M.I.A. Album: “Kala”

I'm a 48 year old rock fan. My tastes favor funk, jam band, rock, blues and soul. I say this because I recognize that I may not be the most qualified, because of a generation gap, to evaluate this type of music.

At the same time, I AM a big music fan that would never exclude any type of music from partaking. Whether I enjoy the genre or not, good music is good music.

M.I.A. is definitely an exciting artist (I hope this is her vision and not more the work of a production team). She's gorgeous, exotic, creative, energetic and provocative. This is daring and wild stuff. It's actually more than just "music" since there is so much of an aural color going on.

"Paper Planes" and "Jimmy" are my highlights. The sampling is remarkable and, in some ways, scary and alarming (gunshots used percussively?!). I also like them the most since they resemble conventional song structure.

Now, my age is going to show...the rest of the songs are interesting, but it's hard to categorize them as songs since, to me, they resemble chants...which eventually grow tiresome. Some of these tunes sound like cheerleading routines put to a variety of sonic expressions.

I have seen clips of her performing and she does not come close to replicating this stuff live. I'm not just referring to the obvious sampling, which will be obviously lost out in performance, but also the high energy.

M.I.A. is a diamond in the rough. If she can take her daring, innovational wildness, apply it to a little more conventional songwriting structure (like "Paper Planes"), yet still retain that exoticism ( I know easier said than done), then I feel she extends her appeal.

To listen to this in a private situation (Like the car or I pod) is probably much different then the exictement this illicits in a club/party atmosphere.

Right from the opener 'Bamboo Banger' it's obvious that this is a more confident and assured record, where M.I.A really sets herself no boundaries. The first 3 songs on the album hit you like a storm, and Jimmy arrives at the perfect moment to inject a little disco into the album. Before you know it, the album is over, and all you want to do is hit the rewind button. Sounds, beats, moods and different genres come together to create a soundscape which is both distinct and enthralling. This is truly a global artist who has only began to explore her potential.

If you enjoyed her debut album, then there is no doubt that this will quickly make it's way to the top of your play list. If your just looking for something out of this world in it's brilliance, then pick this up ASAP!!

I can't stop listening to this disc. I'm what MIA refers to as a geezer. At 50 yo, I was in a Barnes and Noble listening to discs and hoping for something to grab me that wasn't more of the same, novelty, or lip gloss on a pig. Rarely happens, but I picked up KALA and even with the 20 seconds per song could tell this was just mouth wateringly fresh and exciting.

After hearing the entire disc (over and over) I think it's really fabulous for its originality, sense of style, point of view, political passion, playfulness, and just fun. It's funny how a prerequisite for any superlative disc is that it sounds like the performers had a blast making it. Clearly the case here.

I also later bought Arular and also enjoy it, but found Kala to be more refined, inventive, accessible and distinctive. But I'll take anything I can get from this remarkable artist. M.I.A. give me more and keep us geezers happy (along with everyone else).

After tasting the fame as an opening act for biter Gwen Stefani, you might think Maya "M.I.A" Arulpragasam would water down her music a little and watch the money pile up. Not so. M.I.A. returns with the most interesting, undanceable dance record of the last few years (think of all those times fell on your face trying to pull off something graceful during "Get Ur Freak On" and double the difficulty level). The beat is still present, but the rhythms and textures generally fall a few miles south from her previous efforts. The single "Boys" is an exploration of Moroccan percussion and stop/start moments that derail an easy head-nod; the hyper-compressed, neo-crunk "20 Dollar" slinks along, dirge-like, as Arulpragasam's auto-tuned vocals soar above; "Bird Flu" sounds like a scene out of an over-the-top Bollywood wedding movie, scores of drummers pounding out a serious stomp; mechanical djembes churn and synths rip under Afrikan Boy's rap of "you think it's tough now/come to Africa" on "Hussel". M.I.A. and producer Switch (Diplo and Timbaland also make appearances) gracefully turn whatever rhythm they fancy into catchy cohesion, resulting in a disorderly delight.

I.

It's very hard to write about a record like Kala. Not because a lot has been written already as much as because you feel like you wouldn't be doing it justice by simply stating what you liked about it. There is plenty to like, obviously. M.I.A. sounds like an aggressor you're willing to serve. Her music is abrasively tough, pumping hard, getting into your head, regardless of whether you want it there or not. Her voice sounds like a voice of a revolutionary. Some of us have no idea what she's talking about. What I relate to the most is the music: a bit of Bollywood gloss here, lots of thumping beats there, add a bit of sass and lots of trance. Sure, it can be dangerous to connect to music you don't know the message of, but how much harmful can grooving to something like this be?

II.

Even though Kala sounds tribal, it also manages to be unusually futuristic. The production is slick and modern, but never resembles a studio product. It's rather a sound of a battlefield, what with arms and fists as well as hollering and marching. I'm not interested in tracking influences or deciphering the message. What I want you to know is that this music can speak to you -- on your own level, but on M.I.A.'s terms. There are negative connotations with music that gets labeled as political, but with this much dance-inducing numbers, you're well aware that your body is not interested in politics; it wants to move. And with all the recognizable and unrecognizable layers, you're secluded to the safety of your living room, listening to cries of Sri Lanka. M.I.A. does not just sound original, she is original. She's also sharp and focused. 2007 had many victories, but none as well-earned as Kala. And if you're wondering where your money lies, it's all about what you're expecting to get. For heat-seekers and dancefloor junkies, check "XR2" and the opening track, for menacing atmospheres, check "Hussel" and "Come Around", for heart-stoppers, check "Jimmy" and "20 Dollar", etc.

III.

Regardless of whether you choose to see M.I.A. as a cold-blooded banshee or an estrogen-driven terrorist, your enjoyability of this record depends solely on how much bizarre soundscapes you're willing to take in. Kala is essentially flawed, but it shines like a sharp-edged metal in a hot, sunny desert. For those of us who simply want to shake their booty, it's a God-given. I say open your mind to a work of art that rises upon so many levels and yet stays earthbound. Rest assured, you will appreciate its peculiarities.