For years, Australian songstress Sia Furler‘s name was inextricably linked to all things blue.

There were her cosmic, soulful ballads with Zero 7 including “Destiny,” assorted slow burning singles from 2004 album, Colour the Small One such as “Where I Belong” and “Don’t Bring Me Down” and of course the singer’s now signature “Breathe Me,” the instant tearjerker that won the singer literally thousands of fans overnight thanks to its perfectly timed inclusion in the series finale of Six Feet Under.

With her 2006 album, Some People Have Real Problems, Sia slowly began tracing the outlines of something much bolder and brighter for herself. Bubblier up-tempos, such as “Buttons” and “The Girl You Lost to Cocaine” demonstrated Sia’s ability to go beyond the realm of the ballad. But perhaps more than anything, they suggested that perhaps the singer simply wanted to have some fun for once.

This week, Sia releases her fifth studio album, We Are Born, and it appears as though the singer finally got her wish.

Each song on We Are Born is vibrant and playful, colored by zany guitar riffs, celebratory hand claps, and impossibly catchy collection of lyrical hooks. Like a toy box stuffed to the brim with springy sounds and silly noises, it’s perhaps fitting that Sia’s new album sees its release only a week after the premiere of Toy Story 3.

Songs like “Bring Night,” “Clap Your Hands,” and “You’ve Changed” are so instantly familiar that it’s almost hard to believe we’d never heard these songs before. “Bring night, bring the night on!” Sia chants on the former (along with the voices of half a dozen or more celebratory participants) as she bounces above loud sirens and frenzied guitar licks brighten up the anthem.

Others including “The Co-Dependent” and “Never Gonna Leave Me,” simply ooze with feel good melodies, providing summer jam-ready guitar riffs and sing-a-long friendly lyrics.

The cohesive flow of the album is due in large part to the genius production by rising pop legend, Greg Kurstin. The producer has seemingly tapped directly into Sia’s on-stage persona for this record, providing a soundscape of bright beats and noises that completely translates the singer’s on-stage effervescence into music (as witnessed live in Boston, check out the MuuMuse review here.)

Even in Sia’s most solemn moments, the beat remains (mostly) bubbly, as with the gorgeous “Hurting Me Now”: “You think it’s a joke, but baby, you don’t even notice,” Sia softly murmurs during the song’s otherwise slap-happy chorus. It’s a devastating number, but you’d never know it if you weren’t paying attention.

It’s only with the album’s major ballad, “I’m In Here,” that Sia revisits the territory that first catapulted her into the public’s consciousness with Zero 7 and her trademark single. In short, it is the album’s “Breathe Me”–vulnerable, pensive, and an utterly gorgeous display of Sia’s range and delivery style.

Ironically, perhaps no song on the album captures Sia’s essence best than with her cover of Madonna‘s 1989 single, “Oh Father.”

While a major undertaking to begin with (covering the work of legends is always the stuff of danger), the singer masterfully tackles the Queen of Pop’s grief-ridden ballad, complimenting the track with her own signature warble and Kurstin’s playful, bells-and-beats production. The song may be Madonna’s, but the sound is completely and undeniably Sia’s–a perfect representation of what a cover should sound like.

With We Are Born, Sia has finally colored in the lines drawn by her past efforts. The album is not only Sia’s first major pop moment, but also her personal best and brightest yet.

To preview and purchase We Are Born on iTunes, click here.

OMFGBBQ IT’S MILEY.

Ever since Madame Cyrus decided to spread her wings and take flight like a mighty (slutty) blue-footed booby, the hits just WON’T. STOP. COMING.

Case in point: “Robot,” one of the best songs from the young singer’s otherwise spotty album, Can’t Be Tamed. (Oh, right…here’s your album review: Love the bangers. Avoid the ballads. 3/5.)

“Robot” is delicious because it is (A) about being a robot made up of foreign parts and being stuck in the great machine that is the music industry which (B) is quite the popular thing to do these days in the age of ‘robot culture’ in pop what with Lady Gaga and Robyn and all which (C) is sung with the fervor of a Kelly Clarkson breakup song but (D) is essentially just a Lindsay Lohan track about ‘letting me live’ and doing the things I want to do and (E) is therefore wrought with irony as a major pop production with major pop producers and a mega pop superstar on a major label release which (F) is a bit like the idea behind Britney Spears‘ “Overprotected” or “Lucky” but (G) is sung by someone who doesn’t merit such a comparison so let’s not even go there.

In conclusion: EVERYTHING ABOUT THIS SONG IS 100% AMAZING.

Thank you for your time.

The Killers‘ frontman, Brandon Flowers, is about to unleash the first single from his upcoming solo effort, Flamingo. It is called “Crossfire,” and will be released to radio today, June 21 (with the album to follow in September).

While a little too U2 and a little less Pet Shop Boys than I’d like to hear from Mr. Flowers, “Crossfire” is just moody and brooding enough to whet my appetite.

“We’re caught in the crossfire of Heaven and Hell, and we’re searching for shelter,” Flowers cries out during the anthemic, arena-ready chorus, only to be immediately followed by the best parts of the song, the repeated angelic coos of “Lay your body down, lay your body down.” Mmm…

There is also talk of devils and fire, and who doesn’t like religious imagery in their songs these days?

All in all, an intriguing start to a solo campaign. I’m ready for more, please!

To hear “Crossfire,” click here to visit Brandon Flowers’ official website.

Kelly Rowland‘s been busy.

Following the release of her incredible David Guetta-produced single (as well as the official MuuMuse summer anthem), “Commander,” the singer is now gearing up for a dual single release for American radio.

On June 29, Rowland will be releasing “Rose Colored Glasses” to Top 40 Radio and digital outlets for purchase, while “Grown Woman” will be serviced to Urban Radio. The latter song will be made available for purchase digitally in July.

Today, the single covers for both tracks appeared on her official website (see above). You can now also hear both songs on the site’s music player.

All of these singles stem from Rowland’s upcoming self-titled studio album, due out later this fall.

Rowland Overload!

Uffie, Uffie!

Behold the video for “ADD SUV,” Uffie’s second single off of her debut album, Sex Dreams & Denim Jeans.

Following the colorful storybook styling of her video for “Pop the Glock,” Uffie spends her time here playing passenger, swerving through the streets with her hipster pals, racing, and (unsuccessfully) dodging the po-po.

A fittingly hip video for a thoroughly hip song. And oh my God, Pharrell is still so cute and fashionable. Could do without the ‘stache, though.

And in other news, here’s something you don’t see every day: Lady Gaga, posing with Morrissey and frontman of Semi-Precious Weapons, Justin Tranter after Gaga’s June 3 Monster Ball show in Manchester.

As usual, Moz looks most pleased with the situation at hand.

Photo courtesy of Rolling Stone. Thanks for the find, Matt Music Slut!

Meet Jessie Malakouti.

Having already established herself as a Xenomania songwriter, opened on tour for The Saturdays, and sung back-up on the Pet Shop Boys‘ latest record, Yes, it’s hard to say that Malakouti requires an “Introduucing” post. It’s her latest musical endeavor, Jessie and the Toy Boys, however, that merits the formal welcoming.

As evidenced in the snippets posted on her newly created website, Jessie’s got a knack for sugar coated, ’80′s-inspired electro pop confections; her voice and sound lying somewhere in between the likes of Gwen Stefani (2004 onward), Linda Sundblad, Kylie Minogue, and Heidi Montag. (The last comparison may sound like an insult, but trust–it’s not.)

Featured tracks including “Push It” and “Hitman” are instant pop stormers, while “Like You Better,” her dizzying electro-fluff take on the classic chorus from Romeo Void‘s “Never Say Never,” bubbles over with glitchy delight, a la Stefani’s “Crash.”

Most noteworthy of all the clips however is “Eyes Closed,” a shimmering mid-tempo in which Jessie laments the fact that her lover’s refusal to lock eyes during the deed: “You fuck me with your eyes closed,” Jessie woefully sings during the choruses, hovering above a slightly sad, twinkling melody.

Now that, dear Muusers, is exactly the kind of over-the-top pop I love to pieces.

Thanks to Muuser Alex for introduucing me to Jessie’s new music!

Okay, I kind of love everything about this girl.

As I’ve written before, Taylor Gossip Girl Momsen is the moody front not-a-girl-not-yet-a-woman for a band called The Pretty Reckless, which I first wrote about here.

Hot off the release of their debut single, “Make Me Wanna Die,” The Pretty Reckless are now preparing the release of their debut EP, due out on June 22. Billboard is currently offering a free stream of the EP right here. In my opinion, it’s pretty promising.

At a time when seemingly every A, B, and C-list actress in the universe has got a single coming out (let’s not forget the reality stars–hey, Danielle Staub!), it’s become hard to take seriously the efforts of most, if not all, crossover attempts.

Well, not here. Momsen, to me, is the real deal–at least, I think we’re dealing with actual talent. At just 16 years old, the singer’s warbling, ferocious growls and rowdy rock sensibilities make Miley‘s bratty, auto-tuned teenage angst (her senior by a year, no less) little more than a pitiful meow in comparison.

Admittedly I’m not well versed in my rock chick credentials, but I do see tiny shades of artists in their ‘early’ stages: pre-crazy Courtney Love, early Gwen Stefani, and perhaps even the coquettish early appeal of Marianne Faithfull. Too far? Perhaps.

It may be too early to say for sure, but I believe in the Momsen.