Album Review: 1000 Forms of Fear by Sia

It’s always an interesting thing in popular music when one of the main creators of the music itself, be it a producer or a songwriter, decides to become a pop star themselves. Just this year we’ve seen Pharrell Williams’s profile as a solo artist skyrocket since his surprise international hit, “Happy,” took off not too long ago. Last year, Katy Perry co-writer Bonnie McKee attempted a solo career with her single “American Girl” to mixed results. And now, this brings us to the subject at hand: Sia.

Sia has alternated between her career as an alternative/pop artist and songwriter for quite some time now, announcing her retirement after the release of her last album in 2010. Since then, Sia has returned with her latest release, titled 1000 Forms of Fear. This album came with the stipulation that she wouldn’t tour for it or do extension promotion, making it one of the more interesting releases in pop music (which has already caught the attention of people who’ve missed Sia’s point entirely). Considering the four year gap between albums, is this worth the wait?

Well, it all depends on what one expects or wants. The new album cuts back on the dance beats and 80s synths of her last album, We are Born, instead focusing on more slow songs and a more electronic focus, compared to the ever present guitar work of Strokes guitarist Nick Valensi (who makes an appearance on "Hostage.") The production is primarily done by one half of The Bird and the Bee, Greg Kurstin, who has worked with Lily Allen, Lykke Li, and Tegan and Sara most recently. His work with Sia is very similar to his work with the others—very spacious production, crisp but not too flat or overproduced. There’s an emphasis on Sia’s vocals, making everything feel very warm and intimate, which contrasts very well with the more electronic-based indie pop production. However, like his work with Lykee Li, there’s a lot of echo and reverb in the production, mainly relying on the keyboards for the melody lines, a choice that may irritate many people but did not bother me.

As a singer, Sia’s definitely an acquired taste. Her enunciation takes some getting used to and her voice, while powerful, is not particularly well trained—she goes off key or off pitch several times throughout the record. For those who prefer more subtle vocals from Sia, this is not the record for you.

The songwriting on the album is clearly the focus and it may end up being what makes or breaks the album for you. For me, this record works extremely well. The songs are written mainly about relationships or stories that are very broadly painted but still show some of the quirks that endeared Sia to people years ago. Her experience as a pop songwriter is put well to use: each song contains a strong and memorable hook, the melodies are stronger than just about anything else in pop music this year thus far, and the lyrics, while not particularly specific or personal, stand out enough to help keep Sia from sounding too much like those she produces for, helping her avoid the problem Bonnie McKee ran into. Album highlight “Big Girls Cry” contains a lovely string section, elevating the heartfelt subject matter; “Elastic Heart” features a cameo from the Weeknd, who proves to be far more compelling here than on his last album.

1000 Forms of Fear is not a perfect album. Some of the production choices don’t work, the vocals could be better executed, and not all the lyrics are clever. But considering how compelling the songs can be at their best, it’s hard to think of a more thought-provoking, catchy, and gripping release in pop this year.

Score: 4/5

Single Review: "Stay With Me" by Sam Smith

If, like me, you had never heard of Sam Smith before he appeared on SNL, then you must also be reacting with a mixture of surprise and inevitability as his debut album, In the Lonely Hour, continues to tear up the charts. Surprise due to the fact that a relatively new U.K. act has already successfully become big on the American charts and inevitability due to the obvious aim of his American record company's attempts to turn him into the "male Adele."

So far, they seem to have succeeded at one thing—his album is selling quite well considering he only has the one single out. However, there is one noticeable difference: His reviews have been very mixed when compared to albums like 19 or Our Version of Events. I considered starting this blog off with a review of his debut album but after listening to it, I certainly can understand the relatively lukewarm critical reception and feel he’s more of a “single’s artist”—at least for now. So instead I thought I’d take a look at his first single to hit America, which, at the time of this writing, is number 5 on the Billboard Hot 100, called “Stay With Me.”

The song opens with a relatively simple chord progression before Sam begins to sing and immediately lays his cards down on the table:

Guess it’s true, I’m not a good at a one night stand

But I still need love, ‘cause I’m just a man

These nights never seemed to go to plan

I don’t want you to leave, will you hold my hand?

A relatively simple beginning, certainly. He does a pretty decent job of describing the moment: he’s in bed the morning after and then his lover gets dressed and prepares to leave him behind. Which leads to the chorus:

Oh, won’t you stay with me?

‘Cause you’re all I need

This ain’t love, it’s clear to see

But darling, stay with me.

The chorus is a bit of a double-edged sword: the contrast it creates with the verses make the song, with the choir harmonies in the background helping accentuate his soft delivery. On the other hand, using gospel influence has long been a trick used in pop music to try and inflect soul into generic music to make up for underwritten lyrics and this song, as I’ll explain, is not as cleverly written as it could be.

Why am I so emotional?

No, it’s not a good look and some self-control

I know this never works

But you can lay with me so it doesn’t hurt

First of all: rhyming “works” with “hurt”? Maybe I can let that slide since he’s British and this is a pop song that’s made specifically for radio play, but seriously, uncreative much? And that leads us to the biggest problem with this song—this is pretty much the last of the lyrics to this song. For the rest of the song, he just repeats the chorus. It gets a bit more musically interesting with the bridge and the choir vocalizing, but the rest of the song sounds pretty much exactly the same. From the piano chords, to his voice remaining in the same key and tempo, it just gets really boring when listened to more than once or twice. I'm not saying I have a problem with simple song structure; I'm just saying that when you use simple chords and focus on the artist's voice, the least thing you can do is have them say something interesting or say something traditional in a personal way. But Sam can't do that since he's never been in a relationship and has admitted to writing from that perspective. So it would help if the music were more creative, yet all I feel is very "been there, don't that" when I listen to this. Thankfully, it’s only about three minutes so it doesn’t outstay its welcome.

As for Sam Smith himself: I like him and also don’t, if that makes any sense. I’ve long wanted more male pop stars on the charts and with him crossing over, maybe that means more U. K. acts like Jessie Ware will be given more of a chance. It’s hard to hate him: He’s got a unique and solid voice, he can convey emotion well, and he definitely writes a memorable hook. The flipside of those compliments are that his singing sounds like he’s swallowing marbles half the time, he seems to only be able to sound sad and nothing else, and his hooks may be memorable, but his melodies are so simplistic I forget them outside of a few songs off his album (this plays into my “single’s artist” criticism).

And yet . . . This song isn’t bad at all, really. When looked at in its original context—a pop song made for the purpose of being played on the radio—it’s not unwelcome. Though the charts this year seem to be struggling to find the “sound of 2014,” Sam Smith at least gives us a sound that’s classic and pleasant.

Score: 3/5