If it’s anything like its cinematic namesake, this follow-up to Wiley’s 2017 album Godfather should be more complex and narratively ambitious than its predecessor. Unfortunately that doesn’t always turn out to be the case.

In terms of sequencing, it is very similar, with an opening salvo of crisp grime bangers segueing into broader experiments. Been a While’s pestering repetition of “Eskiboy” is an annoying bit of brand management, though I Call the Shots is exactly the kind of track that lets Wiley fly, its Chicago house-style bassline and spacious grime drum programming allowing his precise flow to scurry with ferrety energy. It’s a reminder that the pleasure of Wiley is more in this club PA dexterity than his lyrics. The tame likes of “BBK is the squad / without us, things’ll be odd” feel lacking sat next to neat JME guest bars such as “I make everybody fix up like Ofsted”.

There’s more introspection as the album broadens out, and an appealing honesty about his greed in his chart-topping years, but he often stops short of serious self-analysis. On Remember Me, he states: “I fell down on the floor, my life got a bit darker / But then I got back up and the fans said I’m the Godfather” – a pat resolution, and one that suggests he has squeezed all he can out of the pop-rejecting narrative he shares with fellow Boy Better Know crew member Skepta. In fact, some of the best tracks here are the sweetest and poppiest. Certified proves why Shakka – even if his star quality lacks incandescence – is on speed dial for breezy top lines, as Wiley works out just how hard to play to get with his new woman; Over It has a warm, earnest dancehall chorus.

Some early fans might feel these tracks don’t chime with Wiley’s idiosyncratic voice, but he is underrated when exploring relationships, and is adapting fairly smoothly to a world where Afro-swing is dominant and grime has waned (at least in terms of the zeitgeist). Any potential Godfather III should end up better than the movie.