After releasing her first studio album in three years on Nov. 5, M.I.A appears to be back and better than ever. Her latest record, “Matangi,” showcases some of the same themes and styles that originally endeared listeners to the English-Sri Lankan rapper. Featuring compelling hooks and probing lyrics, “Matangi” is an exciting addition to M.I.A’s already stellar repertoire. With music that is irreverent and dripping with disdain for authority, M.I.A is clearly not trying to make friends or reach mass audiences with “Matangi.” Instead, the album is an exercise of pronounced resistance to the status quo through musical experimentation.
Educated in London but retaining strong ties to her Sri-Lankan heritage, M.I.A brings a unique perspective to the rap world — a world that is particularly conducive to the stories of oppression and redemption that she is so wont to tell. After her underwhelming 2010 album, “Maya,” M.I.A seems to have found her voice again, producing tracks that will resonate with fans of both hip-hop and electronica.
“Matangi” can most readily be compared to Kanye West’s “Yeezus,” which was released last June. Peppered with unique sampling and assaulting percussion, both “Yeezus” and “Matangi” provide angst-ridden music that feels urgent, powerful and relevant. West and M.I.A both insist on addressing challenging topics through their music. Each album is charged with the realities of racial and cultural stigma in the artists’ respective cultures, prompting reflection and self-awareness from audiences.
“Matangi,” by incorporating experimental sampling and oftentimes, bizarre production, manages to remain both perplexing and engaging. The track “Bad Girls” is an archetypal M.I.A tune that includes droning synth, an infectious hook and lyrics romanticizing the flippant lifestyle that rappers so often assume. This number harkens back to M.I.A’s 2008 single “Paper Planes” — a song that brought her considerable attention and credibility.
Another notable track is “Y.A.L.A.” A clear reference to Drake’s YOLO (you only live once) maxim, “Y.A.L.A” is a tongue-in-cheek exploration of the contemporary rap game. Beginning with a pounding beat and heavy synth, the song quickly digresses into an electronic breakdown, with M.I.A drawing the audience into a dialogue about the absurdity of the modern condition. At the end of the song, M.I.A says “YOLO? I don’t even know anymore, what that even mean though / If you only live once, why we keep doing the same shit?”
The album also includes two tracks, “Exodus” and “Sexodus,” that feature grassroots R&B sensation The Weeknd. By collaborating with this up-and-coming artist on her album, M.I.A once again showcases her willingness to experiment with new sounds and styles. The highlight of “Mantangi,” however, has to be “Boom Skit.” On this track, M.I.A blatantly addresses the serious and pervasive problems of prejudice and cultural discrimination. Over a halting track, M.I.A declares, “Brown girl, brown girl / Turn your s*** down / You know America don’t wanna hear your sound.” The song eventually progresses into a fast-paced dance tune, complete with sirens and blasting bass.
“Matangi” is everything that M.I.A fans have been waiting for since “Maya.” Replete with M.I.A’s sophisticated musical sensibilities and proclivity for derision, “Matangi” is the perfect example of successful risk-taking and respect for the craft. M.I.A has consistently demonstrated her resilience and relevance in a fiercely competitive and fiercely masculine genre. By unapologetically asserting her point of view time and time again, M.I.A’s career continues to be marked by considerable success and a singular voice. Whether you’re a fan of hip-hop or just good, thought-provoking music, “Matangi” — and M.I.A — is for you.
