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Track Listings
| 1. Fallen |
| 2. World On Fire |
| 3. Stupid |
| 4. Drifting |
| 5. Train Wreck |
| 6. Push |
| 7. Answer |
| 8. Time |
| 9. Perfect Girl |
| 10. Dirty Little Secret |
Product Description
Amazon.co.uk Review
Review
McLachlan's brand of neat, soul searching pop probably sounds a touch to folksy for some British ears, and it's fair to assume that she would rather eat dung beetles than strip off for GQ. Her music is thoughtful and accessible, and really deserves more attention than it has so far received on this side of the Atlantic.
Describing her new album, McLachlan informs us that "A lot of these songs are about transitions, the turning over of the rock, whats underneath, the murky, shadowy uncertainty where everything looks very different." As a songwriter she has always drawn on personal experience and since her last solo album, 1997's "Surfacing", Mclachlan has lost her mother and given birth to a daughter, India. These transitional events are reflected in the sensitive ambience of Afterglow, striking a well-judged balance between euphoria and melancholy.
With vocals invariably spanning each track from beginning to end, there are times when some listeners might crave more space for the music to breathe. Relief comes in the form of "Drifting", which offers instrumental diversions and serves as a reminder of the artist's jazz influences. The easy groove of "Train Wreck" follows up nicely and surprises with its sassy pop chorus.
There are times when McLachlan's voice contains distinct echoes of Natalie Merchant, one time singer with 10, 000 Maniacs. On other occasions, notably on the beautiful track "Answer" - she evokes a tender sensuality, reminiscent of Judie Tzuke. Such comparisons carry no suggestion that McLachlan is unoriginal, but if you haven't heard her work before and are fans of these singers mentioned, it's probably a fair bet that you'll enjoy this album. --Jack Smith
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Customer Reviews
Oh on another note I just read a review (the only one of it's kind) that claimed not to like FTE, and if they happen to read back please please please get mirrorball.. I agree FTE was overproduced and sounds a little bit dated now even possibly due to the very gothic orchestration... However if you listen to the greatest hits tour "Mirrorball" or indeed the soon to be released (and i can't wait) Afterglow Live, then I guarantee you will love the up to date versions of tracks such as fear, ice cream, the awesome hold on and possibly my favourite elsewhere (which is on the fantastic dvd version).. The live versions are really completely different from the album and show what a difference there is when she performs live..
I saw the afterglow tour a couple of weeks ago and I have to admit was absolutely blown away. I knew she was fantastic as I had the dvd's, but had no idea how good she really would sound. Her voice was amazing, note perfect, and one particular note she held for topping 30 seconds on a song called witness, was truly one of those moments that make you glad to be alive.. Her band were spectacular, but naturally she stole a remarkable show, I can't wait till she returns...
This is the first CD of hers that I have bought - and I have found it an enchanting, haunting and extremely well crafted album. McLachlan quite simply has a beautiful voice and writes intelligent and poignant lyrics - and this album displays her vocals at their best. It demands to be listened to, and is definitely not background music for dinner parties as many might describe Nora Jones and Dido. The opening track 'Fallen' sets the standard for the album, and other high spots include 'Train Wreck' and 'Answer' - but the other 7 tracks paint a vivid picture and use the full pallet of McLachlan's rich voice. Buy it - you won't be diappointed!
Standout tracks 'Fallen' - how wonderful to hear that voice again after such a long absence - 'Stupid' and 'Train Wreck' carry all the power and directness of vintage McLachlan. 'Push' is beautiful, soulful and touching without being either sickly or over-sentimental, and 'Answer' is heartbreaking, just piano, brush drums and a faint cello, and carries that ghostly feel that conjures up comparisons with, strangely, acts such as Clannad.
It would be easy to believe that McLachlan has spent the seven years since her last studio album sharpening and perfecting these ten songs; there's little here that could have been improved on. Expect to see this cluttering up many end-of-year 'Best Of' lists. In a world where Dido can sell fifteen billion albums, Sarah McLachlan is long due recognition and success. Hopefully, this one will see her achieve both in the UK.
NOTE: A comment for this review makes a valid point - what about the music? Read more
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