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Maya(M.I.A. album)

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Maya
Studio albumby
M.I.A.
Released7 July 2010(2010-07-07)
Recorded2009–2010
Genre
Length41:39
Label
Producer
M.I.A.chronology
Kala
(2007) 		Maya
(2010) 		Vicki Leekx
(2010)
SinglesfromMaya
  1. "Born Free"
    Released: 23 April 2010
  2. "XXXO"
    Released: 11 May 2010
  3. "Steppin Up"
    Released: 16 June 2010
  4. "Teqkilla"
    Released: 29 June 2010
  5. "Tell Me Why"
    Released: 6 July 2010
  6. "It Takes a Muscle"
    Released: 20 December 2010
  7. "Internet Connection"
    Released: 11 January 2011

Maya(stylised asΛΛ Λ Y Λ) is the third studio album by British recording artistM.I.A.It was released on 7 July 2010 throughN.E.E.T. Recordings,XLandInterscope.Songwriting and production was primarily handled by M.I.A.,BlaqstarrandRusko.ProducersDiploandSwitch,alongside M.I.A.'s brother Sugu, also worked on the album.Mayawas mainly composed and recorded at M.I.A.'s house inLos Angeles.The album's tracks centre on the theme of information politics and are intended to evoke what M.I.A. called a "digital ruckus"; elements ofindustrial musicwere incorporated into M.I.A.'s sound for the first time upon its release. A deluxe edition was released simultaneously, featuring four new tracks.

Upon its release,Mayareceived mixed to positive reviews from music critics, with the album's musical style and lyrical content attracting both praise and criticism. In its first week of release, the album entered theUK Albums Chartat number 21, becoming her highest-charting album in the UK. It also became her highest-charting album in the US, peaking at number nine on theBillboard200.Elsewhere, the album debuted in the top 10 in Finland, Norway, Greece and Canada.

To promote the album, M.I.A. released multiple tracks online, including "XXXO","It Takes a Muscle"and"Born Free".The latter was accompanied by ashort film-music video,which generated controversy due to its graphic imagery. She also performed at music festivals in the US and Europe to coincide with the album release. During promotion of the album, M.I.A. became embroiled in a dispute with Lynn Hirschberg ofThe New York Times.

Composition and recording

A white man with red hair and a slight beard manipulating the controls of a piece of music mixing equipment. He has headphones around his neck and a mask resembling a multi-coloured monkey pushed up onto the top of his head.
English producerRuskowas one of M.I.A.'s collaborators on the album

English-Tamilmusician M.I.A. (Mathangi "Maya" Arulpragasam) released her second albumKalain 2007, which achieved widespread critical acclaim, and was certifiedgoldin the United States andsilverin the United Kingdom.[3][4]Six months after giving birth to her son Ikyhd in February 2009,[5]she began composing and recording her third studio album in a home studio section of the Los Angeles house she had bought with her partnerBen Bronfman.[6]She used instruments such as the portable dynamic-phrase synthesizerKorg Kaossilatorto compose.[7]She took the beat machine and began recording atopMayan pyramidsin Mexico.[8]Much of the work on the album was undertaken at her house inLos Angeles,in what she called a "commune environment",[9]before it was completed in a rented studio inHawaii.[10]She collaborated with writer-producerBlaqstarrbecause, in her opinion, "he simply makes good music".[11]M.I.A.'s collaboration with Derek E. Miller ofSleigh Bellson the track "Meds and Feds" prompted her subsequent signing of the band to her label N.E.E.T., and according to Miller, this experience gave him the confidence to record the band's debut albumTreats.[12][13]

Her creative partnership with the relatively unknownRuskogrew from a sense of frustration at what she saw as her now more mainstream associates suggesting sub-standard tracks due to their busy schedules.[6]Diploworked on the track "Tell Me Why",but at a studio inSanta Monica,California,rather than at the house. He claimed in an interview that, following the break-up of his personal relationship with M.I.A. some years earlier, he was not allowed to visit the house because "her boyfriend really hates me".[14]

Tracks for the album were whittled down from recording sessions lasting up to 30 hours.[10]Producer Rusko, who played guitar and piano on the album, described the pair getting "carried away" in the studio, appreciating the "mad distorted and hectic" sound they were able to create.[10]Rusko said "She's got a kid, a little one year old baby, and we recorded his heart beat. We'd just think of crazy ideas".[10]Rusko has described M.I.A. as the best artist he has ever worked with, saying that she had "been the most creative and I really had a good time making music with her".[15]

Music and lyrics

M.I.A. called the new project "schizophrenic",and spoke of the Internet inspiration that could be found in the songs and the artwork.[16]She also said that the album centred on her "not being able to leave [Los Angeles] for 18 months" and feeling "disconnected".[17]She summed up the album's main theme as information politics. During the recording of the album, she spoke of the combined effects that news corporations andGooglehave on news and data collection, while stressing the need for alternative news sources that she felt her son's generation would need to ascertain truth.[18]Mayawas made to be "so uncomfortably weird and wrong that people begin to exercise their critical-thinking muscles". M.I.A. said "You canGoogle'Sri Lanka' and it doesn't come up that all these people have beenmurdered or bombed,it's 'Come toSri Lanka on vacation,there are beautiful beaches'... you're not gonna get the truth till you hit like, page 56, and it's my and your responsibility to pass on the information that it's not easy anymore ".[18]Following these comments, M.I.A. received death threats directed at her and her son, which she also cited as an influence on the songs on the album. She summed up the album as a mixture of "babies, death, destruction and powerlessness".[19]The singer revealed that going into recording the album, she had still not accepted that she was a musician, saying, "I'm still in denial, listening to too muchDestiny's Child".[20]WithMaya,she stated "I was happy being theretardedcousin ofrap... Now I'm the retarded cousin ofsinging."[21]

A man and a woman standing together. Both black hair and dark skin. The woman is wearing a light blue jacket over a black dress, and the man is wearing a white shirt and a black jacket.
M.I.A. with ex-partner Ben Bronfman

M.I.A. opted to sing, as opposed to rap, on several tracks on the album, tellingRolling Stonein early 2010 that she wished to produce something different from her previous album, which had "more emphasis on production".[22]In a January 2010 interview withNMEshe spoke of being inspired by the filmFood, Inc.and described the album as being about "exploring our faults and flaws" and being proud of them.[23]The closing track, "Space",which was reportedly recorded using aniPhoneapp,[24]is a ballad which Mikael Wood, writing inBillboard,described as "dreamy" and "sound[ing] like aSega Genesispracticing its pillow talk ".[21]In contrast, Greg Kot of theChicago Tribunedescribed "Lovalot" as sounding "like it was recorded in a dank alley, the singer's voice reverberating amid percussion that sounds like doors creaking and rats scurrying across garbage cans".[25]"XXXO"draws its inspiration from M.I.A.'s" cheesypopside ",[26]and is based on the theme of the creation of asex symbol.[27]"Teqkilla"is the only track to address her relationship with Bronfman, through a reference toSeagram,the company owned by his family.[27]"It Takes a Muscle"is acover versionof a track originally recorded in 1982 by Dutch groupSpectral Display,and is performed in areggaestyle.[28][29]

The opening track "The Message", featuring a male lead vocalist, parodies the words of the traditional song "Dem Bones"to link Google to" the government ".[30]Kitty Empirewrote inThe Observerthat these conspiratorial government connections to Google and the thoughts ofDzhennet Abdurakhmanova,the Russian teenager who bombedMoscow's tube systemin revenge for the death of her husband, were inner-world issues pondered in "Lovalot" with "a mixture of nonsense rhyme, militant posturing and pop-cultural free-flow; her London glottal stop mischievously turns 'I love a lot' into 'I loveAllah' ".[7]Ann Powersin theLos Angeles Timessaid that "M.I.A. turns a call to action into a scared girl's nervous tic.Synthsclick out a jittery, jagged background. The song doesn't justify anything, but it reminds us that there is a person behind every lit fuse ".[27]Powers also commented on how "Born Free"mixed the boasting style often found in hip hop music with lines depicting the lives of those enduring poverty and persecution.[31]"Illygirl", a track found only on the deluxe edition of the album, is written from the point of view of an abused but tough teenager, whom criticRobert Christgausaid could be the "kid-sister-in-metaphor" of the swaggering persona adopted by M.I.A. on the track "Steppin Up".[32]

Samplesused on the album were taken from artists as diverse as theelectronicduoSuicideandgospelchoir theAlabama Sacred Harp Singers.[21][33]"Internet Connection",one of four bonus tracks on the deluxe edition of the album, was recorded in collaboration with a group ofFilipinoVerizonworkers.[22]M.I.A. described the sound and imagery of the album as capturing a "digital ruckus", adding that "so many of us have become typists andvoyeurs".We need a digital moshpit like we've never seen, harder than how people were doing it in thepunk era.We need that energy, but digitally ".[18][34]M.I.A. herself picked out "Steppin Up", "Space" and "Teqkilla" as her favourite tracks on the album. She said that she contemplated using only the sound of drills as the backing for "Steppin Up", but concluded that this was "too experimental" an approach.[24]

According to Jim Farber ofNew York Daily News,Mayais anavant-popalbum that takes influence from "the most maddeningly catchy bits ofelectro-clash,hip-hop,Bollywood,dubanddance music".Farber also noted the significantindustrial rockinfluence on the album, likening it to "the late-'80swork ofMinistry".[1]Julianne Escobedo Shepherd ofThe Fadercommented on the increasinglyindustrialfeel of the tracks made available prior to the album's release,[35]a style which had not previously been incorporated into her music.[36]On a similar note, Michael Saba ofPastebelieved the album was "a collection of sparse, industrial-influenced tracks that sound more like post-apocalypticNine Inch Nailsthan Arulpragasam’s trademarkrealpolitikrap ".[2]

Release and artwork

The album was originally set to be released on 29 June 2010, but in May M.I.A.'s record label announced a new release date of 13 July.[37]In late April, the artist posted atwitpicof the track listing for the new album. She also commented that at the time she was "open to suggestions" regarding the album's title.[38]Two weeks later, a blog posting on her record label's official website revealed that the album would be entitled/\/\/\Y/\,which spells out M.I.A.'s own forename,Maya,inleetspeak.[39]The title follows on from previous albums named after her father (2005'sArular) and mother (2007'sKala).[40]Some reviewers used the stylised title while others did not.[41][42][43][44]M.I.A.'s officialMyspacepage uses both titles.[45]The album was released in conventional physical and digital formats and as aniTunes LP.[46]

The album's cover features the singer's face almost completely hidden byYouTubeplayer bars.[47]MTV's Kyle Anderson described the cover, which was previewed in June 2010, as "a typically busy, trippy, disorienting piece of art" and speculated that it might be "a statement about 21st century privacy".[48]Additional art direction for the album was provided by Aaron Parsons.[49]M.I.A. used her mother'sTamilphonebook to find a wedding photographer to provide images for the album.[50]Photographers for the album were Ravi Thiagaraja, M.I.A. and Jamie Martinez.[49]Elements of the artwork had previously been used in one of a series of billboard images, all designed by musicians, which were projected onto landmarks inLondonby a guerrilla project called BillBored during the2010 British general election.[51][52]The deluxe edition of the album features alenticularslipcase.[21]Music website Prefix listed it as one of the 10 worst album covers of 2010, likening it to a "child's first computer-class-assignment".[53]

When questioned about the difficulty of finding her album title on search engines such as Google, she noted that she chose to use forward slashes and backward slashes due to their ease at being typed and because she liked the way the album title looked on music players such asiTunes.[54]She also suggested that it was a deliberate attempt to avoid detection by internet search engines.[55]The Guardian'sSian Rowe commented that M.I.A.'s deliberate "shrinking away from a mainstream audience" by the use of difficult, unsearchable symbols was part of a growing new underground scene perhaps trying to create a "generation gap", where only "the youngest and the most enthusiastic" would seek out such band names by reading the right online sources.[55]

Promotion

See also:Maya Tour

On 12 January 2010, M.I.A. posted a video clip on Twitter, which featured a new song, but revealed no information about it other than the heading "Theres space for ol dat I see"(sic).[56]The following day her publicist confirmed that the track was entitled "Space Odyssey" and had been produced in collaboration withRuskoto protest a travel piece about Sri Lanka printed inThe New York Times.[57]The track made it onto the final album under the revised title "Space".[38]The same month, she filmed ashort filmfor the song "Born Free".[23]At the end of April the track was released as a promotional single, and the short film accompanying the song was released.[58]The film, directed byRomain Gavras,depicts a military unit rounding up red-headed young men who are then shot or forced to run across a minefield.[59]The film, which also features nudity and scenes of drug use, caused widespread controversy and was either removed or labelled with an age restriction on YouTube.[17][60][61]In the weeks following the release of the film, M.I.A. was the most blogged about artist on the Internet, according to MP3 blog aggregatorThe Hype Machine.[62][63]M.I.A. found the controversy "ridiculous", saying that videos of real-life executions had not generated as much controversy as her video.[64]In the run-up to the album's release, "XXXO",whichEntertainment Weeklydescribed as the "first official single" from the forthcoming album,[65]"Steppin Up", "Teqkilla" and "It Takes a Muscle" were released online.[66][67][68]On 6 July 2010 she made the entire album available via her Myspace page.[69]On 20 September, "Story To Be Told" received a video, on its own website, featuring the song's lyrics inCAPTCHAformatting.[70]In December, "It Takes a Muscle" was released as a two-track promotional single.[71]

An aerial shot of a large gathering of people in a grassy area beside a lake. Several large tents are visible.
M.I.A. promoted the album with a performance atThe Big Chillin August 2010

The new album was publicised duringJay-Z's performance at theCoachella Valley Music and Arts Festivalin April, when a blimp flew across the venue announcing that M.I.A.'s new album would be released on 29 June 2010.[72]M.I.A. promoted the album with a series of appearances at music festivals, including theHard festivalin New York andThe Big Chillin Herefordshire. Her performance at the latter was cut short due to a stage invasion by fans.[73]She also performed at the Flow Festival in Finland, where she was joined onstage byDerek E. Millerplaying guitar during her performance of "Meds and Feds",[74]and theLokerse FeesteninLokeren,Flanders, Belgium, where her performance drew a crowd of 13,500, the biggest of the 10-day music festival.[75]In September she announced a tour that would last until the end of the year.[76]

M.I.A. also promoted the album with an appearance on the "Late Show with David Letterman",during which she performed" Born Free "withMartin RevofSuicideplaying keyboards, backed by a group of dancers styled to look like M.I.A.[77][78]In November 2010 she appeared on the British television showLater... with Jools Holland,performing "Born Free" and "It Takes a Muscle", the latter with members ofThe Specials.[79][80]While promoting the album, M.I.A. became involved in a dispute with Lynn Hirschberg ofThe New York Times,who interviewed her in March 2010 and whose resulting article portrayed the singer as pretentious and attention seeking.[81]In response, M.I.A. posted Hirschberg's telephone number on her Twitter page and later uploaded her own audio recording of the interview, highlighting the discrepancies between what she said and what was reported. The piece was criticised for itsyellow journalismby some, however M.I.A. received varying degrees of support and criticism for the ensuing fallout from the media.[32][82]Benjamin Boles wrote inNowthat, while Hirschberg's piece came across as a "vicious... character assassination", M.I.A's subsequent actions were "childish" and made her "the laughing stock of the internet".[14]The paper later printed a correction on the story, acknowledging that some quotes had been taken out of context.[83]The incident promptedBoots Rileyof the bandStreet Sweeper Social Clubto comment on how artists had access to media that allowed writers to be held accountable and that M.I.A.'s move was "brilliant".[84]

Critical reception

Professional ratings
Aggregate scores
SourceRating
AnyDecentMusic?7.1/10[85]
Metacritic68/100[86]
Review scores
SourceRating
AllMusic[87]
Entertainment WeeklyC−[88]
The Guardian[29]
The Independent[89]
Los Angeles Times[27]
MSN Music(Expert Witness)A[90]
NME7/10[91]
Pitchfork4.4/10[81]
Rolling Stone[92]
Spin9/10[42]

Mayareceived moderately positive reviews from critics.[93][94][95]AtMetacritic,which assigns anormalisedrating out of 100 based on reviews from mainstream critics, the album received anaveragescore of 68 based on 41 reviews, which indicates "generally favorable reviews".[86]Reviews of the album began to appear a month before its release after the album leaked in low quality onto the internet.[96]

Simon Vozick-Levinson ofEntertainment Weeklycalled the album "surely the year's most divisive major-label release".[77]Charles Aaron, writing inSpin,gave the album four and a half out of five stars, his review deeming the song "Lovalot" her "riskiest gambit yet".[42]Matthew Bennett ofClashgave a similar score, calling it a "towering work".[43]Mojowriter Roy Wilkinson called it a "startling fusillade of to-the-moon pop music".[97]Writing for theBBC Online,Matthew Bennett characterised the album as "loud, proud, and taking no prisoners" and also praised the album's lighter tracks, such as "Teqkilla", which he called "enjoyably demented but utterly catchy".[44]Rolling Stonewriter Rob Sheffield said the album was M.I.A.'s "most aggressive, confrontational and passionate yet", praising her "voracious ear for alarms, sirens, explosions, turning every jolt into a breakbeat" and her consequent lyrics as "expansive".[92]Los Angeles Timeswriter Ann Powers commended the album as "an attempt by an artist who's defined herself through opposition to engage with the system that she has entered, for better or worse, and to still remain recognizable to herself" characterisingMaya's foregrounded ideas as "a struggle worthy of a revolutionary".[27]In his consumer guide forMSN Music,criticRobert Christgaugave the album an A rating and complimented its "beats and the spunky, shape-shifting, stubbornly political, nouveau riche bundle of nerves who holds them together".[90]

Other critics were not as complimentary towards the album. Charlotte Heathcote of British newspaper theDaily Expresssaid that, while M.I.A. could "still lay claim to being one of our most imaginative, uncompromising artists", there were "only glimmers of brilliance" on the album.[98]Chicago TribunewriterGreg Kotgave the album two and a half out of four stars and expressed a mixed response towards M.I.A.'s "[embracing] pop more fervently than ever.[25]Entertainment Weekly's Leah Greenblatt was critical of the album, stating that it sounded "murky and almost punishingly discordant, as if the album has been submerged underwater and then set upon by an arsenal of exceptionally peeved power tools". She went on to state that nothing on the album sounded "truly vital", or as revolutionary as M.I.A. wanted the public to believe.[88]Stephen Troussé, writing inUncut,described the album as "anticlimactic" and "self-satisfied" and said that it suffered from "diminished horizons".[99]Mehan Jayasuriya ofPopMattersnoted M.I.A.'s "self-aggrandizing" as a weakness, adding thatMayalacks "the focus and confidence of M.I.A.'s previous albums".[100]Jesse Cataldo ofSlant Magazinenoted that the album "has the feel of a vanity project" and wrote "It may be an above-average album, but its aesthetic matches her persona only at its shallowest levels, in the thinness of its ideas and the often-forceful ugliness of its message".[41]Chris Richard ofThe Washington Postcalled it "a disorienting mix of industrial clatter and digital slush" and noted "there isn't much to sing along to".[101]

Accolades

In December 2010,NMEnamed "XXXO" and "Born Free" the number two and number 11 best tracks of the year respectively.[102][103]Mayaappeared in a number of magazines' lists of the best albums of the year. The album was placed at number five on the "2010PitchforkReaders Poll "list of the" Most Underrated Album "of the year.[104]SpinplacedMayaat number eight in its list of the best releases of 2010,[105]andRolling Stonelisted it at number 19 in its countdown.[106]

Legacy

In 2013, in light of recentlyleaked NSA documentsthat revealed the agency had been surveilling US citizens' internet use through Google andFacebook,M.I.A. made aTumblrpost saying she had correctly predicted this sort of spying in her song "The Message".[107]Carrie Battan ofPitchforknoted that the then-widespread "criticisms of M.I.A.'s politically charged words and alleged paranoia" could now "seem just as silly as her lyrics once might have".[108]OnMaya's tenth anniversary, journalists opined that the album's "internet aversion and overstuffed sound" aged well and could be considered a precursor to the industrial distortion of albums likeYeezus(2013) byKanye West.[109][110]

Commercial performance

Mayadebuted at number 21 on theUK Albums Charton first-week sales of 7,138 copies,[111]18 places higher than the peak position achieved byKala,immediately making it M.I.A.'s highest-charting album in the UK.[112]The following week it dropped out of the top 40.[113]It also charted in a number of other European countries, reaching the top 10 in Finland, Greece and Norway.[114]In the United States, it debuted at number nine on theBillboard200,nine places higher than the peak position achieved byKala,although it sold only 28,000 copies in its first week of release, compared with the 29,000 which the earlier album sold in the same period.[115]Mayafell to number 34 in its second week on the chart, selling 11,000 copies.[116]As of September 2013, the album had sold 99,000 copies in the US.[117]The album also toppedBillboard'sDance/Electronic Albumschart and reached the top five on two of the magazine's other charts.[118]Mayaalso entered the top 10 on theCanadian Albums Chart.[119]The single "XXXO"reached the top 40 in Spain and the UK,[112][120]and "Teqkilla" reached number 93 on theCanadian Hot 100on digital downloads alone.[121]

Track listing

No.TitleWriter(s)Producer(s)Length
1."The Message"
  • Sugu Arulpragasam
  • Steve Loveridge
S. Arulpragasam0:57
2."Steppin Up"
Rusko4:01
3."XXXO"
2:54
4."Teqkilla"
  • M. Arulpragasam
  • Mercer
  • Taylor
  • John Hill
  • Byron-Withers
6:20
5."Lovalot"
  • M. Arulpragasam
  • Taylor
  • Hill
  • Opal Josephs
  • Sheldon Pennicot
  • Sekou Davis
  • M.I.A.
  • Switch
  • Hill
2:50
6."Story to Be Told"
  • M. Arulpragasam
  • Mercer
  • Taylor
  • Rusko
  • M.I.A.
3:32
7."It Takes a Muscle"
  • Michael Mulders
  • Henri Overduin
Diplo3:00
8."It Iz What It Iz"
  • M. Arulpragasam
  • Smith
Blaqstarr3:29
9."Born Free"
  • Switch
  • M.I.A.
4:07
10."Meds and Feds"
  • M.I.A.
  • Miller
3:09
11."Tell Me Why"
Diplo4:11
12."Space"
  • M. Arulpragasam
  • Mercer
  • Rusko
  • M.I.A.
3:08
Japanese and deluxe edition bonus tracks[122][123]
No.TitleWriter(s)Producer(s)Length
13."Internet Connection"
  • M. Arulpragasam
  • Smith
  • M.I.A.
  • Blaqstarr
2:49
14."Illygirl"
  • M. Arulpragasam
  • Smith
  • M.I.A.
  • Blaqstarr
2:14
15."Believer"
  • M. Arulpragasam
  • Smith
  • M.I.A.
  • Switch
3:11
16."Caps Lock"
  • M. Arulpragasam
  • Smith
Blaqstarr3:58

Notes

  • "Lovalot" incorporates elements of "I Said It" by Opal.[49]
  • "It Takes a Muscle" is a cover of "It Takes a Muscle to Fall in Love" by Spectral Display.
  • "Born Free" contains a sample from "Ghost Rider"bySuicide.[49]
  • "Tell Me Why" incorporates elements of "The Last Words of Copernicus" by theAlabama Sacred Harp Singers.[49]
  • "Internet Connection" incorporates a sample fromFonejacker.[49]

Personnel

Credits adapted from the liner notes of the deluxe edition ofMaya.[49]

Charts

Release history

Region Date Edition Label Ref.
Japan 7 July 2010 Limited Hostess [122]
Australia 9 July 2010
  • Standard
  • deluxe
 XL [150][151]
Germany
  • Standard
  • limited
 [152][153]
Ireland Standard [154]
France 12 July 2010
  • Standard
  • deluxe
 [155][156]
United Kingdom Standard [157]
United States 13 July 2010
  • Standard
  • deluxe
[158][159]

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