#13 - Phil

M.I.A.

Kala

2007

“M.I.A. coming back with power, power!” The British hip-hop artist wasn’t joking when she announced these words to the world on the opening track to her second album, Kala. Her debut, Arular, was already one of the most critically acclaimed records of 2005, and just two years later she returned with a force no other artist in the genre – male or female – could match. It didn’t seem fair.

One of the things that makes Kala so unique is that it was recorded in various areas across the world. Due to visa problems, M.I.A. was forced to create the bulk of the album in countries like Trinidad, India, Liberia, Jamaica, and Australia. I can honestly say that few records have blown me away more after one listen than Kala. M.I.A.’s confidence level from start to finish is absolutely off the charts, and her travels to other countries prominently show in her instrumental choices. “Boyz” uses Indian urumee drums and was influenced by Trinidadian soca dance music. In it, M.I.A. sounds like she’s talking over a loud speaker in front of thousands of people, making fun of every boy she sees: “How many no-money boys are crazy? / How many boys are raw? / How many no-money boys are rowdy? / How many start a war?” In contrast, “Jimmy” sounds like M.I.A. has traveled back in time to the 70s, with catchy electronic riffs layered over a club-thumping bass.

And then there’s “Paper Planes,” one of my favorite singles of the decade. M.I.A. somehow managed to make a song about shooting people and taking their money marketable, probably the single-greatest hook I’ve ever heard: “All I wanna do is – BANG! BANG! BANG! BANG! – and take your money!” If there’s ever been a greater album put out by a female hip-hop artist, I’m waiting to hear it. -P.W.

M.I.A. really made it big with this record mostly because of “Paper Planes” being played constantly on the trailers for Pineapple Express last year. One thing I always felt was ironic about her was that she complained about her not being considered a legitimately respected producer in her own right, but then she goes and associates herself with pretty big producer names like Diplo and Timbaland on her new album. Regardless, M.I.A. has been one of the few sources of fresh hip-hop electronics ever since her release of Arular in 2005. Kala is an equally good follow-up and I can’t wait to hear what comes next. - Ryan

M.I.A. kicks it up on this record with an album even more hard-hitting and righteous than her excellent debut "Arular". Raking in a lot of delayed-fame with the single from Pineapple Express, "Paper Planes". As far as what this thing actually sounds like - it's something of an amalgam of dub, hip-hop, electronic and dancehall. It's a weird album that has found it's way into the mainstream, quite a feat. - Steve