Fumbling Towards Ecstasy (Legacy Edition) : Sarah McLachlan : Review : Rolling Stone

Sarah McLachlan belongs to a particular branch on the singer-songwriter tree that critics typically regard with distaste — well-produced folk-poppers like Donovan and Cat Stevens whose vocal presence and compositional skills outstrip their lyrical gifts. Inspired by stalker fans ("Possession") and the AIDS crisis ("Hold On"), the haunted subject matter of Fumbling Towards Ecstasy nevertheless grounds the understated drama and flat-out gorgeousness of her opera-schooled chops with context. Although she scored bigger hits with 1997's smoother Surfacing, this 1994 breakthrough remains her atmospheric soft-rocking peak because gracefully goth marvels like "Fear" are not only exquisitely rendered but emotionally accessible. It's not just art for chart's sake. As such, it's an ideal entry point for new fans, but this 15th anniversary edition does little more than tack on 1995's The Freedom Session acoustic disc and a previously released live DVD that both revisit the album with diminished results. Despite having mothered the Lilith Fair women's music festivals, McLachlan is intrinsically linked with the gauzy studio-bound beauty of her delicately layered arrangements. Without them, she's not quite fumbling, but she's definitely far less ecstatic.

BARRY WALTERS

(Posted: Aug 5, 2008)

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Track List

Play All

Possession
Wait
Plenty
Good Enough
Mary
Elsewhere
Circle
Ice
Hold On
Ice Cream
Fear
Fumbling Towards Ecstasy
Possession (Piano Version)
Elsewhere
Plenty (Live)
Mary
Good Enough
Hold On
Ice Cream
Ice
Ol'55
Hold On (short version - HIDDEN TRACK) (track not available in Rhapsody)

Your Turn

Give us your review of Fumbling Towards Ecstasy (Legacy Edition)

Review 1 of 2

4of 5 Stars

For it's time, Pierre Marchand's production on "Fumbling
Towards Ecstasy" was a strikingly original and as
complimentary to a singer who's voice was a particular as
McLaughlan's as, say, Mitchell Froom's production on Suzanne
Vega's "99.9 F" or Laurie Latham's on Paul Young's debut "No
Parlez", way back when. Of course, McLaughlan filled the
record with all good original tunes, which makes it even a
stronger record. Overall there is a sensual, earthy, new-agey
quality to the record, and of course, her gorgeously stacked
voices--her own angelic background choir. So distinct.
"Fumbling Towards Ecstasy" is a bit of downer after how
refreshing the record that would it followed sounds
("Surfacing"), which sounded infinitely more radio friendly,
happier and brighter, but it's clear which record matters
more. It's undeniable, few signer/songwriters rarely get all
four aces as she does on the singular and haunting on the
record's proper bookends, "Possession" and "Fear".

Aug 11, 2008 09:16:15

Review 2 of 2

2of 5 Stars

Sarah McLachlan has a terrificly soothing voice. Her music always has substance, as well. That is the only reason she gets 2 stars from me. However, she has yet to step out of her bubble, and that irritates me. All of the music I have heard by her has simple and pleasant harmonies and melodies, yet never really goes anywhere. She seems to either have no understanding of stylistic and dynamic contrast, or she simply does not care for either. Regardless, this is a glaring problem for a musician. Everyone knows that Sarah has mastered the understated "lullaby sound", but she hasn't ventured far enough away from that at all.

Also, I feel that the RS critic who wrote the review for this album made a serious error in saying that Sarah shows off her opera training. I don't sense any evidence of opera training in her voice, and as far as I know, she was never a college opera performance major. She may have been trained to sing in choir, but this is much different than being trained in the operatic style.

Aug 7, 2008 02:47:17

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