Hip hop rejoice! Slick Rick is finally back! Being 2025, I thought this would sound more modern, but much doesn't sound too different from old Slick Rick music which isn't a criticism but rather a note. It's great to have new music from one of the most original rappers to have recorded and it's an easy listen at 27 minutes, but there is nothing grand on the album. Beats: ★★★☆ Rapping/Bars: ★★★☆ Hooks: ★★☆ Best Tracks: Stress, Documents, We’re Not Losing 1. Victory Intro 2. Stress Catchy boom bap. Giggs finishes it off without hitting it out of the park and the song finishes prematurely. Good, but could've been better. 3. Angelic Solid but nothing changes for the hook here which limits the songs replayability. 4. Foreign 5. I Did That A spoken word poem where Slick tells us everything he has blessed the game with. 6. Come on Let’s Go Rick had some house on his earlier albums, specifically 'The Ruler's Back' a 7. Landlord One of those storytelling classic tracks telling tales about the life of a landlord with no-good tenants. This could have fitted on his debut. 8. Mother Teresa 9. Spirit to Cry 10. Documents 11. So You’re Having My Baby 12. Cuz I’m Here The second house-hop song 13. Matrix 14. We’re Not Losing One of the more bangin' songs here. 15. Another Great Adventure

[spoilers] There just wasn’t enough story here to make me care. The characters felt thin and underdeveloped. The film opens with the death of a parent we know nothing about, revolves around a daughter we barely get to know, and ends with the death of a sister whose relationship to the protagonist is never meaningfully explored. The writers seem to think these moments will land emotionally, but there’s no real foundation for them. The near-constant action is solid and expected in the John Wick universe—and there’s no shortage of explosions (possibly a record of grenades used in film)—but after two hours, I needed something more. The film needed stronger narrative depth and character work to balance the chaos. 3-2.5.

I was never a big Wayne fan, and I think a lot of people who once loved his older work are finally seeing it without the rose-coloured glasses. Technically, he raps well on much of this, switching up his flows — even sounding influenced by Lil Dicky on a couple of verses, like on 'Loki’s Theme'. But as usual, it's the lyrics and overall focus that drag the songs down. He rhymes "nigger" with "nigger" on both 'Hip Hop' and 'Written History' — something he’s done before — and it just comes off as lazy writing that weakens the tracks that are otherwise a couple of the better ones on the album. There are a few samples used, but none really land. From 'Island Holiday' to 'Maria', nothing sticks. The flip of LL’s 'Rock the Bells' on 'Bells' doesn’t hit hard enough to really work — maybe it needed a bit more bite in the drums. He mumbles through 'Flex Up', and while the metaphor-heavy 'If I Played Guitar' might work with a strong R&B or pop vocalist, it falls flat with Wayne drowning it in autotune. 'Mula Komin In' is just awful — poor vocals all round. Beats: ★★☆ Rapping/Bars: ★★☆ Hooks: ★★☆ Best Tracks: Welcome to Tha Carter, Hip Hop, Written History

What a waste of intriguing ideas and compelling characters. Despite the strong cinematography, engaging setting, memorable music, and initially interesting cast, it all devolves into yet another dull vampire film that could have been set in any era. The vampire genre is incredibly overdone at this point. While this hasn't affected my rating, it's worth noting: if the racial dynamics were reversed, a film like this wouldn’t get made — yet it's still somehow acceptable to portray things this way.

This album feels like many other decent-but-forgettable No Limit releases—competent, but lacking anything truly remarkable. I’ve given it multiple listens, and while I’ve never found myself thinking, “this is outright bad,” I’ve also never walked away with anything that stuck. One of the more noticeable issues is the lack of contrast between the verses and the hooks. The production remains largely static throughout, with little to no variation in the instrumental backing during the choruses, which makes the songs blur together. Picking standout tracks feels like splitting hairs—none rise above the rest in a meaningful way. Beats: ★★★ Rapping/Bars: ★★☆ Hooks: ★★ Best Tracks: Mobbin' Through My Hood, Fuck Them Hoes, Tru Playaz, Keep It All Good