Ecstatic Fumbling

Sarah McLachlan

Arista Records

Mmmmm, oohh yeah, Some artists can just you in a mental groove. Julee Cruise. Tori Amos. Enya. These are women who know their subliminal stuff, and seem to delight in weaving songs that are slightly consciousness-altering. Call it folk-rock, call it New Age, in the end it'll get to you all the same. Whether it relies on the contorted world-view of Twin Peaks' David Lynch, as with Julee Cruise, or Gaelic-inspired words and melodies, as with Enya, this music shares a certain soulfulness that sets it apart. Showing up in soundtracks, advertisements and as background music to certain popular women's winter sporting events, these artists' combination of cryptic lyrics, cool synth sound and sighing vocals have made a market out of musical mediation.

But if such music is soothing, it is also more than a collection of glorified mantras or weird poetry set to music. Fumbling Towards Ecstasy, the third album from Canadian Sarah McLachlan, is far from boring, and with its instrumentally complex moody melodies, is surprisingly driven as well. Buoyed by McLachlan's expressive voice and strong song-writing, the album covers a range of emotions and styles and shows this talented musician to her best advantage.

The album opens with the haunting "Possession," which is almost church-like at first, with McLachlan's clear voice double-tracked over the accompaniment of a Hammond organ. "Listen as the wind blows from across the great divide," she murmurs calmly, as the song shifts gradually into a more driven, guitar-buoyed section. Written from the point of view of an obsessive fan, with lyrics that are both erotic and slightly frightening, her voice breaks as she declares, "You speak to me in riddles and you speak to me in rhyme/ My body aches to breathe your breath, your words keep me alive," a perfect contrast to the calmer, more controlled elements of the song. In the vein of "Into the Fire," McLachlan's hit off of her second album Solace, the song is just as beautiful in the extra, acoustic version included at the end of the final track, displaying McLachlan's expressive piano accompaniment.

With a voice capable of Sinead O'Connor's sharp, breaking tone as well as softer, folk-like sound, McLachlan has a wide palette to work with in creating her works, even when few other instruments are included. She displays all of O'Connor's intensity on "Wait," a beautifully wrought song that sets all the torches aflame. On "Ice Cream" a combination of drums, piano and vocals create a catchy tune, set to a swingy rhythm and simple chord progression that fits the song's upbeat message that "your love is better than ice cream."

McLachlan's stretches a little more thematically with "Hold On," a song inspired by an AIDS documentary about a woman who learns that her finance has AIDS. The song, which also appears on the No Alternative benefit album, has a moody, organ-supported sound that may seem a little strange in the company of alternative groups such as Asylum. She sings the song in a restrained, almost choked-up manner, trying to convey the feelings of the woman who must "lie awake and pray that you'll strong tomorrow/ And we will see another day." The song is largely successful, if (not surprisingly) somewhat dark, and leaves the listener no doubts as to McLachlan's sincerity.

Throughout the album, McLachlan relies on the instrumentals of Pierre Marchand as the other main component evident on "Ice," where Marchand's bass and the saxophone of Michel Dubeau play mirror to McLachlan's voice. Marchand's support is also key on "Elsewhere," a beautiful declaration of the power of love, with the line "I believe this is heaven to no one else but me" multi-tracked over McLachlan's own vocal harmonies, guitars and piano. It is Marchand who adds the synthesizer and drum machines that round out McLachlan's sound, giving her the freedom to engage in the vocal gymnastics she does so well.

Unlike the increasingly popular Enya, who has not yet worked out how to perform without being surrounded by tape recorders (she tracks each song hundreds of times to get the sound of "Sail Away" and the like), McLachlan's more acoustic better adapted to the stage. She tours regularly, and will be coming to the Somerville Theater March 28, and while the Monday after spring break may not be a time when most of us will be thinking about attending concerts, the album itself merits a listen. With Fumbling Towards Ecstasy, Sarah McLachlan broods and croons her way towards well-deserved public recognition, and the pleasure is all ours.