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M.I.A. Lovalot (Removed at label request)

The album ‘/\/\/\Y/\’ by M.I.A..

The Message

An intro of modern paranoia and conspiracy theory; rhythmic keyboard replaces the reassurance of drum beats as alarm-like synth swirls throughout.  “… arm bone connected to the hand bone connected to the Internet connected to the Google connected to the government.”

Steppin Up

Industry inspired sound effects splatter this urban feel track; grimy and addictive.

XXXO

As close to clean pop as M.I.A. may ever get with a chorus of catchy techno glamour, but still that wound causing edge breathes and it won’t sit comfortably in your ears for too long.

Teqkilla

The record’s longest track, coming in at a time of just over six minutes, and it is sound chaos. You want to dance to it and you want the dance to end. Better is to come in the shape of…

Lovalot

Underground jungle beats provide the crowd for the surfer that is a plethora of words and rhymes of intrigue – and an Allah reference that may very easily pass your ear on first of fifth listen. “I’d fight – the ones – that fight me, because I won’t turn my cheek like I’m Ghandi.” Maybe Lovalot is to Maya what the National Front Disco is to Morrisey. Or maybe she’s stating her position; foot planted. Either way, it’s wrangled in controversy and is convincingly her greatest song yet.

Story To Be Told

All she ever wanted was her story to be told. Had this not been recorded prior to the event, it’s almost certain the suggestion would be that this song was a backlash directed at Lynn Hirschberg, and for the sake of fun we’ll pretend that’s the case. Again, instrumentally astounding.

It Takes A Muscle

“… to fall in love.” This is a delectable electro-hop reggae blend from /\/\/\Y/\; a vocal track offering the basic (and the profound) as whispers of electrified organ and resounding bass bask under same sun.

It Iz What It Iz

It Iz What It Iz is probably the most melodically moving track on the record. A composed effort of swirling synth and comforting vocals. It also ends with a baby, presumably Maya’s, crying over a looped toy-cow-like sample. Really.

Born Free

The introduction of the single-woman-marching-band on opening with the mind blowing indulgence of damaging beats and that clamorous and inducing surge of bass or guitar or both give us this record’s storm. A frenzied sound.

Meds And Feds

I don’t have any of the productions notes, but if this isn’t a Sleigh Bells collaboration then I’d be very surprised. The guitar riff is furious (as are the drums), flirtatious, frustrated and angry, in-the-know, and simply mesmerising with rage. This is an underground dance floor certainty.

Tell Me Why

The unexpectedly cool-aired sing along of the record, whose only exploration is to ponder varying vague frustrations of life and music and war and more.

Space

Not to use the song title as inspiration, but there are fantastic moments whereby space is allowed as an electronic beat halts for a moment’s pause before continuation and so the air is filled with beautiful, swaying vocals and bubbly, pumping beats. “There’s nothing more new on the news, as I float around in space or the sea.” Reminiscent of earlier M.I.A. work.

Open letter:

Maya,

Forgive me for obtaining this illegal leak of your record. I have no doubt you put tremendous effort in ensuring its level of excellence through the hard work of your craft. I will purchase a physical copy on day of release. I promise.

Be well,
Daniel.

Posted on June 16, 2010 - Reviews -