If, upon its 2008 release, felt like '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? 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.

Find album reviews, stream songs, credits and award information for We Are Born - Sia on AllMusic - 2010 - If Some People Have Real Problems, upon its 2008. New track I'm In Here, taken from Sia's forthcoming album We Are Born which is released in US on 22 June, in Europe 18th June and in UK on 30 Aug - we can. The French Tarrasch Variation Pdf Files.

For the better!' As 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 (, 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. Tetris Game Using Mouse Causes. Jaheim Still Ghetto Rapidshare Downloads. It's a treat, then, but hardly a surprise, to hear how well 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 on the awesomely ska-punky 'Bring Night'; drawing on her reserve stock of quavering -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 's 'Oh Father.' ) Much as her vocal flexibility lets 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, 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 occasionally lapses into the anodyne, overly tasteful pop-folk balladeering of s past, overall it's a charmingly cheery, light-hearted romp looking nowhere but sweetly, sanguinely forward.