Too positive. Supposedly, that’s the reason for delaying the release of »Matangi« over and over. Too positive. Quite a cheeky explanation, considering that it’s Ms. Mathangi Arulpragasam we’re talking about. Various suit wearers have characterized her as a rebellious alternative, as a political artist standing by herself on the music market, and now she doesn’t even fit the pattern anymore? But don’t worry: She still does. Let’s say that »Matangi« is quite a lot, but not exactly “positive“. When speaking of M.I.A – it might be; when considering the whole wide world – it’s not at all. »Y.A.L.A.« is still a parody of »Y.O.L.O.« and somehow, the whole record gives us the impression that there is loads of irony waiting behind »Matangi« and its apparent sunshine. »Lights«, for example, is pretty gloomy, despite the nursery rhymes and the skimpy rhythm. »Bring The Noize« is the obligatory anthem on her fourth record and everything seems to be in its rightful place. However, the biggest hit on the album is the get-out-dance »Sexodus«. Never has M.I.A. rapped and sang better or catchier. It still would be interesting to get a hold of »Matangi« in its unpolished version. Because despite the irony, the record is much closer to »Arular« than to »Maya«, it’s more pop than hiphop, more walk-through than strenuous listening. Without tracks that really stick. For almost an hour, it blinds, glitters, shines and sparkles wherever you look, but you don’t really take anything home from »Matangi«. The production is too unimaginative, the lyrics are too subtle or too interlaced – the whole sound is missing quite a bit of sensitiveness, which might have left together with Diplo. Things that are overdriven and loud are not automatically good. But let’s see it in a positive light, indeed – at least it’s a new record. At last.
Matangi
