In 2007, 32-year-old Mathangi Arulpragasam aka MIA, became a worldwide phenomenon when Rolling Stone Magazine rated her 2007 album, Kala as the best album of the year. Arulpragasam went on to win more than one Grammy nomination for her single 'Paper Planes.' Two years later, she made it onto Times Magazine’s list of the 100 most influential people in the world.

M.I.A. quickly became a household name as she continually tried to push musical boundaries with an aggressive, revolutionary game face. Her labelled global influence stems from her work in various fields, ranging from visual design to political activism and the music scene.

Lately, as M.I.A. has been busy trying to push her 'radical' political stance, criticism has hit her full force. Not only has there been a high level of controversy surrounding her violence-fuelled music video for 'Born Free,' but in attempt to combat her New York Times cover story– which criticised her as nothing more than a talker– she published the journalist’s cell phone number on her personal twitter account.

Released on July 13th by her own record label, Maya attempts to drive home the artist's desire for kicking up a fuss outside the main stream box. Though the artist’s messages are a continued call for hope and peace throughout the world, she leaves little more than a mess in her wake. And why was the album titled as a supposed typographic equivalent to her name, which is nearly impossible to search for? Oh-so cool.

The opening track, 'The Message' is only the beginning of the album’s constant looping and repetitive beats. The lyrics, describing the government’s leash on the digital world, are nothing new.

M.I.A. takes her trademark ferocity down a notch, leaving the violence and drugs behind on ‘XXXO’, where the constant electro-punk feel that drowns the album is replaced for a moment by a pop-grinding club tune.

'Tell Me Why' rounds up the album in an attempt to ask some philosophical questions, reflecting her supposedly forward, revolutionary attitude; but it ends up sounding more like silly banter. The over-digitalised vocals don’t help her out either.

With two successful albums in her wake, this album seems nothing more than noise. Creatively, some ideas are lurking about; but the implementation is a whole different story.