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He’s only gone and done it, hasn’t he? After a decade-odd of beatmaking, rapping, leaking albums, changing deals and changing the game, Wiley’s finally made the album that his talent warrants. M‑dizzling disco house (‘Boom Blast’), true-school grime (the title track), bananas stream-of-consciousness role-playing (‘Can I Have a Taxi, Please?’) come together with booming experimental electronics, including two beats from veteran genius Mark Pritchard, instant hooks and Wiley’s never-ending insanely tight flow. Lyrically, it pinballs round the interior of his mind as he shops, shags, dances and philosophises, but as anyone who’s followed him online knows, that’s an endlessly entertaining place to be. The best British rap album since his old partner Dizzee’s ‘Boy In Da Corner’? It could well be...
File under Mad genius comes good
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