We Are Born

◎曾入选滚石杂志「年度十大注目焦点」，全美影集指定金嗓，克里斯廷点名合作，澳洲创作才女2010最新大碟

◎The Bird And The Bee音乐鬼才Greg Kurstin操盘，抢先登记澳洲榜亚军

◎收录跳跃Disco-Funk节拍、窜入全美舞曲榜Top28的〈Clap Your Hands〉及翻唱玛丹娜经典〈Oh Father〉等13首潮流新曲

来自澳洲最古灵精怪的创作才女，滚石杂志曾票选「年度十大注目焦点」之一，举凡迷离的Trip-Hop风格、诱人的Soul声韵、摇摆的Acid Jazz情调、充满电气的Pop-Dance音轨，完全难不倒被赞为「下一位Lauryn Hill」的Sia。担任英伦电音二人组Zero 7提名葛莱美「最佳电子专辑」的《The Garden》客席主音，同时成为Massive Attack、William Orbit与Jamiroquai争相邀约的对象，引起乐界的一再惊叹声浪！2010年获邀美声歌姬克里斯廷最具话题新碟《Bionic》助阵，一口气合力撰写3首动人曲目！

全名Sia Kate Isobelle Furler的Sia，跟着Acid Jazz/Indie团队Crisp四处表演，并且发行过两张专辑。1997年Sia单飞推出首张个人之作《Only See》，却都没有缔造任何商业上的成功。不放弃怀抱歌唱的心，Sia决定飞离家乡，只身前往英国展开寻梦之旅。2000年终于掳获Sony唱片的赏识，协助问市电子曲风混搭R&B和Jazz的细碟《Healing Is Difficult》，其中单曲〈Taken For Granted〉登上英国金榜Top10，同时敲启Sia的知名度。接着每发一张专辑，就换一家唱片公司的Sia，凭借她的动人美声，陆续替「六呎风云」、「整型春秋」、「实习医生」、「比佛利拜金女」、「灵感应」、「吸血鬼日记」…等影集发声献艺。

重回到Sony音乐怀抱的Sia，端出全新录音室作品《We Are Born》，交付多才多艺的时尚复古双人组合The Bird And The Bee团员Greg Kurstin(Britney Spears、Kylie Minogue、Red Hot Chili Peppers)操盘，率先登记澳洲榜亚军席次。由小朋友童稚之声伴唱指引出开场〈The Fight〉，回荡浓烈放克声线，挟带大量顺畅音符，令人无法自拔的爱上Sia；已钻入美国舞曲榜Top28的〈Clap Your Hands〉，在Disco-Funk的跳动节拍里头，流窜不安分的吉他刷弦，势必能征服全球夜店舞池，成为最靓主打歌；闪耀Electro-Funk的第一波攻势〈You’ve Changed〉，搭配Sia最招牌Soulful无比的嗓音衬入，勾引全身上下蠢蠢欲动的舞感细胞；热闹缤纷且振奋人心的〈Bring Night〉，选入代表澳洲参加世界杯足球赛「2010 FIFA World Cup South Africa」的主题曲；除了快歌之外，还有〈I’m In Here〉、〈Be Good To Me〉动听的都会抒情歌谣，值得你细细品味；曲末的〈Oh Father〉，则是选唱玛丹娜1989年之作，特别向自己最爱的偶像致敬之歌。 (by KKBOX)

------------------------------------------------------------------------------

We Are Born is the fifth studio album by Sia Furler. The album is notably more upbeat than her previous work, which she partly attributes to her relationship with JD Samson as well as her childhood influences Cyndi Lauper and Madonna. The album was produced by Greg Kurstin and features guitar from The Strokes' guitarist Nick Valensi. The album's first single, "You've Changed" was released in December 2009 and the second, "Clap Your Hands", in April 2010. We Are Born debuted at number 2 on the Australian Albums Chart and was Sia's first top 10 release in her home country. The album won Best Pop Release and Best Independent Release at the 2010 ARIA Music Awards. The album received Gold accreditation in the Australian ARIA charts in 2011. (wiki)

------------------------------------------------------------------------------

by K. Ross Hoffman

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.