M.I.A. - Matangi
Release Date: tbd
Label: Interscope
Rating: 7.5
Label: Interscope
Rating: 7.5
Matangi is a particularly vicious Tantric incarnation of the Hindu goddess of music, speech and the arts. She is said to be able to gain supernatural control over enemies, the media and to be able to gain supreme knowledge. She is also often associated with pollution and the outcastes. Basically goddess of the underdogs.
Well played M.I.A. We see what you did there.
Whilst she remains as cutting edge and controversial as always (her Twitter page will testify to the controversy surrounding the making of this particular album), it's really her music that is suffering from all the negative attention from the music industry. Don't misunderstand her - she is still lauded as the Che Guevara of the music scene. The sheer amount of attention she has poured out on poor or struggling nations in her lyrics has gone some way to creating awareness of third world issues. But executives in a money making industry couldn't care less about that stuff. They just want greens. And using a beloved hip-hop, crossover queen is a good way to get that. So it's only logical that M.I.A. would clash with her producers and executives. Add a kid to the mix, and a long distance relationship and you have got rather a lot of baggage to drag into the recording studio (a studio owned by the people she has tension with no less). Such are the drama's of M.I.A.
Once upon a time she would have candidly rapped about them, bringing her personal life under the microscope for inspiration. Most clever artists have done this effectively. And even if she was not using her recording time as a cathartic release from the drama, Maya has always drawn from some strong source of inspiration for albums. When she's not championing third world countries, she is getting Australian kids to rap with her or waxing lyrical about the life of a British slapper dating an old guy for money or reliving her rave going youth and celebrating 90's culture. Things went a bit squiffy on her 2010 offering where lyrical focus was all over the show. There was attitude songs mixed with insecurity songs, tracks about internet safety mixed with hyper cheesy songs about growing up in India. It just didn't really come together. Her end of year free mix tape 'Vicki Leekx' wrapped things up quite nicely (also introducing us to a first listen of future mega hit 'Bad Girls').
Tension and expectation will surround any output she provides and she has, up until this moment, been an expert in filtering all that stuff out.
The thing with Maya is that she's a fighter. She doesn't back down or shy away from stuff, and her honest confrontations to poverty and the West, shallow L.A and rapper culture and having public fights with her management have all been fuel to her ever raging fire. She fights the bad guys and befriends the underdogs. THAT'S why we love her. That's why we would vote for her if it came down to it. She is a people's princess. An accessible goddess. Her ire is not directed towards us.
Having said all of that, 'Matangi' does suffer somewhat, mainly from having spent not enough time in the studio. At 13 tracks long (two are filler), this is quite a full album, but more than a few of the tracks have come out as half baked cookies. They're mostly batter. And for some reason she put those right at the front of the album. The ending is always the thing that decides it for people though, and in this case it is a strong finish. Strong enough to erase the pallid start? Hmm.
The most cohesive aspect to the album is the reedy Indian percussion, which permeates the majority of the tracks. She has always been known to delve onto her bloodborn culture to provide the beats, and in last year's 'Bad Girls' single, she showed us how she can use Indian strings for a traditional hip-hop track effectively. It remains one of her strongest singles. But it is all streamlined here. The beats that used to make your belly quake now buzz in your ear like a fly from the Ganges. It's like diet Indian food. Like a mild curry. Or just coconut milk. Nice enough but not very memorable.
In the second half of the album she goes to the club. It's frantic and enjoyable and you're more than flattered to be along for the ride. And that is really what saves this album.
Had she been not so stubborn and this time actually listened to the execs and management, she may have only got the album out next year, but it may have been a bit for fully formed and fleshed out. It could have been a classic. Of 'Arular' or 'Kala' proportions. Ad it is it's a very attractive skeleton or an emaciated goddess of the rubbish dump. Not quite enough there to inspire devotion, but it demands a second and third and fourth visit. Maybe just to toss it scraps.
Maybe the older she gets the more she will mellow and at least take advice. There may be no taming the Tamil Tigress, but let's hope she will at least take time to hone her art in the future. I am for one still holding out hope for another epic album from her.
WVS
Blow by blow:1 / Karmageddon - A sketchy crawl through the jungle, this suspicious sounding intro hearkens to Arular times. It sounds promising. Then immediately melts with
2 / Matangi - Her fondness for mentioning out-of-the-way third world nations is kicked into overdrive as she chants the name of at least thirty countries she has never mentioned before. It's a thin tribal beat resting entirely on electronic Indian style percussion. At 4.01 a garbled Indian flute takes centre stage for a while, before manic percussion kicks back in. This is Maya's universe and we are now partakers in whatever vibe she sends our way.
3 / Only 1 U - Released as an unofficial single, this one is probably familiar by now, least of all because it's almost identical to the track 'Stepping Up' from her last offering 'MAYA'. Jerky and jittery, the schizophrenic beats draw attention away from her usual razorsharp confidence. Much like everywhere else on the album. She just does not sound as self assured here. It's still catchy as syphillis.
4 / Warriors - More Indian style strings and vocals introduce another reedy Asian rap with Maya's vocals grating in a way that make her sound like a stoned bee. This tracks sounds like one of those last minute additions to the album. It obviously suffered from not having spent enough time in production. For what it is, it works. It's just not as fleshy and well thought out as you expect from this warrior. Just a bit pointless. Shouldn't have made final tracklist but may have worked OK as a bonus track or something.
5 / Come Walk With Me - An official single that debuted on NME a while ago, the melody of this insanely catchy track is based (read 'ripped off') from Blur's 'Charmless Man' from '98. Vocals hidden behind a warbly vocoder, the melody runs out of steam before kicking into the now familiar electronic Indian style beats. Then it stays at the same new tempo. You are dancing now so shut up and enjoy. A great moment.
6 / aTENTion - Managing to maintain the spindly beat driven tempo, our tigress delivers something quite reminiscent of Madonna's 'Impressive Instant' from her 2000 'Music' offering. That is a heavily auto-tuned, catchy, cheesy oddity. Obviously in this case with a myriad of samples in the background that fit together like jigsaw puzzle pieces. It's clever and decent, but could have done with more studio production to fill it out a bit. Rushed albums. Tsk.
7 / Exodus (feat. The Weeknd) - Slowing the tempo slightly this collabo feels a lot more loved. 'Baby you can have it all / tell me what for?', Maya proves that she can easily make something that you can sing along to. And it's really the hook that drives this little engine. The beats do sound stronger and an outro of synth strings are a nice touch.
8 / Bad Girls - One of her best moments ever. You know it's true. Nuff said.
9 / Boom Skit - Oddly one of the most familiar moments on the album, lasting only at 1.22, this is the beloved M.I.A. I would have wanted to hear more of this, though I suppose it's not entirely new or breaking ground. Still puts a smile on my face every time I hear it.
10 / Double Bubble Trouble - Aaaaah yeah man it's party time. A very polished and loved reggae beat introduces us to the well produced part of the album. The reggae beat soon gives way to yet another bangrha break down, only this time it's done well.
11 / Y.A.L.A - Her take on the annoying Y.O.L.O, the party carries on here. Sounds like the beats we heard on Vicki Leekx. Even Julian Moore gets a shout out here. Weird. Good times.
12 / Bring The Noize - Her first single this year, it was a bit unexpected and a bit disappointing. Here it works. Fits in well. Carries the tempo of the album expertly. And it makes sense in context. Party neva stopz.
13 / Lights - This is definitely one of the tracks that could have benefited from more time in the oven. Or maybe this is all just meant to sound thin and pale? It's not awful. It's just not going to sound good apart from on the album. Like the majority of the tracks on this album, they will only really hold together (and hold together very well) on the album. They can't be dismantled to be devoured singularly.
14 / Know It Ain't Right - More autotune. Another very catchy yet unfinished sounding beat. It's also quite familiar, maybe 90's sounding? You can hear it's all winding down. She's staying strong to the finish.
15 / Sexodus (feat. The Weeknd) - Revisiting the chemistry she fostered with The Weeknd, she's back for more. This album plays out a lot like 'MAYA' did. This is basically a rework of 'Exodus'. Unusual thing to do. It workx.
Well played M.I.A. We see what you did there.
Whilst she remains as cutting edge and controversial as always (her Twitter page will testify to the controversy surrounding the making of this particular album), it's really her music that is suffering from all the negative attention from the music industry. Don't misunderstand her - she is still lauded as the Che Guevara of the music scene. The sheer amount of attention she has poured out on poor or struggling nations in her lyrics has gone some way to creating awareness of third world issues. But executives in a money making industry couldn't care less about that stuff. They just want greens. And using a beloved hip-hop, crossover queen is a good way to get that. So it's only logical that M.I.A. would clash with her producers and executives. Add a kid to the mix, and a long distance relationship and you have got rather a lot of baggage to drag into the recording studio (a studio owned by the people she has tension with no less). Such are the drama's of M.I.A.
Once upon a time she would have candidly rapped about them, bringing her personal life under the microscope for inspiration. Most clever artists have done this effectively. And even if she was not using her recording time as a cathartic release from the drama, Maya has always drawn from some strong source of inspiration for albums. When she's not championing third world countries, she is getting Australian kids to rap with her or waxing lyrical about the life of a British slapper dating an old guy for money or reliving her rave going youth and celebrating 90's culture. Things went a bit squiffy on her 2010 offering where lyrical focus was all over the show. There was attitude songs mixed with insecurity songs, tracks about internet safety mixed with hyper cheesy songs about growing up in India. It just didn't really come together. Her end of year free mix tape 'Vicki Leekx' wrapped things up quite nicely (also introducing us to a first listen of future mega hit 'Bad Girls').
Tension and expectation will surround any output she provides and she has, up until this moment, been an expert in filtering all that stuff out.
The thing with Maya is that she's a fighter. She doesn't back down or shy away from stuff, and her honest confrontations to poverty and the West, shallow L.A and rapper culture and having public fights with her management have all been fuel to her ever raging fire. She fights the bad guys and befriends the underdogs. THAT'S why we love her. That's why we would vote for her if it came down to it. She is a people's princess. An accessible goddess. Her ire is not directed towards us.
Having said all of that, 'Matangi' does suffer somewhat, mainly from having spent not enough time in the studio. At 13 tracks long (two are filler), this is quite a full album, but more than a few of the tracks have come out as half baked cookies. They're mostly batter. And for some reason she put those right at the front of the album. The ending is always the thing that decides it for people though, and in this case it is a strong finish. Strong enough to erase the pallid start? Hmm.
The most cohesive aspect to the album is the reedy Indian percussion, which permeates the majority of the tracks. She has always been known to delve onto her bloodborn culture to provide the beats, and in last year's 'Bad Girls' single, she showed us how she can use Indian strings for a traditional hip-hop track effectively. It remains one of her strongest singles. But it is all streamlined here. The beats that used to make your belly quake now buzz in your ear like a fly from the Ganges. It's like diet Indian food. Like a mild curry. Or just coconut milk. Nice enough but not very memorable.
In the second half of the album she goes to the club. It's frantic and enjoyable and you're more than flattered to be along for the ride. And that is really what saves this album.
Had she been not so stubborn and this time actually listened to the execs and management, she may have only got the album out next year, but it may have been a bit for fully formed and fleshed out. It could have been a classic. Of 'Arular' or 'Kala' proportions. Ad it is it's a very attractive skeleton or an emaciated goddess of the rubbish dump. Not quite enough there to inspire devotion, but it demands a second and third and fourth visit. Maybe just to toss it scraps.
Maybe the older she gets the more she will mellow and at least take advice. There may be no taming the Tamil Tigress, but let's hope she will at least take time to hone her art in the future. I am for one still holding out hope for another epic album from her.
WVS
Blow by blow:1 / Karmageddon - A sketchy crawl through the jungle, this suspicious sounding intro hearkens to Arular times. It sounds promising. Then immediately melts with
2 / Matangi - Her fondness for mentioning out-of-the-way third world nations is kicked into overdrive as she chants the name of at least thirty countries she has never mentioned before. It's a thin tribal beat resting entirely on electronic Indian style percussion. At 4.01 a garbled Indian flute takes centre stage for a while, before manic percussion kicks back in. This is Maya's universe and we are now partakers in whatever vibe she sends our way.
3 / Only 1 U - Released as an unofficial single, this one is probably familiar by now, least of all because it's almost identical to the track 'Stepping Up' from her last offering 'MAYA'. Jerky and jittery, the schizophrenic beats draw attention away from her usual razorsharp confidence. Much like everywhere else on the album. She just does not sound as self assured here. It's still catchy as syphillis.
4 / Warriors - More Indian style strings and vocals introduce another reedy Asian rap with Maya's vocals grating in a way that make her sound like a stoned bee. This tracks sounds like one of those last minute additions to the album. It obviously suffered from not having spent enough time in production. For what it is, it works. It's just not as fleshy and well thought out as you expect from this warrior. Just a bit pointless. Shouldn't have made final tracklist but may have worked OK as a bonus track or something.
5 / Come Walk With Me - An official single that debuted on NME a while ago, the melody of this insanely catchy track is based (read 'ripped off') from Blur's 'Charmless Man' from '98. Vocals hidden behind a warbly vocoder, the melody runs out of steam before kicking into the now familiar electronic Indian style beats. Then it stays at the same new tempo. You are dancing now so shut up and enjoy. A great moment.
6 / aTENTion - Managing to maintain the spindly beat driven tempo, our tigress delivers something quite reminiscent of Madonna's 'Impressive Instant' from her 2000 'Music' offering. That is a heavily auto-tuned, catchy, cheesy oddity. Obviously in this case with a myriad of samples in the background that fit together like jigsaw puzzle pieces. It's clever and decent, but could have done with more studio production to fill it out a bit. Rushed albums. Tsk.
7 / Exodus (feat. The Weeknd) - Slowing the tempo slightly this collabo feels a lot more loved. 'Baby you can have it all / tell me what for?', Maya proves that she can easily make something that you can sing along to. And it's really the hook that drives this little engine. The beats do sound stronger and an outro of synth strings are a nice touch.
8 / Bad Girls - One of her best moments ever. You know it's true. Nuff said.
9 / Boom Skit - Oddly one of the most familiar moments on the album, lasting only at 1.22, this is the beloved M.I.A. I would have wanted to hear more of this, though I suppose it's not entirely new or breaking ground. Still puts a smile on my face every time I hear it.
10 / Double Bubble Trouble - Aaaaah yeah man it's party time. A very polished and loved reggae beat introduces us to the well produced part of the album. The reggae beat soon gives way to yet another bangrha break down, only this time it's done well.
11 / Y.A.L.A - Her take on the annoying Y.O.L.O, the party carries on here. Sounds like the beats we heard on Vicki Leekx. Even Julian Moore gets a shout out here. Weird. Good times.
12 / Bring The Noize - Her first single this year, it was a bit unexpected and a bit disappointing. Here it works. Fits in well. Carries the tempo of the album expertly. And it makes sense in context. Party neva stopz.
13 / Lights - This is definitely one of the tracks that could have benefited from more time in the oven. Or maybe this is all just meant to sound thin and pale? It's not awful. It's just not going to sound good apart from on the album. Like the majority of the tracks on this album, they will only really hold together (and hold together very well) on the album. They can't be dismantled to be devoured singularly.
14 / Know It Ain't Right - More autotune. Another very catchy yet unfinished sounding beat. It's also quite familiar, maybe 90's sounding? You can hear it's all winding down. She's staying strong to the finish.
15 / Sexodus (feat. The Weeknd) - Revisiting the chemistry she fostered with The Weeknd, she's back for more. This album plays out a lot like 'MAYA' did. This is basically a rework of 'Exodus'. Unusual thing to do. It workx.
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| Is that you, goddess of art and speech? |
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