businesses, made them write a contract with each other about their values and come up with job descriptions for the vacancies in their inner circle, which is uncommon in the music industry. The identical twins, now 42, applied the same questions many were asking of themselves at the start of COVID-19 - What does my life look like? What do I want more of? Am I happy? - to each other. To figure it out, they went to therapy together last year. “Is this another sign that there’s something really fractured about our band?” “We were at a crossroads: Either we’re going to find management, or why can’t we find management?” says Sara, sitting next to Tegan on a couch in their publicity firm’s office in early September. Did they even want to be in a band anymore? The changes offered freedom, yes, but also uncertainty as they struggled to get on the same page about how to move forward. Then last year, they successfully asked to be let out of their contract with longtime label Warner Records, no longer sure of their place in the major-label system or the mainstream pop world they’d spent the past decade working in. In 2020, the alt-pop sister duo started the amicable yet difficult process of splitting from their management team of 18 years as they further expanded into books and television. The pandemic turned everyone’s world upside down, but for Tegan and Sara Quin, it signaled the beginning of some life- and career-altering events.
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