Arriving six years after AIM, MATA concentrates on M.I.A.'s strengths. Though the album artwork's cross-like "T" reflects Maya Arulpragasam's embrace of Christianity in the early 2020s, she gives a more universal perspective to her sixth album's explorations of the battle between ego and spirituality. These themes have bubbled under the surface of her music since the beginning, but rarely has she made the contrast between them so apparent. On the hushed, hypnotic "100% Sustainable" and slow-motion trap of "The One," she captures the humility needed to reach out, whether to a community or a higher power; on "Popular," a brash piece of reggaeton co-produced by Diplo, she's unapologetically self-obsessed. Working with familiar names like Diplo is just one way M.I.A. returns to her roots as she expresses the multitudes within herself and her music. She embellishes the booming opening salvo of "F.I.A.S.O.M. Pt. 1" (short for "freedom is a state of mind," pronounced "fearsome") with the chanting and singing of a Tamil choir that gives a field recording-like authenticity to several of MATA's songs. The track sets the stage for "F.I.A.S.O.M. Pt. 2," a pugnacious rallying cry complete with a tabla breakdown and a cameo by Tamil-Swiss singer Priya Ragu. M.I.A.'s enduring skill at melding wide-ranging styles and instrumentation into music that's all her provides several of the album's standouts. These include "Beep," a moombahton-tinged statement of purpose that reminds listeners that she's "not a politician and not the U.N." She's just as quotable on the bhangra-driven "Energy Freq," where she's "got the party swinging like it's a nunchuk." On "Zoo Girl" and "Time Traveller" (which rhymes "tabla" with "smuggler"), the acoustic touches call to mind an earth-toned version of Kala. Though MATA occasionally borders on simplistic, it also serves as a reminder that M.I.A. is still better at protest songs -- and giving them different forms -- than many other artists. "Marigold," a lament that hinges on the refrain "times are difficult/we're gonna need a miracle," is one of the record's most gripping expressions of faith in the face of despair. Moments like these show that, six albums in, M.I.A. still has a remarkable gift for tapping into the emotions behind the issues. Focusing on that skill makes MATA one of her most consistent albums, and not so much a safe return as a savvy one.