In 2003, the Tampa Bay Bucs defeated the Oakland Raiders to win their first Super Bowl. The Governator was sworn into office, Saddam Hussein was captured, and Beyonce was on top of the music industry with her solo debut. It was also the last time that Sarah McLachlan released a proper studio record in multi-platinum Afterglow. While she released a well regarded Christmas album and re-started Lilith Fair during this time (among other things), it was still a lengthy semi-hiatus, one that saw McLachlan divorce her husband and adjust to having children.
The Laws of Illusion comes at a time when the music industry is all about tempo and big names, a bit of a shake-up from the friendlier environment that McLachlan left. Female singer-songwriters have a pretty hard time getting on the radio, so don't expect a Building a Mystery or Angel to emerge from this mostly midtempo collection. However, that doesn't mean that there's not some very strong material present. Illusions of Bliss takes on a bit of a different tone than a typical Sarah McLachlan song; instead of a deeply somber piano-led ballad, it's a wispy midtempo with some amped up acoustic guitars and strong drums. Toss in some wailing back-up vocals and you have yourself something slightly left of center but no less enjoyable. Its optimistic tone contrasts the troubled lyrics about being unsure whether to leave a loved one or not, which make it a more interesting listen. Out of Tune could have been dialed back a little bit on the production end of things (the intro is sublime and it gradually gets a bit more fuzzy), but overall, it feels like a natural progression for the singer, as it's reflective without being self-indulgent and with the faintest hint of romance in the air. McLachlan's vocals are hopeful and weary, the fruits of a life of heartbreak and romantic woes, expression painted on them with the most intricate of turns of phrase.
Don't Give Up on Us again squanders an intro with potential and becomes another sound alike in McLachlan's catalog. Don't get me wrong, I adore her ability and she can tune into human emotion better than most of her contemporaries, but sonically, she gets a bit redundant. This is expertly performed with a really lush piano in the background, but the constant howling of the background vocals and the murky production aren't where she should be right now. It's not like she has anything to deficits in singing or writing to hide; it's just too much thrown at you at once. Awakenings adds a little tempo to the mix, a rarity for a Sarah McLachlan album and a welcome addition at that. There are a few distracting elements to it (the little ticking in the background is irritating), but it's a pretty decent way to introduce the set. It's nice to hear some different elements to break up the monotony (there's even an electric guitar solo albeit a brief one), especially since this is the best written track here. McLachlan always lays her heart on the floor and this is no exception, a track that bemoans the past but looks forward to the future with a fresh set of eyes. Forgiveness is everything I love about McLachlan's music; with the production allowing some breathing room, she gives us the type of introspective, slightly dark ballad that her voice never fails on. Washed in regret and impressively textured in delivery and commentary, it's the song for those in dysfunctional relationships, a song that understands mistakes and realizes why happiness has been elusive. It's not a fun song but it's a necessary song.
All about adaptability, Changes discusses what happens once all this heartbreak that she talks about actually occurs. It's not the sexiest listen on the record; it's neither a standout track nor is it a lowlight. It's a mystical little ditty with something that sounds like a musical saw, a softly shuffling ode to simply doing better. I appreciate the different route she took during the verses (they're a little more punctuated) and understand why the hook is structured in the manner it is (the background vocals are very retro), as this track is positive without being too sickening in its quality. Rivers of Love may have an atrocious title, but it's one of the better tracks on the record. It goes back to what makes Sarah McLachlan great; the best parts of the song are where it's just her and the piano. Obviously, it's this multi-layered "epic" listen with random solos, haunting background vocals, and a heaping helping of drama, but McLachlan's at her best when things are simple and unfettered. When it's a more stripped down track, it gets to the heart of the lyricism quicker and feels like a more flexible, personal track.
While I had my problems with the record (it's extremely sleepy and not as immediate), I have to say that The Laws of Illusion is a relatively worthy purchase for Sarah McLachlan fans. She's not exactly reinventing the wheel here, but there's comfort in the familiar; sometimes artists reinvent themselves and lost likeability/integrity, but McLachlan continues to make records that are smooth and introspective. This being said, I wouldn't mind if she took a few more risks next time, i.e. going a little more stripped in production and adding an uptempo cut or two. The tracks here are not bad at all (she will always be captivating in her songwriting and hypnotic with her vocals) and even the production choices aren't the worst in the world; it's just that the record could have been that much better (about one star) had certain elements been eased up on. There's no telling how the world will look when the next Sarah McLachlan album comes out, but through timeless music, Sarah McLachlan will always be relevant.
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