{"id":30476,"date":"2024-05-31T15:47:43","date_gmt":"2024-05-31T19:47:43","guid":{"rendered":"https:\/\/newssprinters.com\/index.php\/entertainment\/sarah-mclachlan-is-resurfacing-the-new-york-times\/31\/05\/2024\/"},"modified":"2024-05-31T15:47:43","modified_gmt":"2024-05-31T19:47:43","slug":"sarah-mclachlan-is-resurfacing-the-new-york-times","status":"publish","type":"post","link":"https:\/\/newssprinters.com\/index.php\/entertainment\/sarah-mclachlan-is-resurfacing-the-new-york-times\/31\/05\/2024\/","title":{"rendered":"Sarah McLachlan Is Resurfacing – The New York Times"},"content":{"rendered":"

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They gambled correctly. The success of \u201cSolace,\u201d<\/a> McLachlan\u2019s second album, drifted from Canada into the United States, where it was released in 1992, buying her and Marchand good will. They spent a year and a half in a studio in the Quebec countryside, McLachlan often walking home by moonlight while Marchand built late-night loops and atmospheres. The result, \u201cFumbling Towards Ecstasy,\u201d remains an uncanny singer-songwriter record, her frank observations on betrayal, friendship and lust warped by his outr\u00e9 sensibilities. \u201cI like it when it\u2019s complex, when there\u2019s not one feeling,\u201d Marchand said. \u201cIt\u2019s like a person.\u201d<\/p>\n

Marchand and McLachlan added the layered grandeur of U2 and the supple strength of Depeche Mode to these testimonials of yearning and loss. Critics lauded it as smart and sensual. Sales were stronger still: It went quintuple-platinum in Canada and sold more than three million copies stateside.<\/p>\n

\u201cI was in a punk band listening to a lot of hardcore \u2014 and, strangely, Sarah McLachlan,\u201d said Leslie Feist<\/a>, the Canadian songwriter who will open the U.S. leg of McLachlan\u2019s tour. \u201cI could hear her power, but it was being expressed more fluidly. It wasn\u2019t about aggression. It was about conviction.\u201d<\/p>\n

As McLachlan\u2019s profile grew, letters from stalkers mounted at Nettwerk\u2019s offices, especially from an Ottawa programmer named Uwe Vandrei. They met once, and he slipped her a scarf. But after she read one of his pleas, she asked not to see more. Still, in the album\u2019s opener, \u201cPossession,\u201d where bass pulses and guitars radiate above droning gothic organs, she worked to mirror his mind, to articulate his misplaced passions. When it became a hit, he sued, alleging McLachlan had lifted his words. Vandrei died before trial.<\/p>\n

\u201cI felt a strange sense of relief,\u201d McLachlan said haltingly. \u201cBut then I thought, \u2018Oh my God, this is somebody\u2019s son. Should I have tried to reach out? Tried to talk some sense into him?\u2019\u201d<\/p>\n

The success of \u201cFumbling\u201d \u2014 and the draining circus that followed, including conspiracy theories about label involvement in Vandrei\u2019s death \u2014 helped spur McLachlan\u2019s most historic defiance. She demanded to not<\/em> headline every show, to be partnered with acts who could share celebrity\u2019s weight. Promoters balked at the idea that women could carry such a docket, rankling McLachlan. She named a genre-jumping touring festival for Lilith, a woman repeatedly lambasted in sacred texts. Lilith Fair not only dominated the summer concert scene of the late \u201990s but showed onlookers and executives that women were not music\u2019s second-class citizens.<\/p>\n<\/div>\n

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They gambled correctly. The success of “Solace,” McLachlan’s second album, drifted from Canada into the United States, where it was released in