M.I.A. - KALA

I'm not shocked that Timbaland wouldn't go to Trinidad with her though, I mean, come on, he's got Timberlake beats to cook up

I've heard eight songs off this album. I like three and find the rest boring.

I really didn't like "Come Around" until the "beat goes on" bit got stuck in my head today and now I think I really dig it, along with "Bamboo Banger" and "Bird Flu" and "Boyz" and "World Town" and "XR2" and "Paper Planes"

but not "Jimmy" and "Hussel" and "Mango Pickle Down River" and "The Turn"

"$20" is just OK

dunno if this has been posted but, jimmy: http://youtube.com/watch?v=Sjam_ygv69Y

the video for mia's cover is pretty sweet too

there's a weird psychic gap between the content and the delivery for me, it makes me suspicious to a greater extent than all the artwork/politics/fake dancehall nonsense ever did

most insightful post on thread so far by a degree of like infinity.

well done.

ha, that Jimmy Ajaa video is grebt! (i didn't know it was a cover, though it's not suprising)

sorry, aaja

so JIMMY is blates BONEY M right?

Yeah, I can't believe how much so, even the video kind of alludes to this with some of the costumes.

How old was M.I.A in '92 ?

like 15

then again if you DO say anything disparaging you get ambushed by rabid indie-kids praising her "unique flow"

where does this happen???

Don't challenge the hataz' persecution complexes with reason.

I'm surprised people are finding her such a barrier to their enjoyment of this record considering she's either buoyed along or almost drowned out by the sheer flurry of noise on a lot of these tracks. She lacks the vocal presence* or ability to really dominate any of the beats here (well, maybe some of the sparser ones and she can't even do that very well). There are a few tracks, like XR2 for example, when she's subdued to the point of being ignorable. Luckily the rest of what's going on is so good it more than compensates.

*Not for want of trying, MIA seems to be short on presence generally. One of the reasons I've never fully got into the live shows is because she lacks stage presence and the whole setup gives the impression she's doing karaoke to her own songs.

Tim I'm disappointed!

well, I already said that she's much LESS of a barrier on this one, so I personally enjoy it a lot more.

even if she is sometimes still stuck in some weird interzone between "creative, unique, experimental" indie-rap and actual pop music that, frankly, doesn't do that much for me.

Fandango, it's not that this record is amazing, it's just that people who dislike it seem to act as though they've been hung out to dry by everyone else. You always give a slightly different impression, like you're hanging yourself out to dry or something...

Live shows lack stage presence???? whatevs

two dance moves: step right, slide left foot to join. repeat, repeat, repeat. and: do choo-choo train with hype-girl.

yeah i thought she was fine live when i saw her ages ago - i mean what do you want for what is basically just an MC + laptop dude further back?

popjustice say they think it sounds like BONEY M too sw00ds, it's not just us.

i mean what do you want for what is basically just an MC + laptop dude further back?

For the MC to have stage presence!

which entails what exactly? beyond dancing a bit and talking to the crowd a bit (which she did do)?

yeah i've seen her twice and been totally mystified by all the complaints about "presence." shes fun, she gets the crowd dancing, she talks to us, cuet backup dancers. i dont know what you all are looking for.

Finally downloaded this from Slsk, like it based on 1st listen. Bit disappointed with $20 though, after hearing about Blue Monday sample + Pixies etc although it's OK I suppose.

Never seen her live so can't comment on that.

"I don't read, I just guess" = Mondays, right?

Interesting Xgau album review from the new Rolling Stone:

Careerwise, the recent album M.I.A.'s Kala recalls is Kanye West's Late Registration -- an unexpectedly sure-footed follow-up to a brainy beat-adept's can-you-top-this debut. And though West is the more universal musician, especially as Americans conceive the universe, there are also musical similarities: Both albums challenge sophomore slump by risking pretension. But where West hired classically trained Jon Brion, the Sri Lankan-British rapper spread out and bent down low. Originally she'd hoped to trade the grimy beats of 2005's Arular for the more radio-friendly dirt of Timbaland. That plan fizzled, for two reasons -- not just the feds' refusal to let M.I.A. re-enter the U.S., but her instinctive reluctance to turn into Nelly Furtado once the chance was in her lap.
Plus, though she's polite about it, a sneaking suspicion that maybe Timbo wasn't all that -- that there were edgier beat-makers all over the place. With visa madness blockading her new Brooklyn apartment, she turned world traveler, pulling in multiple Indian musics and encompassing Jamaican dance-hall moves,Indian-Trinidadian multicontinental mash-up, Liberian vibes, a British-Nigerian rapper, Australian aboriginal hip-hop, Baltimore hip-hop, Jonathan Richman, the Clash and a bonus afterthought from Timbaland's solo album. Though she claims this record is more personal and less political than Arular, that's misleading. The political was all too personal on an album obsessed with her long-lost father, a player in Sri Lanka's terrorist-revolutionary Tamil Tigers. Here, that conflict-ridden relationship is behind her. Star access enables a woman who grew up an impoverished refugee to observe the outcomes of similar histories in immigrant and minority communities worldwide. If you don't think that's political, ask your mama -- or hers, who's named Kala.

Arular was about M.I.A. -- her ambition, her education, her contradictions, her history of violence. Kala is about the brown-skinned Other now obsessing Euro-America -- described from the outside by a brown-skinned sympathizer who's an insider for as long as her visa holds up. It opens with the uninvitingly spare "Bamboo Banga," which samples Indian Tamil filmi composer Ilayaraja and bends the lyric of Richman's "Roadrunner" so it celebrates a kid running alongside a Third World tourist's Hummer and banging on its door. "BirdFlu" disses dogging males everywhere -- "selfish little roamers" -- over another filmi sample and a barely synchronized four-four on some thirty deep-toned urmi drums. Also on "BirdFlu," high kiddie/girlie interjections add a cuteness that's sustained pitchwise on "Boyz," with its video of synchronized Kingston rudies shaking their moneymakers for the Interscope dollar. Only with "Jimmy," a Bollywood disco number a kiddie M.I.A. used to dance to for money at Sri Lankan parties, does a conventional song surface.

You've probably gathered that unlike Late Registration, Kala is less pop-friendly than its predecessor. It's heavier, noisier, more jagged. Timbaland might conceivably have found a hit for M.I.A.; London-based "dirty house" producer Switch, credited on eight of twelve tracks, will not. The eclectic world-underclass dance amalgam M.I.A. has constructed is an art music whose concept recalls the Clash as much as anything else -- the aggression of the early Clash and the reach of the late (who she samples). But soon enough, the music does soften and, occasionally, give up a tune. There's melancholy melodica, Sri Lankan temple horn, the eighteen-year-old rapper Afrikanboy describing his hustles, and several child choruses, notably on "Mango Pickle Down River," where preteens rap about bridges and fridges to rhyme with the didge -- didgeridoo -- that provides their groaning bass.

But none of these pleasures comes as easy as the high spirits of M.I.A.'s debut album seemed to promise. And in the end, that's why Kala strikes deep. There's a resolute sarcasm, a weariness and defiant determination, a sense of pleasure carved out of work -- articulated by the lyrics, embodied by the music. A riot of human, musical and mechanical sounds bubbles underneath these tracks. Not a white riot, that's for sure, and not a dangerous one either -- unless you believe every Other wants what you got and has nothing to offer in return. Kala proves what bullshit that is. The danger is all the evil fools who aren't convinced.

ROBERT CHRISTGAU

Man that's a long review from him.

(or did he have to pay for webspace when it was on his site, and now he's paid by wordcount?)

what's the guardian on about here? :

It was US bloggers who gave her a leg up, after the British media initially found her too hipster..
__

http://music.guardian.co.uk/urban/story/0,,2150297,00.html

running around in '92 going to raves and doing pills = SHE IS 35 YEARS OLD

i mean credit to her because she looks and acts ten years younger really

The eclectic world-underclass dance amalgam M.I.A. has constructed is an art music whose concept recalls the Clash as much as anything else

I think this is interesting.

I was thinking the other day while listening to Straight to Hell that I couldn't think of anyone who really addressed globalisation in their lyrics at the moment, which seemed odd given that it seems a more prominent concept than it would have been when the Clash wrote those lyrics. Maybe I just haven't heard stuff, though.

I mean there must be a million people whose biography reflects the rupture and dislocation and exploitation that global capital has brought about and also have access to the equally global means of distribution of music or whatever. I'm surprised there isn't more stuff documenting/evoking all this, especially from that perspective, rather than from the other end, although it doesn't seem to be that big a lyrical topic even for your Coldplay types.

Again, probably my ignorance.

And M.I.A. has a Straight to Hell-sampling song... THE CIRCLE IS COMPLETE

(Haven't heard new album, just thinking aloud)

Yeah, well that's what got me thinking ...

I guess it's not even worth mentioning at this late date, but I *wish* Timbaland didn't have to take a verse. "Come Around" could've been the best track-- take out that middle portion and get a little focus/extend on the outro and it would've been a banger. At the same time, I think the album turned out great w/o Diplo/Timbaland/Big-Name producer stamps all over it. Great album either way. She does a fabulous job floating in her lyrics on "Paper Planes."

Is there any over-arching connection with the song-quotes?

Rolling Stone had a total orgasm over this album.

that Timbaland verse is my least favorite thing on the album.

But where West hired classically trained Jon Brion, the Sri Lankan-British rapper spread out and bent down low.

see? even Christgau noticed that she's always crouching and kneeling in press photos.

I've been appreciating that Afrikan Boy verse a lot more since someone pointed out he sounds exactly like Dr Alban.

trax are wack. e me maya!!

^^^
yes

"Bamboo Banga" is more like what I was looking for! Sweetness.

running around in '92 going to raves and doing pills = SHE IS 35 YEARS OLD

30, actually. That makes her 15 in '92, which is at least more plausible than Sean Kingston being imprisoned at the age of 9.

A lot of these songs make more sense in the context of the album.

Okay I think "The Turn" is maybe an order of magnitude better than everything else on this album.

"Paper Planes" has the best chorus.

she's not 35

xpost

yeah I agree. and it stands out since it's so sing-songy and a lot of the rest of the album is fairly harsh.

I love Jimmy and Paper Planes, and like much of the rest ... really the only one I'm not that into is $20, it sounds like a bad mash-up .... the smooshed-together elements aren't digested enough, you're like "oh she's singing the Pixies over New Order." which in itself is not very interesting.

i guess i should go buy this now

I was disappointed by this. By the beats as much as anything (I've always considered MIA more of a toaster / accompaniment than someone who can really take control of a track). Then again, I don't like Switch, so maybe it's not surprising. Too much trebly noise, not enough rhythm, and limited one note basslines.