Wiley’s return is no mere victory lap

Instead, it is an album of elevated focus, with Wiley’s bars pushed to the front, and production provided by a host of innovators; relative newcomers Preditah and Swifta Beater, alongside grime veteran, Rude Kid.

Highlights include the brilliant "Speakerbox", where rapid bars are matched with synthetic games console bass-lines and squeaky, kinetic drum-loops. Wiley’s rhymes remain triumphant, with just the right level of self-awareness to keep the egotism from getting tedious: "I've achieved tings I was dreamin' of / Step on the stage, start reelin' off [...] Do my ting like Marley and Peter Tosh / It's Eskiboy in your speakerbox."

Elsewhere, "Joe Bloggs" and the bombastic "Can’t Go Wrong" marry menacing strings with brass samples and more of that squeaky percussion. Curiously, the blipping synth cow-bell sound recalls the '70s disco of Anita Ward or Boney M. Here it is deployed to give the music a relentlessly bouncy, fun quality amid the sound of gunfire and occasional death threats. The effect is one part intimidating, one part ludicrous, and it has a spiritual lineage that recalls the Sex Pistols as much as the Wu-Tang Clan.