Sarah McLachlan
Laws of Illusion (Nettwerk)

Marital dissolution is a terrible, sad, heartbreaking thing. For Sarah McLachlan, who is prone to immobilizing bouts of creative block and who admits that she can’t write songs when she’s happy, there is at least some slim consolation to be gleaned from it. It doesn’t seem that long ago—probably because the gap has been filled with compilations, remix discs, and a Christmas collection—but it has been seven years since the B.C.–based singer released a new studio album of her own songs. But McLachlan separated from her husband (and former drummer) Ashwin Sood two years ago, and for all the havoc that doubtless wreaked in her personal life, the experience evidently gave her something to write about.

Hence Laws of Illusion. Songwriting should almost never be read as autobiography, but McLachlan has been quite open about the fact that this new batch of tunes was written in the aftermath of the breakup. Little surprise, then, that the lyrics include lines such as “I can’t believe that you’re walking away from us” (from “Changes”) and “You ask for forgiveness, you’re asking too much/I have sheltered my heart in a place you can’t touch” (from “Forgiveness”).

There’s rage and bitterness and, in the end, just a hint of moving on. This is a Sarah McLachlan record, though, so if you’re expecting that emotional roller coaster to be reflected musically, well, you’re asking too much. The singer and her long-time producer and cowriter Pierre Marchand tend to err on the side of the adult contemporary, which isn’t a bad idea, given the smooth ache McLachlan exudes through her vocals. There aren’t a whole lot of sonic surprises on Laws of Illusion, but there are details that keep the whole thing from sliding into the realm of the somnambulant.

“Awakenings” kicks the proceedings off with McLachlan’s crack supporting cast almost rocking out. Matt Chamberlain provides a percolating beat, and Luke Doucet checks in with a wickedly overdriven (but teasingly brief) guitar solo. There’s even some feedback! The nice bits elsewhere are more subtle, like the musical saw in “Changes”. The multitracked vocal harmonies of “Bring on the Wonder” are all sung by McLachlan herself, which suggests that she’s been listening to Imogen Heap. Or maybe Enya.

Probably Enya. This is a Sarah McLachlan record, after all.

Download This: "Awakenings"