Sarah McLachlan: Laws of Illusion (Reviews)
Where even such bland compositions may have once been elevated by McLachlan's vocal abilities, our heroine seems content to simply sing them and get out of the way. 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 [...]

























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