Tag: Sia

Sia – Alive

“That voice is so powerful.”

Tim: New one off Sia, first off her upcoming second album, and there’s something she’d like you to know.

Tim: So apparently she’s alive. And it’s nice that’s she’s told us quite so vigorously because otherwise I wouldn’t be sure.

Tom: I was going to do a bit of sarcastic shtick here about “oh, really, I hadn’t noticed”, but frankly that voice is so powerful I can’t bring myself to do it.

Tim: Right, and it’s an interesting technique, that one of singing with such strength that your voice starts breaking, and with some singers very risky.

Tom: Particularly when you’re going to be called on to blast that song out, in that style, on every late-night show there is. It’s something she’s pulled off before, and it astonishes me.

Tim: She does it well, especially here where it works so very, very well, because it really serves to impress quite how alive and breathing she is, however much you may have taken it off, whatever it may be. It’s a very powerful song, this; to be honest I’m not sure we’ve had anything like it since Fight Song, and in terms of pure power it might even have come out on top.

Tom: But it is actually a decent song? I find myself not really wanting to reply it: I can’t deny the power and skill in the voice, but I’m not sure the composition actually backs that up. The middle eight is utterly brilliant, but then the chorus comes back and… hmm. I’m not convinced.

Tim: Oh, I disagree – for me at least, the power of the voice counts for everything, and almost forces you to ignore any defects the song may otherwise have. I’m saying, fine work all round.

Tom: I’ll tell you what though: this would have been a better Bond theme than Sam Smith’s.

Tim: Yes, but then Twinkle Twinkle Little Star would have been a better Bond theme than Sam Smith’s.

Saturday Flashback: Sia – Fire Meet Gasoline

“Are we running out of music, Tom?”

Tim: Are we running out of music, Tom?

Tom: No idea, but apparently I can’t remember nine-tenths of what we get through here, so you’re more likely to notice it than I am.

Tim: This got pushed out back in April, but somehow it never registered with me, and I think that’s because every time I’d have heard I’d have thought “Blimey, this Beyoncé track’s getting a lot of plays right now isn’t it?” Because at 1:09, sing along! “Everywhere I’m looking now, I’m surrounded by your embrace…”

Tom: And the rest does sound a bit like someone’s remixed Chandelier.

Tim: I’m sure it’s not deliberate, and I’m sure yesterday’s track’s Bay City Rollers similarity that you pointed out wasn’t deliberate, and I’m absolutely certain that part of the chorus on Jess Glynne’s track isn’t based on She’ll Be Coming Round The Mountain, but there it is. So are we just out of music now? I hope not, but the evidence suggests otherwise.

Sia – Big Girls Cry

“I’m tempted to describe it as stunning.”

Tim: Sia’s last one, Elastic Heart, was a bit of a damp squib compared to Chandelier, as far as I’m concerned. This one, though, released last year but with a video just out and the UK release date coming up, somewhat redresses the balance.

Tom: Huh. Still collaborating with the same dancer, Maddie Ziegler. I can’t easily watch it — it’s too distracting from the music, too close, too much. Modern dance has never really been something that works with me. What makes you think this is a good track, though?

Tim: That chorus, mostly, because I’m tempted to describe it as stunning. Interesting message, going against the message mummy and daddy probably taught you, but with very persuasive arguments to justify that, and backing production to make everything she sings entirely and definitely true, no questions asked.

Tom: The thing that made Chandelier work for me, above all else, were the incredible vocals, that high register and that soaring verse — plus a melody that was astonishing on its own. This is still recognisably Sia, and she’s still got an excellent voice, but there’s neither soaring nor exceptional composing, and I’m still left a bit cold. Clearly, though, it works for you.

Tim: It really does – and would I like that backing to be carried over into the verses as well? Possibly – there’s always the argument that it would then lessen the impact of the chorus, but to be honest I wouldn’t mind that one tiny bit, because coming back in from that large middle eight still sounds great. MORE PLEASE.