An album like this could cement Sarah McLachlan as a middle-of-the-road crooner ready for the Andy Williams Christmas Show, but there's more beneath the surface of Wintersong than just Christmas chestnuts, over-roasting on an open fire. Longtime McLachlan producer Pierre Marchand blurs the borders with ambient sound effects, distorted guitars, and subtle echoes. He adds a Mark Isham-esque muted trumpet solo emerging out of reverse echoes on "I'll Be Home for Christmas" as if viewing the song through a distorted mirror. Violins that sound like they're being blown through a Leslie speaker combine unpredictably with a banjo on "O Little Town of Bethlehem." And on the seventh song, McLachlan finally kicks the album into another gear, turning "The First Noël" into a storming entreaty backed by tribal drums and surging low strings. Her voice is like the serene angel amidst the raging storm. I wish McLachlan had taken more chances like this, instead of the subtle framing she employs around melodies that remain true to form. Surprisingly, the more contemporary songs by John Lennon, Joni Mitchell, and Gordon Lightfoot are the least inventive. Her reading of Mitchell's incandescently wistful "River" is overly faithful to the original, and Lennon's "Happy Xmas (War Is Over)" sounds like karaoke, right down to the Spector-esque production and children's choir. But given that Lennon's prayer for peace still remains unanswered, that fidelity could be intentional. Regardless, this is familiar Christmas fare delivered in an intimate and ethereal fashion that will satisfy those who believe in the nostalgic spirit of the season. --John Diliberto
Is Sarah McLachlan a secret punk rocker? To be sure, her rebellion is hushed. On Afterglow, her first studio album since 1997's Surfacing, McLachlan's music is as tempered as ever; at times even the piano chords at the heart of the sound are tucked neatly beneath layer upon layer of strings and overdubbed voices. Listen to what's being sung within this soothing aural bed, though, and hear the just-before-sleep murmurings of the quietest riot grrl: "I'm a train wreck waiting to happen.... a wildfire born of frustration," "How stupid could I be.... you're no good for me, but you're the only one I see," "I have to push just to see how far you'll go." The latter song ("Push") resolves itself with the assurance, "You complete me." Ultimately, McLachlan fans will be comforted again by what turns out to be her reliably untroubled aesthetic. --Rickey Wright
There's the requisite number of gorgeously melodic and deeply heartfelt songs here--the addictive "Sweet Surrender," the Hollywood-style ballad "I Love You," the sad, profound "Angel," the flat-out spectacular "Witness." McLachlan's not prolific, but this short, bittersweet album proves again that what she and producer Pierre Marchand do release is cut from the finest of cloth. --Jeff Bateman
Pre-Lilith Fair, McLachlan had critical acclaim and a cult following but was otherwise just another hard-working female singer/songwriter--one who wasn't blasting down doors with overt sexuality or popping along in front of a male Svengali. Similar in their emotional urgency to her more recent work but delightfully less polished, these folk-rock songs are surprising gems. If not for McLachlan's poignant vocals, lyrics like "Your love is better than ice cream" (on "Ice Cream") would sound childishly absurd (especially alongside deeper material like "Hold On"), but here they're given just as much respect as the weightier issues she explores. A great album to accompany your moments of introspection. --Rebecca Wallwork
