Of lawful illusions, sweet wildness and twisted truths

Sarah McLachlan - Laws of Illusion

Sarah McLachlan's first disc since her split from husband Ashwin Sood harkens back to her earlier recordings -- namely Surfacing, Touch and Solace. 

Some may make much of the fact that McLachlan's singing is still replete with quasi-orgiastic sighs and moans by way of wistfulness but then again, the same argument could be made for Rihanna's slightly nasally voice. It should be noted that when her breakthrough album Surfacing came out, a unique niche was already carved that allowed her to display vulnerability, earnest naivete and romanticism without coming across as melodramatic -- in an era where almost every female singer-songwriter was trying to emulate another fellow Canadian (Hi, Alanis!).

The production was top-notch, with longtime collaborator Pierre Marchand and that's where they hit gold with  arrangements that not just accompanied each individual songs, but each addition of strings, and even electronic beats draws this listener in. Of course, McLachlan didn't skimp on her trademark lyrics either. In "Forgiveness" she mourned a loss of trust and inability (or perhaps unwillingness?) to forgive a wrong. "Out of Tune" starts with stark percussive beats before the piano swells and segues into her desire to disappear into her lover's arms.


All in all, Laws of Illusion won't net her new fans but it's definitely a reward for her legion of loyalists who have been following her since her first album.




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Jewel's second foray into country

If I had to pick a favourite Jewel album, Sweet and Wild wouldn't be the first choice -- the honour would go to Goodbye Alice in Wonderland. Granted, Sweet and Wild is more cohesive than her previous attempt at  the country genre with Perfectly Clear -- a title I found ironic since I was left in the murk at her confusing lyrics.

This isn't to say that both attempts at country are dismal failures. I admire Jewel's attempt and ambition at musical reinvention; from her modest coffee-house folkie beginnings, to adult-contemporary, electro-pop diva and now as country chanteuse. 


There are good tracks to be found here: the melancholic Fading recalls midlife depression, the sweetly flirtatious Stay Here Forever where her vocals trills and resound clear with breathless anticipation at "having a little kiss" with her beau (we'll assume husband Ty Murray has the honours!). One cannot fault her crisp and versatile vocals -- all throughout the disc, she sounds like the same young folk artist we fell in love with in Pieces of You, albeit with matured skills. She brought over some elements from Goodbye Alice in Wonderland with her lyrics -- while retaining her simple approachable architecture -- in delving more into heavier themes subtexts of sacrifice and despair on Satisfied. But that's where it stops.

Perhaps, Jewel will need a third attempt at truly capturing the essence of what makes country country. As her track record suggested, she is able to deliver by polishing each album until she hits the motherlode but it all depends on how the fickle public sees it.




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Lene Marlin - Twist the Truth

One is tempted to wonder if Lene Marlin suffers from chronic disappointment. Her songs are so melancholic and morose that it sounds as if one more heartbreak could leave the poor miss a basket case.

Now, this is not to say that I feel like taking a razor blade to my wrists after listening to the album. What did strike me was the fact that this girl have amassed quite a consistent signature style when it comes to her music. She combined winsome melodies that easily traps the untrained pop listener and then rewards them with lush backings of orchestra, synthesized arrangements and ethereal vocals. If not for the slightly melancholy air of this record, I would be tempted to say listening to it is like a dreamlike journey. It is fortunate for this listener that Ms Marlin's capable genius did not allow it to devolve into a nightmare.

Her closest concession to mainstream pop would be her first single off of this album, titled "Here We Are". As the song's chorus laments at loss and wishful thinking on what-could-have-beens, guitar/violin melds seamlessly with keyboards. What Marlin excels -- and consistently concentrates on --  is creating moods rather that catchy hooks. Her soft voice wouldn't stretch anyone's vocal range but trying to evoke the mood that she slamdunks almost without effort is a true indication of her talent.

While songs like her lead single, "You Could Have" and "You Will Cry No More" speaks about blame, responsibility, loss and accountability she never once came across as accusing or preachy. As with her previous albums, she managed to balance her lyrics that it presents itself as a neutral observer yet still engrossed in the going-ons around her.

I suggest tracking down her first album Playing My Game -- released when Marlin was only 18 -- and then listen to Twist the Truth and you'll see what I'm talking about.