When Nicki Minaj started her pre-Young Money career, her mixtapes were regarded as rather explicit in the profanity stakes. Pink Friday: Roman Reloaded re-enacts that youthful era, as she experimentally explores her own dangerous personality with liberty. However, though she seems to naively believe that it was a deeply personal attempt, the result has lead to a negatively wayward and discordant, commercial flop.
Apart from her increasing obsession with her male alter ego, Roman Zolanski, her unambiguous lyricism is a major highlight of the 22-track LP. Despite her cocky demeanour, ‘Come On A Cone’ is a lyrical melange of what a person in remedial English may sound like if they fruitlessly cracked at a mixtape in their bedroom. As R&B and hip-hop trends go, minimalism in synth-leads and drum machines has progressed rapidly. Minaj finds herself wrapped in needless simplicity and fails to decorate the faults with chic rhymes and classy vocals, as seen in ‘Sex In The Lounge’, ‘Beez In The Trap’ and the debacle ballad ‘Gun Shot’.
Masterful pop music commonly has fine dynamics and an overall magnetic catchiness to a wide audience, which was what the Pink Friday girl did with the plausibly constructed ‘Superbass’. She softly brushes off this past with ‘Pound The Alarm’ and ‘Right By My Side’. These appear as the more skilfully tolerable scores amongst the rest on this massive 79-minute full-length, as the Trinidadian hip-popper furnishes on sturdy, warm vocals and heavy, saw-like synths. That aside, it seems Minaj’s vision was perturbed by her innocence the array of talented and talentless producers in action; forming a distasteful concoction of divisive ingredients.