Queen

Queen includes 19 tracks, which some might consider to be too long for an album. But Minaj avoids boring her listeners by changing up her flow and the atomosphere of each track.

It’s a lot of fun, but not quite the instant classic for which Minaj seems to have been aiming.

Within the framework of Queen--equal parts an album for her fans, a victory lap and a reminder of Minaj’s unflappable meta presence--the enormity of her success and her cultural impact is undeniable. There are genuine moments of the excitement and fun Minaj associates with her beloved New York City.

It may lack cohesion at certain points, but one thing is never in doubt: Minaj is still one of the best in her field.

The connections between past and present, between style and form, make Queen feel like her most creatively honest album. She remains a force--whether you’re willing to bow or not.

Even when Minaj has no featured artist to outwit, it is still braggadocious tracks like “Hard White,” “Good Form,” and “Barbie Dreams” that display her innate lyrical skill. Minaj thrives when she has an adversary. ... Unfortunately, when there isn’t one, her larger-than-life persona can lose some of its dimension.

At this point, she’s like a Starbucks coffee, a consistent product with a reliable buzz. The next cup probably won’t change your life, but it might just get you through the day.

Whether Nicki Minaj is the rightful queen of rap is up for debate, but the album, despite having several songs that were more filler than functional ("Sir," "Majesty," "Chun Swae"), highlights her ability to adapt to an ever-changing sonic landscape.

Despite some spectacular moments, Queen has a flabby, meandering mid-section.

Queen’s greatest asset is Nicki’s dual propensity for virtuosic verses and catchy pop elements. She skillfully blends them on the album’s best tracks.

There are no deep layers to be uncovered on Queen. No methodical analysis responding to her critics for her reliance on sexual ploys. Nary a mention of any mental anguish the grave allegations her brother faces.

On Queen, Nicki spends a lot of time ordering beheadings--which are fun, but get old quick--rather than showing us why she is and should be queen. Here's to hoping the next album gives us a more earnest, more raw glimpse of the head that wears the crown.

When Minaj leans into her untouchable strengths as a rapper, things get really exciting and an album of tracks as strong as "LLC" or "Barbie Dreams" would be one for the books. As it stands, however, Queen is another chapter of Minaj's good but largely meandering and inconsistent full-length album output.

There are enough good songs to give Queen a pass, but if it’s going to be 19 tracks, it needs to be more consistently awesome.

It’s refreshingly spur-of-the-moment on an album that’s let down by constant overthinking and underestimating of her abilities. If Minaj wants to make a mission statement of an album, worthy of this title, she needs to figure out a mission statement for herself.

The fuddy-duddy stance--thou shalt rise from the streets and compose by hand with paper and pen--feels bitterly defensive, even when Minaj lives up to her boasts about her hard-won craft, which on Queen is almost all the time.

Unfortunately, in trying to take on all comers at once, there are parts of Queen that feel like an overreach. There is a better ten track effort hiding in Queen, but you get the impression Nicki kept tracks like ‘Miami’ to hedge her bets in a bid for streaming success. The Queen is back, but only just.

There are some very strong tracks here and Minaj’s flow remains utterly unique, even if she only puts it to use disparaging her subjects. She still has a good case to be the queen, but uneasy lies the head that wears a crown, perhaps.

Queen's title implies it's meant to function as a coronation for one of the biggest rappers ever, but it's more the sound of Minaj fighting to keep that crown on her head.

Except for standouts “Barbie Dreams,” “Good Form,” and “Chun-Li,” Queen is full of songs that Nicki has more or less done previously and in better ways. It’s not that Nicki has become a worse rapper (“Lara been Croft” jokes aside) or that the production is bad, it’s that everything here is only adequate--nothing pops, no chances are taken, and there isn’t any notable magic in these records.