Matangi 
M.I.A
Released by N.E.E.T and Interscope Records
Named after Hindu goddess of music and learning, Matangi marks the long-delayed, yet much-anticipated fourth studio album of electro-rapper, Maya Arulpragasam—or as she’s better known, M.I.A.
Matangi is one of M.I.A’s most ambitious efforts to date. She creates a mosaic out of political, religious, and cultural themes, including government surveillance, reincarnation, and materialism, and fuses them onto bizarre beats largely created by rap producer Hit-Boy.
M.I.A explained the progression of her two albums in an interview with FADER, saying she saw her 2012 release Maya as a journey, and Matangi as a destination.
“That’s what Matangi was to me,” she said in the interview. “A space to bring all the discussions I started with the last three albums and park them. Maya’s driving through the corridor; Matangi is the parking place.”
Indeed, she tackles discussions she has previously touched upon while constructing a new style of experimental hip hop mixed with clashing and aggressive vocals. After a disappointing reception of her last album, M.I.A evidently tackled Matangi with more finesse than her previous effort.
The 15-track album is largely anarchic and kooky, to put it simply.
It is a synthesis of politically provocative, satirical, colourful lyrics on dancefloor-friendly, Southeast Asian infused beats.
M.I.A shares a sultry collaboration with Canadian native The Weeknd on “Exodus” and “Sexodus,” and provides her own take on R&B while commentating on both the hip-hop fad Y.O.L.O. and the Hindu theme of reincarnation on the standout track “Y.A.L.A.”
Matangi incorporates M.I.A’s now signature style of unfinished vocals and political provocativeness, and lays them flat on vibrant, abrasive beats. It serves as a great example of her progression as an artist since her previous effort Maya and her ability to effortlessly fuse seemingly contrasting topics in one song—proving that she is a very necessary figure in current pop music.
