Album Review: Nicki Minaj, Pink Friday: Roman Reloaded

Nicki Minaj’s sophomore effort, Pink Friday: Roman Reloaded, is certainly a polarizing album. It seems to be a high-stakes, zero-sum game for Minaj; either it’s a highly creative and flexing body of work, or it’s a major disappointment to the entire culture of hip-hop. Now that the project is out, let’s give it a closer look.

The album starts off with “Roman Holiday”, a glimmer of hope that this album will be nothing like anything Minaj has done in the past. She dives right into character with a high-pitched chorus that may take you off guard a first, but as the beat drops, the record blends together exotic drums and an anxious flow which combine for an innovative sound.

Minaj tones down her wild alter-ego slightly on the next few tracks, but the beat selection is still a bit hectic and fast-paced. On her debut album, Pink Friday, Minaj has a record entitled “Roman’s Revenge” produced by Swizz Beats. The rap tracks on Pink Friday: Roman Reloaded feel sonically similar to that record, with quick instrumentals and darting sound effects. “Beez in the Trap” and “Roman Reloaded” are two stand-out records from the rap portion of the album, and producers include Hit Boy, T-Minus, Pop Wansel, DJ Diamond Cuts, Kane Beatz, and J.R. Rotem.

But starting with the infamously panned “Starships,” the next five tracks, with four produced by RedOne, abruptly turn into squeaky-clean dance pop. Minaj is no stranger to pulling other genres into her music, but this time she’s hurting herself. Songs like “Whip It” are clearly aiming at a pop audience, interrupting the album’s flow, sacrificing originality. Every part of “Automatic”, from the song arrangement to the special effects, is synonymous with Britney Spears’ “Till The World Ends (Remix),” which Minaj is featured on.

Overall, Pink Friday: Roman Reloaded is a decent album. When she raps, Minaj is very creative and ambitious; her voice changing antics on “Roman Holiday” and sixteenth-note rapid-fire on “Stupid Hoe” are where she shines. But the corny production style and simplistic lyrics of the rest of the album are a disappointment to hip-hop fans. If tracks 10 through 14 were taken out, good riddance.