A greater portion forms a sluggish, indistinct mass. Almost 90 minutes in length, it's pieced together with material recorded from years to weeks ahead of release, and one cut goes back to resemble an early-2000s crossover bid, from its smoothly melodic Mannie Fresh production to its Ashanti hook. The series finale nonetheless arrives with an undue weight of expectation - its maker already has a proven and immense catalog that includes ten Top Ten solo LPs - and has some burdensome qualities itself. A multitude of personal and professional obstacles, occasionally poignant featured appearances, and mixtapes and intervening albums of diminishing quality, were packed into the six years that passed since the fifth Carter volume was promised. Wayne's mother sets the tone with a spoken intro that verges on eulogistic, and through her tears somehow leaves the impression that even she is ever so slightly exasperated about the setbacks and protracted delays that plagued the fifth Carter after her son publicized its imminence in 2012. Claiming supremacy while considering mortality has long been as natural as walking while chewing gum for Dwayne Carter, but there's a greater, grimmer sense across the long-anticipated Carter V that life is just a moment. 'Still the motherfuckin' best rapper a-live,' Lil Wayne offhandedly declares on 'Dope New Gospel,' a coasting track on which the unmistakable MC also insists that he's irreplaceable, even in death.

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