writer Josiah Hughes contended that the latter portion of the message referred to events which had occurred during the year including the album's mixed reviews and her clashes with journalists and former collaborator Diplo.

[6] Shortly before Christmas, the website vickileekx.com began displaying a countdown to the mixtape's release in the form of animated water rising up a dateline, and on 30 December M.I.A.

[11][12] The tracks "Meds and Feds" and "Steppin' Up" from Maya appear in radically altered forms, including the removal of the heavy guitar played by Derek E. Miller of the group Sleigh Bells on the original version of the former.

[1] Musically, the mixtape is less abrasive in style than the industrial-influenced Maya, but the lyrics contain a number of attacks on "imitators, haters, and [...] psychos" and "bitches who are fame hoes".

[1] At different points the music incorporates heavy percussion, Auto-Tuned vocals, and "bhangra-style" sounds similar to those heard on her second studio album Kala.

released the song "Babylon" and auctioned it as a non-fungible token alongside an extended version of Vicki Leekx, with proceeds going to the Courage Foundation.

[22] Tom Breihan, a writer from Pitchfork, commented that in "its brief onslaught of sneery fun, Vicki Leekx only occasionally reaches the dizzy pop heights of Arular and Kala.

[24] Matthew Cole, reviewing the mixtape in Slant Magazine, described Maya as "an act of musical self-immolation from a self-styled outsider uncomfortable with her own marketability" but that Vicki Leekx was an "ensuing ground-zero dance party" to follow up such a "levelling of her image".

[21] Mike Schiller, writing for webzine PopMatters, was positive in his review but stated that the mix sounded like "an artist throwing ideas at a wall and seeing what sticks".

[13] In consumer guide for MSN Music, critic Robert Christgau gave Vicki Leekx a B+ rating,[19] indicating "remarkable one way or another, yet also flirts with the humdrum or the half-assed".