Two top 10 crashers in the same day! Woo woo indeed…

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[7.57]

Martin Skidmore: Nas’s greatness resides in qualities that don’t suit this bouncy, synth-heavy lite-ragga backing — he sounds rushed and lacking feeling. Damian’s okay, if ordinary, and the end result is pleasant enough, but undistinguished.
[6]

Renato Pagnani: As someone who feels that Nas’ last three albums have been, for the most part, Big Fucking Disasters (and Nas is probably my favourite rapper ever), it pleases me to say that “As We Enter” is the kind of song he should be involved with these days. When he drops the pseudo-intellectualizing (dude’s really not as smart as he likes to think) and flat-out raps, as he does here, Nas still does it better than most — twisting syllables, relishing in the euphony of language, and flowing like a motherfucker. He works well with Damian Marley, too, in a peanut butter-and-cream cheese sort of way. It might not be a glistening gem, but hey, a spit-shined piece of amber is nice too, right?
[6]

Alex Macpherson: The best thing Nas has done in nearly a decade: tracks in which rappers trade lines like tennis players volleying at each other are inherently satisfying, but he and Jr Gong both display champion-sharp reflexes here. This is partly due to the unusual structure — rather than taking one line at a time throughout, the two men switch between exchanging single lines, words and double lines, constantly interrupting each other at just the right moments to pick up the imagery and momentum. Killer bass’n’horns combo, too.
[10]

Rodney J. Greene: The hook is perfunctory and unnecessary (perhaps Nas doesn’t speak rap star quite as well as he thinks), but the two vocalists have achieved a symbiosis unprecedented by their 2005 collaboration “Road to Zion“. They complete each other’s thoughts as quickly as the Mulatu Astatke-swiping beat’s fast clip demands, spitting with a vigor I haven’t heard lately from either one. Damian leaps between each of Nasir’s dry declarations, funnelling his voice into or out of certain lines, the Technicolor to Nas’ grayscale. Both sound better for the contrast, interrupting with a sharp quip whenever their counterpart threatens to drift.
[9]

Alfred Soto: My heart sank at first when Marley’s first set of verses stuck to his tried-and-true, but as this gathers momentum he and Nas interlock so well that by the time this went past the two-minute mark I believed the two Obamas billing.
[8]

Anthony Easton: Love the patois, and how well they fit in together, ratcheting up the paranoia, ending with those rhythmic shoutings of “woo woo”… also love the organ sounds that begin and end the track.
[6]

Matt Cibula: Never been a card-carrying citizen of Nasustan, and I’m old enough to remember those sad days when everyone had a Marley on de track fa ta signify dey roots mon… but damn if they both don’t go pretty hard here, spitting all relentless and bubbly like that. Densely packed but still somehow it floats.
[8]