I dunno — sounds modern to us.

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Crystal Leww: “Old English” is a song for the dudes who like rippity raps. The Nick Hook and Salva beat snaps and pops with little dynamism, a valiant showcase for three up and coming emcees to prove that they really can do all that lyricism shit. No one here really needed to prove anything, though, because rap’s olds are lame, and lyricism has never been everything in rap music.  “Old English” is a fine track, but everyone here has always sounded better partying.
[6]

Micha Cavaseno: The Kendrick Lamar homage is appropriate as this is, like ‘m.a.a.d city’, “Street Rap For Cool Bros Who Have Black Friends” Rap, provided by producers who are having a good time slumming it and making “REAL TRAP SHIT”. Except as we all know, Nick Hook and Salva have the ability to go off and do something else once they’re bored of rap, but with the exception of Araabmuzik, your average rap producer making dance music is hardly taken seriously. Politics aside, the stars are killing it; Young Thug avoids drifting off too aimlessly and provides a strong feature, Gibbs mirrors Thugger to provide support, and emphasize the disparity when A$AP Ferguson bellows and wails in an attempt to outshine his peers. It’s a bad move because for once he provides a decently written verse which you can’t hear while he’s off yodeling from Mars.
[6]

Anthony Easton: The pinprick precision of the production, like the sound that doors make in off-market sci-fi ’70s movies showing how the future was supposed to feel, shoved under a grimed-up glitchy layer. Then those vocals, rough and kind of ugly, so delightfully intricate. 
[7]

Alfred Soto: A collaboration between Young Thug and Ferg after all these months makes sense, and over a Salva-Nick Hook beat they get dense and memorable right quick, Ferg ending with a story about a cutie espanol who sells molly but won’t get nude and the mention of a murdered Cuban ho, Thug beginning with the broad strokes, and Freddie Gibbs dropping in as if from another song. When it ends it’s as if the house lights illuminate a concert space with cigarette butts and smashed plastic glasses.
[7]

Daniel Montesinos-Donaghy: What a random assortment of cut’n’paste guests: Thugga, sedate by his own standards. Gangsta Gibbs, the vocal embodiment of a man you would be terrified to punch even if he ordered you to. Ferg, a Nineties nostalgist with a Diamanda Galás squall. For a track most likely assembled through emails and spare studio time, it’s pretty good. Matter of fact, it’s very good. Mailed-in verses doesn’t always mean ‘boring’.
[8]

Brad Shoup: Salva and Nick Hook work up a beat that sounds like a car door slamming on a seatbelt. Everything’s so crisp, including Thug’s guests, and he modifies his voice to match. Bit of a shame, cos it allows Ferg to stroll away with things, mewling out a touching portrait of an undocumented woman in the trap. Impressed he had it in him.
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Megan Harrington: Young Thug’s mercurial style glitters on his solo cuts, but it’s best showcased in context. Whether it’s a more straightforward rapper or an equally outré performer, Thugger shines brightest with a surface to bounce his light off. “Old English” is the best possible scenario: Freddie Gibbs’ delivery is as plain as his wordplay is tricky and A$AP Ferg practically wails his West Side Story. Between the two, Thug is entrancing. His slang is vivid and his sound is dense, often a cocoon of percussive vocal doodles and pained yawps. And as strange as the whole track is, the hook loops round your head like a nursery rhyme — simple, spare, and effective. 
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