The Streets "The Darker the Shadow the Brighter the Light" (2023)

The Darker the Shadow the Brighter the Light

release date: Oct. 13, 2023

format: digital (15 x File, FLAC)

[album rate: 3,5 / 5] [3,64]

producer: Mike Skinner

label: Rhino UK - nationality: England, UK

Track highlights: 1. "Too Much Yayo" - 2. "Money Isn't Everything" (4 / 5) - 5. "Shake Hands With Shadows" - 6. "Not a Good Idea" - 8. "The Darker the Shadow the Brighter the Light" - 10. "Gonna Hurt When This Is Over" - 11. "Kick the Can" (4 / 5) - 12. "Each Day Gives" - 15. "Good Old Daze"

6th studio album by The Streets following nearly 13 years after Computers and Blues (Feb. 2011) and most recently the mixtape album None of Us Are Getting Out of This Life Alive (Jul. 2020) is a warm welcome back to one of Britain's most charismatic hip hop artists of the new millennium. All tracks except the title track, co-composed with Virginia Liston, are composed, written, arranged, produced and mixed by Skinner himself. Actually, the album appears to have been made on the basis of a full-length feature film (baring the same title) written by Skinner over nearly a full decade, and which has also premiered by now. Compared to his 2020 mixtape album this one doesn't include a long list of featuring artists, although Kevin Mark Trail contributes with vocals on seven tracks (he also performed on the 2002 debut as well as on the 2011 album by The Streets), Robert Harvey (of The Music, The D.O.T., Kasabian) features on two, and Laura Vane on one.

More than a decade has passed by, and Skinner has been involved in other projects, so I guess you would expect one of two scenarios: The Streets would take up the batton in a predicted pace and with the inclusion of Skinner's ear for hooks and samples - just like we've come to know him - or, you'd see him from a new perspective utilizing his time with other music projects to expand the musical universe of his most famous brain child. And Skinner only remains true to the spirit, the sound and the soundscape of The Streets, as he simply appears to move forward from whatever position he left his project in. That both makes it very comfortable without having to adjust to a new-found sound and at the same time a tee bit old-school. It does sound like music that should've been released a decade earlier, but then: so what? It wasn't! First and foremost it's nice to have him back in this role, and The Darker the Shadow... won't disturb anyones impression of this project, though I guess some would've wished more progression. Comparing with his fifth studio album I think the most aparent difference is a reluctance to over-arrange songs and stick to some kind of simplicity. The album runs for a total of 47 minutes, and all songs vary little in running time - going from 2:10 to 3:54 minutes they're all composed within a strict matrice of A, B, and C pieces held together with a bridge or two with extremely tight compository differences. That said, he still throws in samples and various stylistic inputs to colour and to make it a digestible treat. The skills remain intact. Some tracks stick out but as a whole it does feel a bit like going through the motions by replicating, duplicating, and by reminding us of his earlier beats. It's not that it doesn't work, 'cause it adds to the repertoire - there's. just. not. a lot. of. new. strengths. being revealed here. Aaaand that said, what really works here is Skinner's artistic approach with words, sentences - i.e. his rhyming to music. That's intact, or perfectly intact actually, and then it doesn't make things worse that you actually have some living experience. His gift in telling everyday life in the context of themes is point on - and we've missed that.

It's nice, it's good, and it's nearly great. Perhaps the biggest accomplishment is that the album actually feels like a real The Streets album to be referred to and compared with the five previvious studio albums. It may not be one of his three best but it comes close.

Recommended.

[ allmusic.com, Uncut, Mojo 4 / 5, Gaffa.dk 4 / 6, Pitchfork, Record Collector, NME 3 / 5 stars ]

M.I.A. "MATA" (2022)

MATA

release date: Oct. 14, 2022

format: digital (13 x File, FLAC)

[album rate: 3,5 / 5] [3,65]

producer: various

label: Island Records - nationality: England, UK

Track highlights: 2. "F.I.A.S.O.M. Pt. 2" - 4. "Beep" - 5. "Energy Freq" - 6. "The One" - 8. "Time Traveller" - 9. "Popular" - 11. "K.T.P. (Keep the Peace)" - 13. "Marigold"

6th studio album by M.I.A. following six years after AIM (Sep. 2016) is M.I.A.'s first album to only be issued in digital format. AIM had initially been released as her final studio album but the desire to release new material made her change her decision. MATA is a typical M.I.A. title - instead of refering to an individual, the title is an ironic pun hinted at the change of the name of Facebook to Meta. Furthermore, the front cover depicts a Christian cross in the writing of MATA in vertical letters, and M.I.A. has been outspoken in finding a meaningful life after turning to Christianity, and then, when pronounced in 'working-class' British, 'MATA' becomes 'matter' - meaning this is the / what 'MATA[r]'s. The album consists of thirteen tracks of which none is longer than 3:36 minutes and three tracks are below two minutes making it a relative short full-length album with a total running time under 33 minutes.

MATA is in many ways a typical album from M.I.A. with lyrics touching on social and political awareness. It's music about her role, about being parents, and about living at a current age where global issues demand our full attention.

M.I.A. is confrontatory in her very approach, and that has made her both extremely unpopular but also the opposite, and she's been perfectly aware of this from the very beginning of her career. The song "Popular" says everything about being just that, and that's just very much the very essence of her narrative. "F.I.A.S.O.M. Pt. 1" and "F.I.A.S.O.M. Pt. 2" are other neat examples of her gift with words to elaborate on issues of concern. Here, it's an abbreviation for 'Freedom Is A State Of Mind' ('whatcha gonna do with mine?'), which she uses to deal with exactly what it implies, and at the same time it cleverly refers to being 'Fearsome'. She speaks her mind of the things that she encounters - there's no hiding behind a public image or a media persona, and at the same time, that also reveals her conflicts of trying to be herself in a world where the media image is out of your own control. She rides along, reacts to issues and accusations and no matter what always find herself in the middle of a conflict she never asked for. And the fact that she never writes a song just to make it sound like a good hook or rhyme, but starts off by having something on her mind, and then makes a song about it incorporating rhymes, hooks, and beats is something extremely rare these days.

Anyway, MATA is another fine album from M.I.A., although, its not really among her absolute best, but in this case, much less will do, 'cause she's always right there in the midst of war zones reporting about actual human issues and not really caring about being [TaylorSwift-Reehannah-and-the-like-radio-friendly]-pop-ulaaar!

Recommended.

[ allmusic.com, Slant Magazine 4 / 5 stars ]

Gorillaz "Cracker Island" (2023)

Cracker Island

release date: Feb. 23, 2023

format: digital (10 x File, FLAC)

[album rate: 3,5 / 5] [3,65]

producer: Gorillaz and Greg Kurstin

label: Parlophone / Warner - nationality: England, UK

Track highlights: 1. "Cracker Island" (feat. Thundercat) - 2. "Oil" (feat. Stevie Nicks) (4 / 5) - 3. "The Tired Influencer" - 4. "Silent Running" (feat. Adeleye Omotayo) - 7. "Tarantula" (feat. Bad Bunny) - 9. "Skinny Ape"

8th studio album under the Gorillaz alias, Damon Albarn once again finds time and room to continue his virtual albeit quite succesful band whenever he's not consuming time with The Good, The Bad & The Queen, or producing stuff for Blur, or he's doing solo projects. The majority of the songs are credited Albarn and new producer Greg Kurstin, but as has become the usual working process, several tracks are co-written with various others. On this it's primarily artists of hip hop and rap. Also, longtime associate Remi Kabaka Jr. is co-producer on four tracks and co-composer on track #8, which also feature Puerto Rican rapper Bad Bunny (aka Benito Martinez). Track #1 feature Thundercat (aka Stephen Bruner), track #5 feature both Tame Impala and Bootie Brown - the latter first featured on a Gorillaz' single on the track "Dirty Harry" on the band's second album, and then the album also feature two major artists: Stevie Nicks on vocals exclusively on track #2 and Beck (aka Beck Hansen), also as co-composer, on the end track.

Albarn just never seems to disappoint. In contemporary popular music he acts like a fish in water. Whatever he's involved in comes out as right on current parameters for music in tune with what's being asked for. He's no entertainer in a traditional sence, but he certainly knows how to produce entertaining music. At a first listen I thought this one - for once - wasn't quite there, on the spot. But after a few spins, I have to confess, there's absolutely nothing wrong with Cracker Island. It's funky, and it's danceable and entertaining as f...., and thanks to the decision not to dwell on an earlier will to write and compose with various artists from (too) diverse genres and styles, the album is with aid from Remi and Kurstin the experience of one whole rather than a compilation of sorts - as his nonetheless great predecessor Song Machine, Season One - Strange Timez from 2020.

The album has found its way to the top of the British albums chart and has generally been well-received internationally.

Highly recommended.

[ allmusic.com, Clash, NME, 👍The Guardian 4 / 5, PopMatters 4,5 / 5, 👎Pitchfork 6,5 / 10 stars ]

The Streets "None of Us Are Getting Out of This Life Alive" (2020)

None of Us Are Getting Out of This Life Alive (mixtape)

release date: July 10, 2020

format: digital (12 x File, FLAC)

[album rate: 3 / 5] [3,18]

producer: Mike Skinner

label: Island Records - nationality: England, UK

Track highlights: 1. "Call My Phone Thinking I'm Doing Nothing Better (ft. Tame Impala)" - 2. "None of Us Are Getting Out of This Life Alive (ft. Idles)" - 3. "I Wish You Loved You as Much as You Love Him (ft. Greentea Peng & Donae'o)" - 5. "I Know Something You Did (ft. Jesse James Solomon & Eliza)" - 8. "The Poison I Take Hoping You Will Suffer (ft. Oscar #Worldpeace)" - 10. "Falling Down (ft. Hak Baker)"

Mixtape album by The Streets, aka Mike Skinner, following nine years after Computers and Blues (Feb. 2011), and then also following the 2017 rebirth of his most distinct music project, which saw him on a world tour performing the best of The Streets after years away from the brightest spotlight. The album is not described as a new studio album but merely a mixtape - perhaps to avoid too strong expectations and then again: every song on the album has been made with a featuring artist, which in a way, and only on a surface, makes the songs highly individual, though they all have Skinner's characteristic beats putting them quite close to one another.

First impression was that of a bland experience, which had me thinking of his 2011 mixtape Cyberspace and Reds, but then after some time, I think this is bettering that, although, it's clearly not one of his best albums with a bunch of great tunes sticking out. The biggest issue here is a clear connection to his earlier rhymes and beats, where you end up thinking 'Ah, that's close to the rhyming on...', or beats reminding you of former songs - bits and pieces, here and there, making it a bit of a strange listen. Best thing about it is that Skinner is back making music as The Streets, and hopefully he will soon be releasing an actual follow-up to his 2011 studio album.

[ allmusic.com, Exclaim! 3,5 / 5, 👍Clash 3 / 5, Pitchfork 5,5 / 10, Soundvenue 2 / 6 stars ]

Little Simz "Grey Area" (2019)

Grey Area
release date: Mar. 1, 2019
format: digital (10 x File, MP3)
[album rate: 3,5 / 5] [3,72]
producer: Inflo [aka Dean "Inflo 1st" Josiah, aka Dean Cover]
label: Age 101 Music - nationality: England, UK

Track highlights: 1. "Offence" - 2. "Boss" - 3. "Selfish" (feat. Cleo Sol) - 5. "Venom" - 6. "101 FM" - 7. "Pressure" (feat. Little Dragon) - 8. "Therapy"

3rd studio album by Little Simz [aka Simbi Ajikawo] following 2 years after Stillness in Wonderland (Dec. 2016) on her own independent label Age 101 Music.

Her sophomore 2016 release came out to fine reviews but failed to attract a bigger crowd - bassically like her debut A Curious Tale of Trials + Persons (2015), which had been hailed as the new big thing, but as much as these releases didn't attract a broader public attention, then all of a sudden with Grey Area everyone now knows about Little Simz.

I didn't know of her until I came across this one by chance, and my initial thought was "yet another artist of conscious hip hop", I must admit - 'cause it's a genre, I mostly consider obsolete. "Conscious"? I don't get the term. When is contemporary hip hop NOT about social engagement anyway?! More interestingly, this is UK hip hop with bonds to grime and warm neo-soul with a blunt use of drum and bass. And musically, this is normally not a preferred genre of mine, as I find a lot of so-called contemporary rap and hip hop too generic building on the same well-known formulas, but Simz just makes her own original blend. Securely, she sings soulfully, she raps with speed and a sneer that doesn't let any angry grime rapper have a say, and she skilfully drops her points.

Grey Area came out to critical acclaim, and the album topped the Official Hip Hop and R&B Albums Chart Top 40-list as well as on the Official Independent Albums-list in the UK. The album was also nominated the Mercury Prize in 2019.

She may not have as many believers as West, Drake, Ocean, or Lamar but imho, she links better with Lauryn Hill and ultimately has more to offer than most other and better known contemporary hip hop artists, and she rightfully deserves more recognition.

Recommended.

[ allmusic.com 4,5 / 5, Q, The Observer, 👍The Guardian 4 / 5, NME 5 / 5 stars ]

Best of 2011:The Streets "Computers and Blues" (2011)

Computers and Blues
release date: Feb. 7, 2011
format: cd / vinyl (2026 reissue) (yellow vinyl) (RSD)
[album rate: 4 / 5] [4,22]
producer: Mike Skinner

label: 679 / Locked On - nationality: England, UK

Track highlights: 3. "Roof of Your Car" (5 / 5) - 4."Puzzled by People" (4 / 5) - 5. "Without Thinking" (4 / 5) - 6. "Blip on a Screen" - 7. "Those That Don't Know" - 8. "Soldiers" - 9. "We Can Never Be Friends" - 11. "OMG" (4 / 5) - 12. "Trying to Kill M.E." - 13. "Trust Me" (4,5 / 5) - 14. "Lock the Locks" (feat. Clare McGuire) (5 / 5)

5th and final studio album release by The Streets. It just sounds silly to end this project at this point, and I really hope Mike returns with much more 'cause this is way too good. Yes, he did it again - didn't he just. Some argue this album has annoying hooks and tracks [!] - eh.. all music is about taste and not only do I find this in perfect line with The Streets' artistic profile - I also like it a lot! Yea, the geezer was fresh and came outta da blue with Original Pirate Material but this new one has fine and interesting music likewise. He's back with fine stories, witty jokes, delicate knife-cutting sarcasm that never leaves himself untouched, sing-a-long choruses and fine hooks 'n' riffs. It's really much better than the previous two releases that sound much alike, this one doesn't, and it's actually very much on par with the debut. This might be The Street end but it's no dead end - and Skinner takes off on top, now playing as The D.O.T. ...
[ allmusic.com, Q Magazine, The Independent, The Daily Telegraph 4 / 5 stars ]

EDIT 2026:

The Record Store Day yellow vinyl format is a mighty fine pressing.

2011 Favourite releases: 1. The Streets Computers and Blues - 2. Tom Waits Bad as Me - 3. Liz Green O, Devotion!

Show lyrics <- click...

~ ~ ~
"Puzzled by People

"We never had a crossed word
My words got lost and you never heard
I'm 2 down, you're 1 across the room
Beginning with I and ending in U
Beginning in my eye, ending as an X
Leaves a bad taste in my mouth

To think of you again
Like the bad taste leaking from the ink in my pen
Doodle at the side as I do to in life
Choosing to lose time instead of doing what I like
Starts off black and white and lacking in life
Until pen in blue lends it a hue

Puzzled by people
Loving isn't easy
You can't google the solutions
To people's feelings

Sometimes - You have to find out for yourself
Sometimes - You need to be told
Sometimes - You never find the answer
So the story it goes"

~ ~ ~

The Streets "Cyberspace and Reds" (2011)

Cyberspace and Reds (mixtape)
release date: Jan. 24, 2011
format: digital (13 x File, MP3)
[album rate: 2,5 / 5] [2,42]
producer: Mike Skinner

label: self-released - nationality: England, UK

Track highlights: 1. "Came in Through the Door (feat. Kano)" (2,5 / 5) - 2. "4 O'clock" (3 / 5) - 3. "Don't Hide Away (feat. Wiley, Rinse and Ice Kid)" (2 / 5) - 9. "Breakbat Barz (Scru Fizzer)" (2 / 5)

A mixtape album by The Streets only made available as a download album in 320kbps MP3 format, and it features a different kind of music than what normally is associated with The Streets. The mixtape was released a month before the final album release but contains tracks Mike Skinner mixed after the completion of Computer and Blues, and reflects, according to himself, what he is concentrating on, as he already regards the final album as music of his past. Well, it may be a step into a new area for Skinner but it's not interesting to listen to. I merely find it sketches or unfinished mixes, experiments, more than much else, and not really comparable to his other studio albums.

The Streets "Everything Is Borrowed" (2008)

Everything Is Borrowed
release date: Sep. 15, 2008
format: digital
[album rate: 3,5 / 5] [3,36]
producer: Mike Skinner
label: 679 / Locked On - nationality: England, UK

Track highlights: 1. "Everything Is Borrowed" (4 / 5) - 5. "On the Flip of a Coin" - 7. "Never Give In" (3 / 5) - 9. "Alleged Legends" - 11. "The Escapist" (4 / 5)

4th studio album by The Streets follows 2½ years after The Hardest Way to Make an Easy Living (Apr. 2006). The album comes very close to the 2006 album, although, this appears lyrically brighter, more positive, and imho a bit better, as it contains at least two great tracks (the first and the end track), though, other tracks mostly leaves me indifferent.
[ allmusic.com, NME 4 / 5, Rolling Stone 3,5 / 5 stars ]

M.I.A. "AIM" (2016)

AIM
release date: Sep. 9, 2016
format: digital (Deluxe - 17 x File, FLAC)
[album rate: 3,5 / 5] [3,60]
producer: M.I.A., various
label: Interscope - nationality: England, UK

Track highlights: 1. "Borders" - 2. "Go Off" - 3. "Bird Song (Blaqstarr Remix)" - 5. "Freedun (feat. Zayn)" (4 / 5) - 6. "Foreign Friend (feat. Dexta Daps)" - 7. "Finally" - 10. "Visa" - 12. "Survivor"

5th studio album by M.I.A. is like the predecessor Matangi (2013) a collection of songs written and produced by M.I.A. in collaboration with many others, including Diplo, Skrillex, and Blaqstarr to mention just a few. The standard album contains twelve tracks, the Deluxe version 17 tracks.

The style and her choice of narratives are more or less the same as on her 2013 album, and without just being a copy of that, I think she still contributes with some fine compositions that is more than just danceable music.

AIM was met by luke-warm reviews, some stating she has released a bunch of lesser and unfocused songs instead of creating what she's capable of. I honestly think, it betters Matangi, although, it doesn't quite reach the level of /\/\ /\ Y /\ (2010) nor her best album, Kala (2007). Track #2 and especially track #5 are some of her best songs ever but the consistency is not the biggest asset here, although, it's by no means a minor release.

As always, M.I.A makes music with contemporary concern and her narratives are always a recommended listen.

[ allmusic.com 3,5 / 5, The Guardian, Rolling Stone 3 / 5, NME 4 / 5 stars ]

The Streets "The Hardest Way to Make an Easy Living" (2006)

The Hardest Way to Make an Easy Living
release date: Apr. 10, 2006
format: digital
[album rate: 3 / 5] [3,12]
producer: Mike Skinner
label: 679 / Locked On - nationality: England, UK

Track highlights: 1. "Prangin Out" - 2. "War of the Sexes" - 3. "The Hardest Way to Make an Easy Living" - 7. "When You Wasn't Famous"

3rd studio album by The Streets following two years after the acclaimed A Grand Don't Come for Free (May 2004). Mike Skinner continues his original style and funny lyrics but the album was a bit of a obvious step down. Best track is "When You Wasn't Famous".
Despite my rating, the album was well-received by the public and like its predecessor it topped the albums chart in Britain.
[ allmusic.com, Rolling Stone 3 / 5 stars ]

The Streets "A Grand Don't Come for Free" (2004)

A Grand Don't Come for Free
release date: May 10, 2004
format: cd
[album rate: 4 / 5] [4,22]
producer: Mike Skinner
label: 679 Recordings / Warner - nationality: England, UK

Track highlights: 1. "It Was Supposed to Be so Easy" (4 / 5) - 2. "Could Well Be In" - 4. "Blinded by the Lights" (4 / 5) - 6. "Get Out of My House" (4 / 5) - 7. "Fit but You Know It" (4 / 5) - 9. "What Is He Thinking?" (5 / 5) - 10. "Dry Your Eyes" - 11. "Empty Cans"

2nd studio album by Mike Skinner's project The Streets, and it's a strong follow-up. Many consider this album the best ever by The Streets but I disagree on that. It's almost UK garage UK hip-hop in the same style as the debut, only, I think a few tracks are more contemporary r&b or pop / rock. "Blinded by the Lights" became a major video and single hit, and so was "Dry Your Eyes". Personally, I embraced "It Was Supposed to Be so Easy" as a more fascinating track, and "Fit but You Know It" is my favourite from this album.
This time, both critics and fans were prepared and the album peaked at number #1 on the UK chart list. A Grand Don't Come for Free is enlisted in "1001 Albums You Must Hear Before You Die" and is often mentioned as Skinner's peak. The debut remains my favourite, perhaps because it's his first? Dunno; however, this is very close to match Original Pirate Material.
[ allmusic.com, Slant 4,5 / 5, Uncut, Q Magazine 5 / 5, Rolling Stone 3 / 5 stars ]

2004 Favourite releases: 1. Arcade Fire Funeral - 2. The Streets A Grand Don't Come for Free - 3. Grant-Lee Phillips Virginia Creeper

Best of 2002:The Streets "Original Pirate Material" (2002)

Original Pirate Material [debut]
release date: Mar. 25, 2002
format: cd
[album rate: 4 / 5] [4,16]
producer: Mike Skinner
label: 679 / Locked On - nationality: England, UK

Track highlights: 1. "Turn the Page" (4 / 5) - 2. "Has It Come to This" (4,5 / 5) - 3. "Let`s Push Things Forward" - 5. "Same Old Thing" - 6. "Geezers Need Excitement" (4 / 5) - 7. "It's Too Late" (4,5 / 5) - 8. "Too Much Brandy" - 9. "Don't Mug Yourself" (5 / 5) - 11. "The Irony of It All" - 12. "Weak Become Heroes" (4 / 5)

Studio album debut by the Mike Skinner solo project The Streets, and what a great release that is! Skinner is THE dominant figure behind the project, he wrote all tracks for the album and produced it on his own.
The album was well-received and came in at number #10 on the British albums chart list, but in a few years time it gained even more recognition, and today it's one of the highest ranked albums of the decade.
Highly recommended.
[ allmusic.com, Uncut, and Drowned In Sound 5 / 5, Rolling Stone 4 / 5 stars ]

2002 Favourite releases: 1. The Streets Original Pirate Material - 2. Interpol Turn on the Bright Lights - 3. Johnny Cash American IV: The Man Comes Around

M.I.A. "Matangi" (2013)

Matangi
release date: Nov. 5, 2013
format: cd
[album rate: 3,5 / 5] [3,58]
producer: various
label: N.E.E.T. Recordings - nationality: England, UK

Track highlights: 2. "MATANGI" - 3. "Only 1 U" - 4. "Warriors" - 5. "Come Walk with Me" - 6. "aTENTion" - 8. "Bad Girls" (4 / 5) - 10. "Double Bubble Trouble" - 12. "Bring the Noize" - 15. "Sexodus" (feat. The Weeknd)

4th studio album by M.I.A. following the 2010 release of M/\Y/\. The album is released on her own label N.E.E.T. through Interscope Records and as usual with a long list of exclusive producers to put their mark on the single tracks. The title is like her 2010 album a variant of her real name (Mathangi Arulpragasam), which also refers to the Hindu goddess, Matangi.

The album sounds more like a return to her style from before M/\Y/\ with more pop-founded compositions built on the uk hip-hop and electropop she is associated with.

It's fine, almost on par with her previous album, and it has some great tracks, but it also contains a number of compositions of lesser quality without being poor, I think.

[ allmusic.com 3 / 5, Rolling Stone, Slant 3,5 / 5, The Guardian 4 / 5, The Independent 5 / 5 stars ]

M.I.A. "/\/\ /\ Y /\" (2010)

/\/\ /\ Y /\
release date: Jul. 13, 2010
format: cd (XLCD 497)
[album rate: 3,5 / 5] [3,70]
producer: various
label: XL Recordings - nationality: England, UK

Track highlights: 2. "Steppin Up" - 3. "XXXO" - 4. "Teqkilla" - 7. "It Takes a Muscle" (4 / 5) - 8. "It Iz What It Iz" - 9. "Born Free" - 11. "Tell Me Why"

3rd studio album by M.I.A. released on her own label N.E.E.T. through XL Recordings and Interscope Records. The album is named after herself, Mathangi Arulpragasam, or just "Maya", which is also the correct way to pronounce her artist name, M.I.A.

I find the album more complex than the fine Kala (2007), and initially found this a lesser album, but it really contains some fine tracks. Stylistically, this is not like her 2007 album, but more electronically-founded with glitch pop, electroclash, and what may be identified as industrial - some also call it synth punk or noise pop. Anyway, it is more 'noisy' and probably less mainstream oriented, and I think of it as her second best album. It really makes sense that it's more complex - giving the fact that it's about herself. It reflects her life, her struggles with identity, the Sri-Lankan (violent) background, and her view and feelings about love and politics, which is a bit of a mouthful. And therefore it can only be complex, and anything but polished.

[ allmusic.com, The Guardian, Slant 3 / 5, Rolling Stone 4 / 5, Spin 4,5 / 5 stars ]

M.I.A. "Kala" (2007)

Kala
release date: Aug. 21, 2007
format: cd
[single rate: 4 / 5] [4,08]
producer: various
label: XL Recordings - nationality: England, UK

Track highlights: 1. "Bamboo Banga" - 2. "Bird Flu" (4 / 5) - 3. "Boyz" (4 / 5) - 4. "Jimmy" - 5. "Hussel" (feat. Afrikan Boy) - 8. "World Town" - 10. "XR2" - 11. "Paper Planes" (4 / 5) - 12. "Come Around" (feat. Timbaland)

2nd studio album by M.I.A. Her debut album Arular (2005) was with reference to her father, and this is dedicated her mother, named Kala. Her third album /\/\ /\ Y /\ (aka 'Maya') (2010), succeeding this one, is literally her own.

I first came across her in 2008 after she had released the single "Paper Planes" taken from this very album. The track is (like most of her music) great uk hip hop dance-pop electropop fused with grime (making it very different from American hip hop) and some glitch pop, and then that track is very cleverly sampled from the song "Straight to Hell" by The Clash. Her style is unique, and then she utilizes her music to speak openly about Sri Lanka vs. India vs. England vs. how the world ignores the impotent political situation in her parents' foster land. Other great tracks from the album are "Bird Flu" and "Boyz", which were both composed, recorded, and arranged in the process of travelling. M.I.A. had laid the foundation of the songs at home, then left to various parts of the world and each new place she rearranged bits, wrote new stuff and added new instrumentation to the individual song making them real world tunes.

In my mind, this is her best album and also one of the most interesting releases in 2007, although, she's really a great singles artist, as her albums are more than just interesting but also lack consistency or homogeneity.

The album ended up on many best of lists including number #1 on Rolling Stone's best albums of the year. And quite deservedly, the album is enlisted in "1001 Albums You Must Hear Before You Die".

[ allmusic.com 4,5 / 5 stars ]

M.I.A. "Arular" (2005)

Arular [debut]
release date: Mar. 22, 2005
format: cd (XLCD 186)
[album rate: 3,5 / 5] [3,62]
producer: various
label: XL Recordings - nationality: England, UK

Track highlights: 2. "Pull up the People" - 3. "Bucky Done Gun" - 4. "Sunshowers" - 8. "Bingo" - 9. "Hombre" - 13. "Galang"

Studio debut album by M.I.A. [birthname: Mathangi Arulpragasam] produced by Paul Byrne, Cavemen, Diplo, KW Griff, Richard X, Switch, Anthony Whiting, and Wizard. Before this, she was involved in documentary as a way of expression, and she was hired by Elastica - through her friendship with guitarist and vocalist Justine Frischmann - to cover the band's live tour in 2001. It was then Frischmann who let M.I.A. play with a Roland MC-505 sequencer on which she recorded several demoes that was eventually used to pursuade XL Recordings to invite her in to record some of her own music.

M.I.A. is both a reference to her birth name - often shortened to Maya - and to the abbreviation for Missing in Action. I didn't come across this album until around 2010, and only regret not to have heard it when it was released. Her following two albums are named after her parents. This one has its name after her father's political code name in the Eelam Revolutionary Organisation of Students (EROS, a resistance group fighting for a free state, Tamil Eelam, in Sri Lanka).

I really enjoy her aggressive style, sometimes making me think of a more contemporary Lil' Kim, but with more sophisticated lyrics and music. The sampling and glitch pop tone is just another positive element and fusioned with electropop and grime, it's a nice and original cocktail. What's really impressive about M.I.A. is her involvement in her own music. She hasn't got a bunch of songwriters and composers but basically makes everything herself. The story is, she send a demo tape to several labels with XL Recordings being the only label to invite her in. Alledgedly, she knew from the very beginning exactly what she wanted and was so lucky to actually have it her own way. She also did her own cover art.

[ allmusic.com 5 / 5, The Guardian, The Independent, Rolling Stone 4 / 5 stars ]