We’d prefer to wait for the first chapter first chapter, it seems.
[Video][Website]
[6.00]
Brad Shoup: Where Azealia’s bat was implied, Little Nikki’s is manifest. She and her cohort don’t do much more in the video than strut through corner stores and ingest mass quantities of sugar-free Red Bull and candy, but she wields her stick like a rookie posing for Topps and it’s definitely a little exhilarating. The spirit of sinister possibility isn’t similarly in the song, but as a kinetic calling-card with a nagging hook, it’s a fine… salutation.
[7]
Alfred Soto: The song is all intro, alright, one whose first twenty seconds are the best.
[5]
Anthony Easton: That squeak that sounds like a balloon being used as a percussion instrument is on the right side of obnoxious. How she manages to speak so much information so quickly, and so well controlled, is seriously impressive, and the bounce of the electronics is intended for pure ass pleasure. It might be too much of a formal exercise to work as a pop song though.
[5]
Jonathan Bogart: Not that I’d be terribly bovvered if she follows in the footsteps of the Tempah she namechecks and does actually cross over (to some degree) to US charts, because the little bit of drum ‘n’ bass underneath those rave buildups would at least be a change, but, well, it is such a little bit.
[6]
Iain Mew: I don’t have a great recent record on getting lyrics right from hearing alone. I therefore don’t believe which much certainty that this is about how her next song has money for an intro and a rap verse from Tinie Tempah on it (let’s hope it’s better than “R.I.P.”) but I enjoy the thought anyway. Nearly as much as I enjoy the the stacking high of hooks and words onto the riff that forms the foundation of “Intro Intro”. Above the construction though, most credit definitely has to go to Nikki’s performance of infectious energy — the quickfire bridge where she gets totally into the zone and unstoppable makes it clear that she’s definitely the star.
[8]
Alex Ostroff: Even when Little Nikki’s rattling off lines double time, “Intro Intro” is carefree and energetic, powered by gummies and Red Bull, and feels tossed off in the best way possible. In America, dance, rap and R&B have spent the past couple of years converging towards stiff fist-pumping Guetta, but the same elements could just as easily meld into Azealia and Nina Sky and Little Nikki, whose dance sensibilities lean more blog house, dancehall and freestyle, and manage to get on the dancefloor without losing their ability to get loose.
[7]
Jer Fairall: I assure you we are in no danger of running out of Rihanna singles.
[4]