World music is an unpredictable genre, filled with many artists strip-mining all corners of the globe to unearth the next big fad. However, Arular is a genuine product of intermeshing culture rather than a shallow attempt to capitalize on it. The sound of the album directly reflects M.I.A.'s rootless upbringing; a sonic transcontinental flight between Asia and Europe with stops and layovers all across the planet. The result is something of a global bastard-child, an idiosyncratic blend of reggae, hip-hop and electronica filtered through the mind of a refugee, utterly unique and completely infectious.
Much has already been made in the press of M.I.A., aka Maya Arulpragasam's, life-her Sri Lankan and British background, her revolutionary (or terrorist, depending on who you ask) father, her association with Justine Frischmann of Elastica and the proliferation of her music over the Internet. These details matter on the level that the album acts as metaphor for her life story, but none of it would matter if her songs weren't so damn catchy.
The music is a patchwork of diverse styles and genres that eludes easy description and seems cobbled together like a Calcutta slum shanty. M.I.A. uses a systematic approach to combine elements that don't seem like they should fit in order to form a cohesive whole. The typical formula consists of abrasive synths and coarse samples, carefully spread between a booming electro beat straight from 80's rap. The addition of hook-laden steel drums and tabla melodies complete the minimalist sound while M.I.A. chants her verses like a mantra over everything. Neither a gifted singer, nor a real emcee, M.I.A.'s vocal style occupies the space somewhere between Kingston and East London, the coolest cockney swagger this side of Mike Skinner blended with a party-starting dance hall sensibility.
Arular is as much a celebration of world culture as a recognition of the injustices that pervade it. Seemingly incoherent and unthreatening, M.I.A.'s lyrics often operate on a deeper, politically subversive level. The instant musical hook and stream of consciousness word association that comprise \Amazon"" belies the song's true content of about a South American kidnapping victim. Similarly, ""Sunshowers"" deals with the murder of of an Arab man, well hidden under the glossy pop sheen of a catchy chorus. Though her politics stray dangerously close to self-parody when she name checks the PLO or pens a sappy class struggle anthem, M.I.A. still succeeds in infusing a powerful, sincere message in her music.
The amount of hype surrounding this record has been enormous and Arular lives up to most of it. That being said, the album is not without faults. With only 10 real songs and clocking in at just under 40 minutes, Arular certainly leaves the listener wanting more, but avoids common rookie mistakes such as filler and repetition. Additionally, the first half of the record seems overly formulaic and M.I.A.'s amateurish composition clearly shows in much of the music.
However, homemade production values do have its benefits. In addition to creating space for her unique style, the no-frills, unpolished sound goes a long way in reclaiming creative power from the ultra-slick producers of Top 40 radio. Arular is a great reminder that there are thousands of amateurs creating fascinating music all over the world, and that you don't need a multi-million dollar studio and the Neptunes to make a hot song.
