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/\/\ /\ Y /\ [Deluxe Edition] Explicit Lyrics

4 out of 5 stars 54 customer reviews

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Editorial Reviews

Product Description

Limited deluxed edition. 2010 release, the third album from the global superstar. Songwriting and production for the album were primarily handled by M.I.A. and Blaqstarr. Rusko and Derek E. Miller of Sleigh Bells are among the collaborators on the album, as are M.I.A.'s long-time associates Diplo and Switch. The album was mainly composed and recorded at M.I.A.'s house in Los 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 of industrial music were incorporated into M.I.A.'s sound for the first time.

Review

4 STARS! "Her third album is her most aggressive, confrontational and passionate yet . . . She's capable of anything . . . except being dull" -- Rolling Stone, July 8 - 22, 2010
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Digital Booklet: Maya
Digital Booklet: Maya
Album Only

Product Details

  • Audio CD (July 13, 2010)
  • deluxe_edition edition
  • Number of Discs: 1
  • Format: Explicit Lyrics
  • Label: N.E.E.T./XL/Interscope Records
  • ASIN: B003M0H4Q8
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (54 customer reviews)
  • Amazon Best Sellers Rank: #96,487 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

By Wynne R. Phillips VINE VOICE on July 17, 2010
Format: Audio CD Verified Purchase
In the past, M.I.A. had the luxury of releasing her albums quietly. Her feisty debut, Arular, was quickly devoured by fans of her prior mixtape with Diplo, Piracy Funds Terrorism, and immediately garnered overwhelming critical success... but not much else. Word of mouth caused her sophomore album, Kala, to debut at an impressive number 18 on the Billboard 200, but she still remained a relatively well-kept secret in the music world until one of the album's tracks, "Paper Planes," crept up and became the surprise mega-hit of 2008, while also almost single-handedly winning the album a gold certification from the RIAA.

Suddenly, Maya had gained commercial success to match the critical praise, which I'm sure she found incredibly hard to grapple with; all of a sudden, this outspoken, opinionated, passionate, but ultimately misunderstood artist--who was accustomed to small venues and notoriety strictly limited to the Pitchfork crowd--was being heard and watched by millions. Millions who, quite frankly, don't "get it." Millions who, although they now have a newfound desire to listen to her, don't necessarily want or have the intelligence to truly hear her. During the months leading up to the release of her third effort, her words have been twisted, her jokes have been misconstrued, her political statements have been dismissed as empty threats (or, even worse: publicity stunts), and her lyrics have been robbed of their meaning by the mainstream audiences and media. To quote a track from Arular, it seems this crowd of new fans would rather see her as "fun for the people" than "armed and equal.
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Format: Audio CD
If an android ever decided to travel the world and make hip-hop music, the result might be something like M.I.A.'s third album, "/\/\ /\ Y /\" (which I'm going to call "MAYA" because it's easier to type!). All that world music gets put on the backburner here -- "MAYA" is M.I.A.'s deliciously odd hip-hop wrapped in a metallic electronic shell, but somehow there are only glimpses of her colorful, eccentric style.

It opens with blurry computerized vocals rambling about iPhones and the web. That segues into electric drills, frantic beats,and M.I.A. sounding like an android dominatrix, "I light up like a genie and I blow up on this song/Aladdin; no kiddin', boy I need a rub... Basslines and cars anything fast/Know who I am, run this f***in' club!"

After that, she launches into the clubbier electropop of "XXXO", which is the sort of fun but fluffy song that they turn into lead singles. The really good stuff happens when that song ends -- hypnotic singsong raps, schizophrenic synth circuses, chilly spacey electronica, gently funky pop, powerful eruptions of booming rap and clattering drums, wild spurts of grinding rock, swipping stretches of slow electronica, and echoing galaxies of poppy rap.

It was actually kind of a sad experience to listen to "MAYA." I started out wildly excited by M.I.A.'s new electronic sound, imagining the wild, weird things she would do with those effects. But as the album played, I kept thinking over and over, "Well... that song was nice. Not great, but nice. Maybe the next one will be the awesome one.... and that song was nice too, but not great..." That pretty much applies to the whole album.

Now don't get me wrong -- M.I.A.'s musical genius shines brightly on some of these songs.
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Format: Audio CD
I really loved her first two albums. Very consistent in style and groove, with lots of influences wrapped up in a coherent idea. This new album is all over the place, but still interested me. "Born Free" had me hyped since I first heard it all over the net. A;png with that wild violent video. It was so punk and epic. The rest of the album is nothing like that track but I find the whole lot fitting as a whole. I think you have to to be into lots of different styles to like this album. Plus into M.I.A. altogether. The lyrics are very very good. Her British accent drives me crazy. And AutoTune works on some of these tracks better than I've ever heard.

Tracks:

The Message - Makes sense.
Steppin Up - Industrial club anthem?
XXXO - Stands up against any modern pop song around
Teqkilla - Really pumped up electro pop, Nothing like it
Lovalot - Good lyrics, ok artsy groove
Story To Be Told - eerie and worldly
It Takes a Muscle - Feel good song
It Iz What It Iz - Interesting melody but distant
Born Free - Bad ass
Meds and Feds - Harsh but good if you can stand it (headache probable)
Tell Me Why - Beautiful and epic (relief from the last track)
Space - Chill and sweet
Caps Lock - Skipped
Believer - Too mono-tone and repetitive
Internet Connection - Just cool and funky (I thought of Tom Waits)
Illygirl - Strange last track, very B-side and not good

That's enough to justify the album, every song is completely different. You can't say that with most stuff out there.

Only gripe is that these songs seem to be very hard to match live as far as I've seen online. I would see her show anytime though.
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