When Nicki Minaj announced her third studio album, The Pinkprint, she declared it to be Jay Z’s The Blueprint for female rappers. While the album is by no way a classic, it actually should be seen as the gold standard for a female rapper looking to make it big. It’s not blatantly pop (Iggy’s The New Classic is neither rap nor a classic), and doesn’t feel the need to prove itself, unlike Azealia Banks’ Broke with Expensive Taste.
Minaj has polarized her fans throughout her career. Her mixtapes were great showcases of her hip-hop sensibilities, but were so lyrically aggressive that it came off as a girl trying too hard to join a boys club. Her studio albums represented the other end of the spectrum, as her ear for pop hooks and playful raps launched her into Top 40 stardom to the dismay of her early fans. The Pinkprint finally lands the sweet spot; it’s a cohesive, if overlong, album about heartbreak where “Super Bass” and Minaj’s verse on “Monster” could coexist.
The most impressive aspect of The Pinkprint is Minaj’s success in pulling together a roster of very different genres, productions, and features. “Feeling Myself” is a swaggering highlight that sees Beyoncé taking her riskiest dabble in hip-hop. “Get On Your Knees,” featuring Ariana Grande awkwardly smudging her squeaky-clean image, provides subtle commentary on gender expectations in that its sexually aggressive lyrics feel uncomfortable simply because it’s from a woman’s perspective. “Want Some More” sees Minaj at her most lyrically dexterous and is a great showcase for her ability to move effortlessly between flows. Then there’s “The Night is Still Young,” a sequel to “Starships” that’s lyrically darker and much catchier than the pandering original.
Surprisingly, her singles contextualized in the album are its weaker tracks. “Pills and Potions” is impersonal when compared to cuts like “Bed of Lies.” “Anaconda” is still only a banger when you’re drunk at a party. “Only,” despite featuring Drake in his most unintentionally hilarious and thirsty verse, is underwhelming when compared to the far superior “Truffle Butter,” which also features Drake and Lil Wayne.
The Pinkprint is the standard for female rappers because it is authentic. Minaj is vulnerable and honest in a genre that demands bravado. She is firmly in control of her presentation as a brand, but also shows that she is more than that. The pink wig is gone, and we’re all the better for it.
By: Nimra Khan
Taylor Swift has released her new album 1989 on October 27th into the much-anticipated hands (or iTunes libraries) of “Swifties” everywhere. Just two years since the release of her album Red, 1989 marks a complete crossover into pop music, with no sight of the country-loving girl we once knew.
I've been a Taylor Swift fan from the beginning, but I had started to lose interest since the release of Red. I found myself growing tired of the repetitive slow, sad, and broken-hearted songs that she was producing, and wanted something more. It seems 1989 was just what I needed, as it has blown me away with how catchy its songs are.
While still belting about her love life, Swift has crafted a completely new way to express her feelings through her music. Much like her single "Shake It Off," the album starts and ends as upbeat and exciting. Beginning with a dark verse before slamming into an uplifting chorus, the darkest song on this album, "I Know Places," has to be my favourite. It felt like a very personal song about what a relationship must be like while in the public spotlight.
While many of the songs are upbeat, Taylor has managed to bring back a few of the ballads she is known for. However, unlike her past works, these songs like “This Love” and “You Are In Love” don’t slow down the album, and help to balance the high-energy of all the fast-paced songs on 1989. As a welcome bonus, the album even comes included with three voice memos explaining the song writing process for three of the songs, and a pleasantly surprising set of Polaroids.
My only complaint about 1989 would be that most of the songs still revolve around the same generic love and heartbreak lyrics that Swift is known for. Still, it is honestly refreshing to see a complete change in style from Taylor Swift, as she is doing exactly what every artist shouldn't be afraid of: evolving. Even if you aren't a Taylor Swift fan, this revamped Taylor Swift album is a perfect way to open up to her for any lover of pop music.
By: Adrian Valentine
One thing can be said for certain, Lights sings her heart out on her latest full-length release. Little Machines is typical of her style in that she relies on synthetic beats and techno sounds to create a moderately upbeat album that echoes a lot of familiar pop. The Torontonian songstress has stopped trying to be different and has instead adopted an amalgamation of popular electronic pop.
The first song on the album, “Portal,” introduces a new element to Lights with a very soft, steady lyrical rhythm over a synthetic drone. “Portal” comes in contrast to the beat-driven lyrics of the rest the album, as in “Up We Go” and “Running with the Boys,” both of which flaunt a happy harmony that provokes you to dance instead of think. But following those two tracks, the album drops in tempo and ends with a solemn electronic acoustic piece.
The album does provide an enjoyable background listen for study, and I can even see “Up We Go” playing in clubs over a remix sometime soon. It would also make for a great road trip soundtrack if you're feeling a bit more introspective, with songs like “From All Sides,” “Don’t Go Home Without Me” and “The Same Sea” bringing the melody back down.
Lights appeals to the public by relying on musical norms and not trying to break the mold very much. She leans on techno-beats and uses her powerful voice and lyrics to save the instrumentals, which, on their own, are kind of boring.
Little Machines is an apt listen for anyone looking to chill out with the upbeat songs not present enough to give the album a dance vibe. It’s a well-put together album but it won’t leave you in awe.
