My current environment is actually quite similar to the sound of Maya "M.I.A." Arulpragasam's third album "/\/\/\Y/\". I've got five children outside my window, in the age of 0-5, screaming from the top of their lungs to get their will heard and fulfilled.
And in my ears M.I.A. is commanding my attention, she screams, sings, raps and most notable of all, she is completely furious accompanied by industrial and futuristic sounds. She demands to be heard.
"/\/\/\Y/\" (named after M.I.A. her self) is truly the offspring of her debut album "Arular" (named after her father) that hit the world like a small bomb back in 2005 and "Kala" (named after her mother) that took M.I.A. into the real place of stardom in 2007. To be perfectly honest, "/\/\/\Y/\" is a bit too much like a real child.
Let's wind back a bit. Bright early this year the New York Times posted a questionable piece on how Sri Lanka is now the best place to travel in 2010 and that very piece gave us the first glimpse of the birth of "/\/\/\Y/\" which began in 'Space' together with Rusko. When M.I.A. tweeted that green lazer Twit-vid it was a moment of true magic, even more magical than when Jane Fonda got born like Barbarella.
Just like a every newborn child, M.I.A.'s rebellion towards the world gets worse with time. The first buzz single, the new wave/punk oozing 'Born Free' (that samples Suicide's 'Ghost Rider') was a complete surprise and the total opposite to 'Space', now after a few listens, it feels more like one of those naive punk pieces written by a 13 year old who hates her parents and wanna fuck up the system by kicking in a door or two and drive too fast on the motor way with the wind in her hair. The video directed by Romain Gavras on the other hand was a very smart, well calculated subtle revolution. And it didn't end there, no, about a month later when the ginger-genocide had cooled down, M.I.A. declared war against The New York Times yet again, and this time it was up close personal.
And here sort of lies the base of why "/\/\/\Y/\" can't rise to the same level of her previous two albums. Somewhere I think "/\/\/\Y/\" got lost in all the commodity around the album prior it's release. Ever since she burst into the public consciousness with 'Paper Planes' M.I.A. has had to deal with her new-found stardom. A stardom that means getting followed by the judging eye like it was eye of Sauron. And the review came, it was served on a silver platter in a cover story by the New York Times written by Lynn Hirschberg. M.I.A.'s take on the criticism was not to get mad, she got even in a great reply with a brilliant take on Various Productions' 'Hater' with epic lyrics like "Why the hell would journalist be thick as shit" and
"Yeah, ego and hate is your burning brick,
You live in the mansions stealing from the sick,
Did my tsunami money go to your chicks
For her Bentley is she riding your dirty dick
Your son can go to Harvard to learn the tricks,
Like economics eats the poor like a Twix
In the third world stick would sniff you out like (dicks)".
But around here or even when M.I.A. took over Pitchfork's Twitter account, it stopped being about the music and "/\/\/\Y/\" started feel more like an election campaign.
But every revolutionary has it's own way to agitate. M.I.A.'s is through music and art. But when you on one hand paints the picture of Google = government like in the opening track 'The Message' and the same time is married to the son of the former vice president of Warner mr. Edgar Bronfman Jr, who once upon a time said that Napster was like communism and fought a hard war against illegal piracy things get hard, things get a bit complicated. Can you really be the postergirl for the tug-of-war battle between pop culture and guerilla culture and on the same time live the life M.I.A. does now? However, I do think that Lynn Hirschberg went way overboard in her piece. First of all, it was too damn coloured by Lynn's own opinions rather than letting M.I.A. speak and to make a person fell that misquoted is not good journalistic work, period. Then we have another, quite surprising source of putting M.I.A.'s name down inthe dirt. I give you five letters: Diplo.
Yeah, Diplo once were M.I.A.'s blonde boyfriend, together they built the foundation of M.I.A.'s sound with the totally outstanding "Piracy Funds Terrorism" mixtapes. Now, sadly, he has completely entered the bitter ex boyfriend world. Not only because he provided Lynn with great bits of inside dirt for her story, no last week Diplo called "/\/\/\Y/\" a turd. Everything was crap, besides the two tunes he produced of course. One of the two, 'Tell Me Why' is actually one of the best tunes of the album, but it really doesn't matter. A grown ass man calling his former girlfriend's album a turd? Like who even use the word 'turd' except for maybe Terrance & Philip in South Park?
Smells a bit like hubris to me, no matter how amazing Dipper might be, not kool. Like the other track that has his name on it, 'It Takes a Muscle', which is a reggae-ish take on Spectral Display's old synth classic with the same name from 1982. I know that some may rate it as their personal favourite, but I'm not one of them. To be honest, it's itching my gag reflex real bad, Mariah Carey doesn't do stairs, I don't do reggae. Speaking of gagging for that matter, 'Meds and Feds', a completely horrible "I Just Don't Give a Damn"-rant accompanied by juvenile guitars signed Derek E. Miller.
But even if "/\/\/\Y/\" sometimes feel that juvenile like you wanna shut it up with a pacifier, it also has those moments to be incredibly charming, impossible not to love. One of them is the Blaqstarr-produced 'Illygirl'. Get pleasant flashbacks to 'XR2' from "Kala" since it's completely mental and I'd be mad surprised if it's not going to be used at least in some routine in this summers edition of "So You Think You Can Dance". Another very loveable tune is 'Lovealot' which is produced by M.I.A. herself that contains bits of Opal's 'I Said It'. Then of course, the first official single 'XXX0', produced by Rusko and Blaqstarr which is still amazing, even in the remix with Jay-Z, 'It Iz What It Iz' has a more mellow feel to it, something I really like in contrast to all rough sounds, already mentioned 'Tell me Why' and 'Space', and also last but not least 'Steppin' Up'. Speaking of 'Steppin' Up' by the way, check Nacey's smoking hot contribution to the remix competition below as well as a re-up of David Starfire's take on 'Space' since I've seen you guys been lurking that post for months.
Like any teenager M.I.A. use the Internet. The first bonus-track on the deluxe edition of the album, 'Internet Connection' is absolutely brilliant and the way she sings the chorus give me chills. But aside from 'Internet Connection' (produced by BlaqStarr) M.I.A.'s internet is stuck in 1997, at least in terms of the looks of it. Guess she's going for the same look as the originators of the Surra de Bunda? M.I.A. is stuck in html-docs from 1997 but with a 2010 look of floating YouTube bars, Google search results, an iTunes playlist, iChat conversations, plus shout-outs to Flip cam, Apple, and Google in the thank yous...
That said, M.I.A.'s art has always been on the verge of being more about the message rather than well constructed. You know, pixels and bad resolution galore and the artwork for "/\/\/\Y/\" is no exception. No, it looks like it's been done in ms Paint around 1995. All but those amazing .gif's by Jaime Martinez, almost as real 3d post cards.
But even thou the poor construction, I somehow actually like the artwork for "/\/\/\Y/\". I like how she has made every song a special collage piece in the booklet. With lyrics and pictures. It feels far more genuine rather than 10 glossy prints in different get ups shot by a well renowned photographer. It feels a bit something like the riot grrrls of the early 1990's would do. Cut and paste, like a small fanzine.
Both previous album has been straight 5's on my scale from 1 to 5 with 5 being the best rank. "/\/\/\Y/\" is however not. It's a solid three, and an half, in 'Story to be Told' M.I.A.'s distorted voice sings that all she ever wanted was for her story to be told, sadly on even how much she screams or how angry she is, I can't hear it all, there's too much going on, there's too many voices and too much clutter in the way. The sound of the revolution is blocking my ears and it's too much of everything to get a cohesiveness to it.
Before I post, M.I.A. just tweeted "whoring myself on letterman tonite americca , see u there!", my guess is that appearance will be just as epic when they edit out the gunshots from 'Paper Planes' and replaced them with ping pong-sounds back in 2007. Will definitely post it up later!
Buy "/\/\/\Y/\" on Amazon or off iTunes or in your record store.
 | M.I.A. - 'Illygirl' (Produced by BlaqStarr) YSI | zShare | |
 | M.I.A. - 'Steppin' Up' (Nacey Remix) YSI | zShare |
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 | M.I.A. - 'Space' (David Starfire Remix) YSI | zShare |