'Karmageddon' is played with sitarklimpren and hard-grooving synthetic bass, and so is the tone and expectations as played. The title track, next track, and with its resounding danceable tabla drums, trap beats and MIA's distinctive sense of chanting voice, you feel really welcomed back to the happy and vibrant ghetto. Switch is still the man who has turned the most buttons, but on the following numbers, 'Only 1 U' and 'Warriors', is also said hello to people like So Japan and not least Hit-Boy. None of them is allowed to take over the party - it's still MIA, which controls the fun - but here it becomes evident that the lady has got a penchant for the so popular trap-genre whose aesthetics are repeated throughout the album.
And just here it is that the album really shows his genius, and must be viewed as something of a masterpiece. Despite the gung-party stompere will be namely also room for ballads, and here it seems that The Weeknd cooperation 'Exodus' may be the hit that can do 'Paper Planes' rivaling that fan favorite. On the vocal side fills Canadian not much, but both their sense of the alluring, pompous, modern r'n'b anthem is undeniable.
So does it count less that one soon learned MIA's rhyme of global social injustice, religious rebirth and girl power by heart, and that only in a few statements that she lyrical sense. 'Matangi' is a formidable summary of all the best that the woman can do, and there's gonna be dancing through the winter.