M.I.A. has carved out a career making music that can be difficult to get your head around and enjoy, but music that is nonetheless an exhilarating and often rewarding listen. After the disappointing misstep that was 'MAYA', 'Matangi' looks to reclaim that wide-spread acclaim that was so readily handed to her with her first two major-release albums, but this would by no means be an easy task.
After the failure of 'MAYA', and with big label pressure breathing down her neck, there was a quiet expectation that Maya Arulpragasam would have to go much more commercial with her fourth record, but this clearly isn't the case as the Sri Lankan/British artist continues to strive for something that little bit different.
If anything, 'Matangi' is the angriest album of Maya's career thus far. It's much more 'XR2' than it is 'Paper Planes' with its warped vocals, heated bro-step electronics and bursts of sub-bass found throughout, and the lyrics, as a rule, have some kind of target, somewhere for Maya to direct her fury; be it world governments, the NFL, consumer culture, Drake (or rather 'The Motto' that he penned), she seems to be taking aim at someone. Even the tracks that have a closer resemblance to the dreamy, bedroom R&B of The Weeknd - 'Exodus' and 'Sexodus', both of which feature Torontonian Abel Tesfaye - have an imbedded sense of ire about them. This could very well be Maya's response to her label's supposed comments on the album being "too positive" when she was initially ready to put it out, or maybe she's just really pissed off nowadays.
Continue reading: M.I.A. - Matangi Album Review