Day 0973 - Kala

M.I.A. "Kala" (2007)

Funnily enough I watched the doco/film about Mathangi Arulpragasam (M.I.A.) a week or so after I listened to and wrote this one up - which would have saved me a bit of reading time, but just digging around a bit and yeah she's had an interesting life.   She grew up in Sri Lanka during the civil war, surrounded by violence.   When she and her family moved to the UK she found herself surrounded instead by racism.

Arulpragasam actually started her artistic career as a visual artist.   She was becoming a respected artist in her own right when Elastica took her on board to do artwork for one of their albums.   She went on tour with them to do some filming, and the tour opener artist Peaches encouraged her to make music.   Elastica singer Justine Frischmann provided her a sequencer/drum-machine and Arulpragasam started putting together some demos, adopting the stage name M.I.A.

Frischmann's manager helped her secure a record contract and M.I.A. released her first album.   That was my first introduction to her, with the videos for "Bucky Done Gun" and "Sunshowers" getting a bit of play here in NZ.   BDG in particular wasn't really like anything I'd heard with its beats, minimal arrangements, stabs of horn and raps.

"Kala" mostly follows in this vein, mostly focussing on beats without too many instruments arranged over the top of it.  Just there to underline M.I.A.'s vocals.  There are samples of South Asian music and (just to mix things up) the Clash, with that band's "Straight to Hell" being used to create the brilliant "Paper Planes".   "Bird Flu" is all sorts of percussion wonderfulness, "Jimmy" is a bit more electro-pop.   

Great album, though I would say I was less impressed by the artist behind the art after watching the film. 😕

Day 0789 - Maxinquaye

Tricky "Maxinquaye" (1995)

Tricky had achieved some notoriety appearing on Massive Attack's first album "Blue Lines".   He had brought that group a song he'd put together with teenaged singer Martina Topley-Bird but they rejected it.   Tricky released it himself and started working on music for his first solo album, including some more tracks with Martina.  The title of the album is a sort of portmanteau of Tricky's mother's first and last names: Maxine Quaye.

Tricky produced with the album with Mark Saunders, bringing in a number of vinyl samples which other producers might have rejected due to their excessive hisses and crackles.  Tricky mixed these together with some low-tempo beats, and deep muddy bass to create interesting but sometimes uncomfortable soundscapes onto which he layered lyrics fuelled by paranoia, angst and depression.

Tricky brings a lot of fresh references, sampling "Glorybox" by Portishead on "Hell is around the Corner" and the Smashing Pumpkins' "Suffer" to brilliant effect on his track titled... er "Pumpkin".

This is a solid and interesting trip-hop album that I'd place on a par with the first two Massive Attack albums.   I'm interested to investigate some of  Tricky's other solo releases, though I've read that he never topped this one.

Day 0646 - Spy vs Spy

John Zorn "Spy vs Spy" (1989) - got it

It's a shame to see some artists get almost their entire discography included in this book, while someone with as varied an oeuvre as John Zorn only gets this one.   

In some ways its an appropriate enough album, a bit of a microcosm for what Zorn is about: it takes familiar elements (the free-jazz compositions of Ornette Coleman, elements of hardcore, hints of Carl Stalling's cartoon music, and metal grind) and mixes it together to form something original.  Dishing out short bursts of sound.
On the other hand, it's not the most diverse or representative of Zorn's albums (not reflecting the more melodic sides of his sound, the breadth of his soundtrack work, or his passion for traditional Jewish music), it doesn’t feature any original compositions from the prolific Zorn, and the unrelenting sonic pummelling does risk becoming a bit samey by the end.

Zorn's goal here had been to try and reimagine Coleman's compositions while reinvigorating the shock factor they would have had when they were first unveiled.   Zorn and the other sax player Tim Berne are panned either side and improvving over an amazing rhythm section.  They're like "you want some hard bop rhythm?  Not a problem.   What's that?  Blast beats... yeah, sure thing". 

Free free jazz.

Day 0569 - Infected

The The "Infected" (1986)

I enjoyed this much more than the previous The The album in this list (Soul Mining).  It has a strong pop base with some great beats and nice funky bass.   Some of it is upbeat and pulsing, other tracks are slinky and moody, one track even features an early appearance from Neneh Cherry ("Slow train to dawn").  Good solid 80s pop, with angry, socially conscious lyrics.