It must be a strange realization for M.I.A., born Maya Arulpragasam, that the very class that she seems to have vehemently chastised on her 2005 debut, Arular, and again on Kala, has now begun to embrace her. Granted, making the transition from cult status, coveted only by the blog visiting/early adopter sect, to being somewhat of a fringy mainstream darling is typical of any so called underground sensation, but what makes it all the more remarkable in M.I.A.'s case is her politics.
"Bamboo Banger" is a deceptively minimalist track that builds, destroys and rebuilds its many diverse elements to eventually climax into a simultaneous sonic frenzy and laid back cool. The song, which opens the album, features M.I.A. cleverly dropping poetic devices such as allusion and repetition. Affirming her perspective as belonging to that of the lower class and effectively bracing the listener for the truly international and educational experience in which they're about to indulge.
A rough skeleton of bird squawks, Bollywood samples, infectious chants, gunshots and pulsating drums serves as the base for the album, with Maya's strong opinions making Kala a living, breathing instrument of rebellion. On "Hussel," the chorus quizzically asks, "Hussel Hussel Hussel, grind grind grind / Why has everyone got hussel on their mind?" While, the chorus on "Paper Planes" masterfully employs a combination of Maya's vocals and well placed sound effects brilliantly convey the overwhelming feeling of desperation that is felt by so many across the globe. It's hearing these poignant and sometimes gorgeously shrouded messages that make listening to Kala feel like somewhat of a covert and exclusive experience. With Perez Hilton recently telling his mass group of followers how hot the track "Jimmy" is, however, the cult status that both M.I.A. and her supporters currently enjoy may not last for long.
M.I.A. is listed as a co-producer on many of the tracks, and Kala, as a result, seems like very much the result of an artist executing a vivid and strong vision. Of course, having production giants Diplo and Switch handling some of the duties doesn't exactly hurt either. From the rabid horns on "XR2," to the pounding stabs on "Down River," picking out favorites on such a diverse and refreshing project can prove to be a difficult task, as this album makes one feel simultaneously aerial (read: fly) and also more culturally aware.
Only a handful of contemporary artists, Lupe Fiasco being among them, achieve somewhat of a similar effect. Communicating the firm ethos of "we don't do bling, but we do white tee," while also admitting that she likes T.I. is just a sample of the complexity to be found on the record. Maybe a growing base of listeners (and therefore, students) wouldn't be such a bad thing after all.
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