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Pop - Released October 21, 2016 | Monkey Puzzle Records - RCA Records

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Reflecting her years as a music industry veteran, Sia Furler took a self-aware, practical approach to her return to the spotlight. She recorded her comeback album, 1000 Forms of Fear, to get out of her publishing contract; its acclaim led to This Is Acting, a collection of songs originally written for -- and rejected by -- clients such as Adele, Rihanna, and Beyoncé. As the album title hints, there's more going on here than just recycling. In a way, Furler is acting when she writes songs to fit the images these artists portray, and her own interpretations of them add another layer of theatrical distance. This isn't necessarily a bad thing -- she initially shopped "Chandelier" to Rihanna and Beyoncé before keeping it for herself and imbuing it with the unique frailty that made it a smash hit. Sia's skill at crafting songs full of drama and vulnerability that feel real, no matter how loud they get, is in full force on This Is Acting, particularly its first two tracks. Originally intended for Adele -- another master of huge-yet-genuine-sounding songs -- "Bird Set Free" and "Alive" are filled with wounded empowerment and vocal acrobatics that sound just as powerful (if less bombastic) coming from Sia. Elsewhere, Furler's songwriting is more generic, for better and worse: "Unstoppable" boasts the confidence of a hit single that could belong to any number of divas, but even a presence as compelling as Sia can't elevate "Broken Glass" or the Beyoncé reject "Footprints" above cookie-cutter balladry. Though she returns to the intimate songwriting of her pre-pop career on "One Million Bullets" -- the lone song Furler wrote for herself -- many of This Is Acting's most interesting and successful moments happen when Sia takes on more unexpected roles. A pair of songs intended for Rihanna let her show off a more lighthearted side: The spare, reggae-tinged pulse of "Cheap Thrills" echoes Major Lazer's "Lean On" (yet another song Rihanna rejected), but a backing chorus of what sounds like alien children reinforces that this is a Sia song, while "Reaper" lets her explore a more easygoing version of her seize-the-day anthems. Given that Furler didn't originally plan to make these songs her own, it's impressive that This Is Acting works as well as it does -- only the wannabe banger "Move Your Body" and "Sweet Design"'s flashy, hard-hitting R&B are truly unconvincing. For the most part, however, This Is Acting's meta-pop is another example of how cleverly Sia brings her her experiments into the mainstream. ~ Heather Phares
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Pop - Released May 1, 2015 | Monkey Puzzle Records - RCA Records

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Pop - Released January 29, 2016 | Monkey Puzzle Records - RCA Records

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At 40 years old, Sia Furler has decided to absent herself from the depths of underground music, only to resurface as the very definition of mainstream. While her previous album 1000 Forms of Fear was far from shabby, scoring a No 5 in the UK albums chart, her songs have always fared better when sung by someone other than herself. “Diamonds”, sung by Rihanna, and “Déjà Vu”, with Giorgio Moroder, are two of her biggest hits to date. This is Acting got its name, apparently, because many of the songs were originally written by Sia for other singers. “Alive” was co-written with, but then rejected by, Adele.
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Pop - Released November 17, 2017 | Monkey Puzzle - Atlantic

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Sia's mission to put her idiosyncratic stamp on traditional forms like chart-topping pop and musicals continues with her holiday album Everyday Is Christmas. Working with longtime collaborator Greg Kurstin, Sia created the album to address the lack of good contemporary holiday music. While she gets credit for writing a set of original songs and not just reworking the season's overly familiar favorites, she doesn't reinvent Christmas music entirely. On much of the album, she and Kurstin give the musical DNA of '50s and '60s holiday hits like A Christmas Gift for You from Phil Spector and "Jingle Bell Rock" some 21st century pop gloss; "Candy Cane Lane" is stuffed full of sleigh bells and saxophones, while "Santa's Coming for Us" sets those sounds to a reggae-tinged beat. Over the course of the album, Sia tries to cover all the moods of the season: "Ho Ho Ho" gets into the Christmas spirit with gin, bourbon, and loopy cartoon sound effects; "Puppies are Forever" could be from a children's holiday album; and "Sunshine" finds Sia helping a sad friend with heroic doses of Christmas cheer. Indeed, one of the biggest holiday traditions Everyday Is Christmas upholds is joy that borders on feeling forced. However, some of the album's best moments tone down the obligatory merriment: "Underneath the Mistletoe" and "Underneath the Christmas Lights" fall within Sia's wheelhouse of dramatic ballads, while the cozy, piano-driven "Snowman" is cute without being over the top. Considering that she and Kurstin made Everyday Is Christmas in just two weeks, it's not surprising that it sometimes feels a bit slight; nevertheless, it doesn't rehash the same old holiday songs, and for some fans, that might be enough. ~ Heather Phares
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Pop - Released July 4, 2014 | Monkey Puzzle Records - RCA Records

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Talk about a sidelong entrance into a pop career: when the pressures of trying to make it as a star in her own right became too much after the release of 2010's We Are Born, Sia Furler became a songwriter for some of pop's biggest names -- but the hits she helped create, like David Guetta's "Titanium" and Flo Rida's "Wild Ones," ended up making her famous anyway. Even if it wasn't her plan, her time behind the scenes helped make the pop landscape into a place more hospitable to her charms. On 1000 Forms of Fear, it's clear that her time as a hitmaker for others not only brought her quirks into the mainstream, but also made the songs she kept for herself catchier. To be fair, We Are Born began this transformation; its unexpected but winning mix of new wave, synth pop, and R&B brought newfound polish to her highly personal style. Here, she simplifies her songwriting-as-therapy aesthetic even further, using broader strokes and bigger hooks to convey freedom from the past on "Burn the Pages" and "Straight for the Knife"'s shimmering death wishes. Alongside these less insular but emotionally complex moments are the sexy, sharp-edged "Free the Animal" or the all-consuming romance of "Fire Meet Gasoline," which any of her clients would love to call their own. Sia was wise to keep them for herself, though; even if the epic album opener "Chandelier" initially sounds like a demo for Rihanna -- with whom Furler shares an idiosyncratic, keening voice -- she gives it an entirely different kind of charisma, fueling the song's hedonism with giddy anxiety rather than tough-girl cool. Likewise, "Eye of the Needle" and the nearly seven-minute album closer "Dressed in Black" are high-drama ballads with more depth than the ones she writes for hire. That said, some of 1000 Forms of Fear's best moments recall her previous album's eclectic sprawl. "Hostage," a chugging guitar pop collaboration with the Strokes' Nick Valensi, offers a refreshing change of pace from the rest of the album's intensity (as well as a credit that stands out from the more expected likes of Greg Kurstin and Diplo). While it's not quite as original-sounding as We Are Born, 1000 Forms of Fear is an appealing balance of Sia the artiste and Sia the chart-topping songwriter. To say it's her most accessible album yet doesn't diminish it or her previous albums; instead, it's the sound of Furler owning her success. ~ Heather Phares
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Film Soundtracks - Released November 18, 2016 | Sony Classical

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Ambient/New Age - Released November 1, 2018 | Monkey Puzzle - Atlantic

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Pop - Released October 12, 2018 | Monkey Puzzle - Atlantic

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Rock - Released January 1, 2007 | Astralwerks

Called a "mini-album" by her label, Astralwerks, Sia's Lady Croissant is a collection of eight live tracks (from her April 2006 performance in New York's Bowery Ballroom) and one new studio track, the darkly bubbly single, "Pictures." The recordings sound good, the band (bass, cello, drums, guitar, and keys) tight and lush, and Sia herself is spot-on, her vocals rich and passionate. The set here is short (and the actual concert wasn't much longer), but the singer pulls material from both Healing Is Difficult and Colour the Small One (including "Breathe Me," featured in the popular television show Six Feet Under's series finale) as well as two tracks, "Destiny" and "Distractions," from Zero 7's Simple Things (Garden wouldn't come out until June, so unfortunately her contributions to that album aren't included here). There's a song of hers called "Lentil," the only one she introduces by name here, and a Cher/Pretenders -- with inspirational credit given to the latter -- cover (written by Ray Davies), "I Go to Sleep." Sia, her voice, her style, hearken back to the late '90s, drawing comparisons to early Nelly Furtado and Morley, but the music here, her music, doesn't seem dated or unhip. It's very modern, warm and melodic and cleanly intricate, and shows off Sia's talents well, making Lady Croissant an important listen for her fans, and enough to sway those less familiar with her work into checking out what else she has to offer. ~ Marisa Brown
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Pop - Released February 11, 2016 | Monkey Puzzle Records - RCA Records

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Film Soundtracks - Released January 1, 2013 | Hunger Games 2 - Catching Fire

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Pop - Released January 21, 2016 | Monkey Puzzle Records - RCA Records

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Pop - Released January 26, 2018 | Monkey Puzzle - Atlantic

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Pop - Released July 22, 2014 | Monkey Puzzle Records - RCA Records

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Pop - Released November 17, 2017 | Monkey Puzzle - Atlantic

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Pop - Released November 4, 2015 | Monkey Puzzle Records - RCA Records

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Dance - Released November 28, 2015 | Parlophone France

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Pop - Released January 1, 2004 | UMC (Universal Music Catalogue)

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Pop - Released March 17, 2014 | Monkey Puzzle Records

Film Soundtracks - Released March 23, 2017 | Monkey Puzzle Records Inc.

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