Tegan and Sara Teach Andy Samberg How To Be A "Heartthrob"

Categories: Tegan and Sara

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Tegan and Sara's Heartthrob is out today, and on the drum up to the release they've been doing very fun interviews on YouTube with their heartthrob friends (Cory Monteith, Skylar Astin) about how they became so very heartthrob-y. The latest installment features Andy Samberg, and a bit of a twist. Instead of asking Andy what it takes to be a heartthrob, they tell him what he could do to become one. He abides. There are Cyndi Lauper and Kriss Kross jokes. It is funny. You should watch it after the jump. Also, THIS SCENE from Samberg's woefully underrated Hot Rod will never not be funny. Word to Chris Parnell.

See also: Wild, Obsessive, Lustful Love: Inside Tegan and Sara's New Heartthrob

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Theophilus London's Indie-Rock Admirers, And His Mutual Affection For Them

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Here is a list of artists who have endorsed or collaborated with the gloriously monikered Theophilus London: M.I.A.; TV On The Radio's Dave Sitek; Sleigh Bells; Sara Quin from Tegan and Sara; John Hill of Santigold production repute; and one-time Jealous Girlfriends member Holly Miranda. Not, then, the usual cast list of supporters drafted in to help propel a young rapper up from out of the mixtape circuit and into the major rap leagues. But a spin of Timez Are Weird These Days, the Brooklyn-based rap fop's debut studio album, reveals that to be the idea: He's a rapper, but he doesn't seem particularly bothered about cultivating rap fans.

Timez Are Weird These Days might be grounded in the basic idea that it's a collection of songs that employ rapped lyrics as the main vocal delivery, but its production, grooves, and ultimate ambitions aim elsewhere. At times it's music for a hip party, like the fuzzy, smutty funk of "Girls Girls $." At others, London is swanking around like he's draped in Diddy money, talking about becoming smitten with a "disco queen" that he runs into while hitting up a city's "bistro scene" ("Love Is Real"). London's songs usually push in a pop direction, too: Skipping over the actual rapping part, "I Stand Alone," with its defiantly motivational chorus, does a decent impression of an Eagle Eye Cherry ditty; lead single "Why Even Try" and "Lighthouse" sound like he missed his calling as an '80s pop-rapper. (If only London had Diddy's budget—he could rap over Duran Duran!)

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Tonight: Tegan & Sara at Terminal 5

Categories: Tegan and Sara

So you're one of those people who get all up in arms when Canadian emo-pop twins Tegan and Sara get tagged as "tampon rock." Or maybe you think there's nothing deeper to rock out to while you're styling your hair. Either way you'll no doubt be breathless at hearing the duo's moody, studio-rounded riffs and anxious-for-angst tones both up close and way too personal. Also: An Horse. — PETE L'OFFICIAL

Terminal 5, 610 W 56th St., New York, NY 10019. SOLD OUT.

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Scott Indrisek on Tegan and Sara live at Webster Hall

Live: Tegan and Sara at Webster Hall


photo by Mollye Chudacoff

Since we thieved our namesake from this VV column, it behooves us to direct you to Scott Indrisek's printy SOC piece about the Tegan and Sara show at Webster Hall last week. Not quite the "tampon rock" defense/controversy, but we hear this:

The simple act of attending a Tegan and Sara show can generate a lot of guff from judgmental acquaintances; you'd think I was effusively praising the upcoming Spice Girls reunion or—Quelle horreur!—Ani DiFranco. Despite the pitch-perfect emo-pop of their latest, The Con, hating on the Quinn twins seems to be a surprisingly popular pastime. One friend said that he couldn't hear their name without conjuring a hit from another duo with a very different relationship to lesbianism: T.A.T.U., the Russian popsters responsible for "All the Things She Said." And you know what? He's sort of right—listen to the chorus of The Con's title track. And there's nothing wrong with that. Relocate Tegan and Sara to the Continent and they could kick some Eurovision ass.

Also worth noting: Tegan and Sara covered "Umbrella" again. Hope it was better than the Bright Eyes' Tom Petty cover we witnessed that same night uptown at Radio City. Who's got the bootleggy link?

[The rest of Scott's "Twin Cinema piece"]


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