Laws of Illusion

For a musician whose record sales have topped 40 million worldwide, Sarah McLachlan has proven surprisingly easy to forget about. The lengthy gaps between her album releases must surely exacerbate this process; her latest release, Laws of Illusion, is her first album of all-new material since 2003’s aptly-titled Afterglow, itself a six-year shadow of McLachlan’s commercial and artistic peak, 1997’s Surfacing. In the increasingly frantic musical marketplace, such long absences from the fray do not lend themselves to solidifying one’s brand.

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