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Strona Główna Pop i Różności Sarah McLachlan Sarah McLachlan - Laws Of Illusion [2010]

Sarah McLachlan - Laws Of Illusion [2010]

Poniedziałek, 14 Czerwiec 2010 16:58 | Wpisany przez bluelover | PDF Drukuj
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Sarah McLachlan - Laws Of Illusion [2010]

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01. Awakenings 
02. Illusions Of Bliss 
03. Loving You Is Easy 
04. Changes 
05. Forgiveness 
06. Rivers Of Love 
07. Love Come 
08. Out Of Tune 
09. Heartbreak 
10. Don't Give Up On Us 
11. U Want Me 2 
12. Bring On The Wonder 
13. Love Come (Piano Version

Acoustic Guitar, Electric Guitar – Bill Dillon, Michel Pepin
Bass, Lap Steel Guitar, Electric Guitar – Yves Desrosiers
Drums, Percussion – Matt Chamberlain
Piano, Vocals, Acoustic Guitar – Sarah McLachlan
Producer, Bass, Keyboards, Mixed By – Pierre Marchand

 

It’s been seven years since Sarah McLachlan released Afterglow, her last album of original material. That’s a lifetime in the pop world, perhaps, but McLachlan handles her absence well, filling Laws of Illusion with the same sort of adult contemporary fare that made her a star in the first place. The market has changed since McLachlan’s late-‘90s heyday; pop starlets like Lady Gaga and Taylor Swift are now among the industry’s most highly prized female songwriters, making McLachlan seem a bit staid and outdated by comparison. With the 2010 revival of Lilith Fair, though, she has somewhat reconstructed the world as it existed a decade ago, and Laws of Illusion furthers the fantasy by taking its cues from Clinton-era folk-pop. It’s an album that aims to soothe rather than startle, replete with wistful, lovelorn lyrics and McLachlan’s signature arrangements -- a mix of new age atmospherics and singer/songwriter ambience -- courtesy of longtime producer Pierre Marchand. As he’s done in the past, Marchand splits his time between highlighting McLachlan’s voice with intimate piano chords and piling the orchestrations high, although the two devote more time to ballads this time around. In general, though, McLachlan simply sounds like McLachlan here, seemingly unaged by the seven years that have elapsed since her last record and unconcerned with new trends. ---Andrew Leahey, AllMusic Review

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