フォーマット |
CD |
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構成数 |
1 |
国内/輸入 |
輸入 |
パッケージ仕様 |
- |
発売日 |
2010年06月17日 |
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規格品番 |
88697694122 |
レーベル |
|
SKU |
886976941222 |
オーストラリア発、女性SSWシーアのカラフルでポップなサウンドが満載の4枚!今までのメランコリックなイメージを振り切った明るいダンス・ポップを全面展開し、リスナー層の幅を一気に広げた1枚!。サウンドのプロデューサーは前作にも関与していたグレッグ・カースティン。数曲では共作し、演奏でも参加と裏の立役者!
Sony
構成数 | 1枚
合計収録時間 | 00:46:27
If Some People Have Real Problems, upon its 2008 release, felt like Sia's "pop move," its warmly personable brew of mellow coffee shop soul offering a more approachable contrast to the sober soundtrack-fodder chill-out with which she -- and in particular, her increasingly ubiquitous, jazzily innocuous voice -- had become near-synonymous, what can we make of We Are Born? With this, her fourth proper album, recorded for yet another new label (pop/hip-hop titan Jive), the Australian singer has made a massive pop leap: a sunshiny, highly caffeinated set of frothy dance tracks and feel-good lite-funk. And it's a great look. It's hard not to smile in agreement when she sings, in the tremendously hooky chorus to the irresistible, disco-fied first single (a revamped Lauren Flax collaboration): "You've changed... for the better!" As Sia tells it, it's less that she's changed than that she's finally made the album she'd been itching to make for years, the catalysts including her increased distance from the evidently dictatorial market forces of downtempo and her recent romantic linkage with DJ JD Sampson (Le Tigre, MEN). Unexpected though the shift may seem, it still feels like an entirely comfortable one, a liberating opportunity to revel in the natural exuberance she's always held in check. It's a treat, then, but hardly a surprise, to hear how well Sia works her ever-expressive pipes in full-on club-diva mode, as on the aforementioned single and the equally delightful "The Fight." She displays impressive vocal versatility throughout, cooing and crowing like vintage Gwen Stefani on the awesomely ska-punky "Bring Night"; drawing on her reserve stock of quavering Winehouse-isms for the blue-eyed R&B of "Be Good to Me"; getting throaty on the decidedly emo piano ballad "I'm in Here," which recalls any number of tortured '90s alt-rock songstresses (ditto her extravagant take on Madonna's "Oh Father.") Much as her vocal flexibility lets Sia navigate a considerable array of pop styles with nary a hitch, her solid songwriting chops find her fully satisfying the conventions of each form she tackles, albeit rarely transcending them. Meanwhile Greg Kurstin, by now a past master of breezy, contemporary, grown-up girl pop production, supplies a likable balance of gloss and glitter, with plenty of fun, playful touches (toy pianos, synthesized orchestra bells, kids voices.) While We Are Born occasionally lapses into the anodyne, overly tasteful pop-folk balladeering of Sia's past, overall it's a charmingly cheery, light-hearted romp looking nowhere but sweetly, sanguinely forward. ~ K. Ross Hoffman
録音 | ステレオ (Studio)
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1.[CD]
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1.Fight, The
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2.Clap Your Hands
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3.Stop Trying
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4.You've Changed
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5.Be Good to Me
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6.Bring Night
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7.Hurting Me Now
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8.Never Gonna Leave Me
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9.Cloud
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10.I'm in Here
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11.Co-Dependent, The
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12.Big Girl, Little Girl
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13.Oh Father
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クリスティーナ・アギレラ「Bionic」では生楽器主体の繊細なバラード群においてキーとなる役割を果たしていたシーアだったが、そこからの流れはこの新作には皆無。予想を上回る振り切り方で、明るくはっちゃけたダンス・ポップを全面展開してみせている。通好みのアーティストであるより、<明快で売れるポップスをやりたいの!>といった、その志や良し。それを具現化すべく迎えられたプロデューサーは前作にも関与していたグレッグ・カースティンで、数曲では共作し、演奏もしている(しかしよく働く男だ)。ティン・ティンズあたりにも通じる開かれたダンスノリが前に出たぶん、メランコリック成分は減っちゃったけど、いまはそういう気分だったんだろう。ならば売れないと!仲良しのイナラ・ジョージもチラッと参加。
bounce (C)内本順一タワーレコード (vol.323(2010年7月25日発行号)掲載)
シリアス一切なし!色んな所のレビューでも書かれている通り、一枚を通して全部がカラフルでポップ。楽しく遊び心のあるポップスタイルをSiaが自由自在に操っている、そんな印象の作品です!
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