Sarah McLachlan resurfaces – New York Times Chinese


They made the right bet. The success of McLachlan’s second album, Solace, spread from Canada to the United States, where it was released in 1992, earning her and Marchand a solid reputation. They spent a year and a half in a studio in rural Quebec, with MacLachlan often walking home under the moonlight while Marchand created late-night loops and atmosphere. As a result, Groping Into Ecstasy remains an incredible singer-songwriter record, her candid observations of betrayal, friendship, and desire twisted by his eccentric sensibilities. “I like the complexity of it, the lack of one feeling,” Marchand said. “Just like a human being.”

Marchand and McLachlan add the layering of U2 and the supple strength of Depeche Mode to these testimonials about longing and loss. Critics praised it for being smart and emotional. Sales were even stronger: it went quintuple platinum in Canada and sold over 3 million copies in the United States.

“I was in a punk band and listened to a lot of hardcore music—and, oddly enough, Sarah McLachlan,” says Canadian songwriter Leslie Feist, who will open McLachlan Lan’s U.S. tour. “I can hear her power, but with more fluidity. It’s not about aggression. It’s about belief.

As McLachlan’s profile grew, Nettwerk’s office became increasingly inundated with letters from stalkers, particularly from Ottawa programmer Uwe Vandrei. They met once and he gave her a scarf. But after she read one of his pleas, she asked to see no more. Still, on album opener “Possession,” where bass pulses and guitars radiate over a droning gothic organ, she strives to reflect his thoughts and express his misplaced passions. When it became a hit, he sued, claiming McLachlan retracted his remarks. Vandre died before the trial.

“I feel a strange sense of relief,” McLachlan stammered. “But then I thought, ‘Oh my gosh, this is somebody’s son. Should I try to reach out? Try to reason with him?’

The success of Groping – and the exhausting circus that followed, including conspiracy theories about the record company’s involvement in Vanderree’s death – spurred MacLachlan’s most historic rebellion. she asked no Headlining every show and working with artists who can share celebrity weight. The sponsors balked at the idea that women could carry such dockets, much to McLachlan’s chagrin. She named a genre-spanning touring festival after Lilith, a woman repeatedly and harshly rebuked in sacred texts. Lilith Fair not only dominated the late ’90s summer concert scene, but showed onlookers and executives alike that women were not second-class citizens in the music industry.



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