*Droptopwop *is a worthwhile listen because Metro draws this out of his mentor by instinct, which makes for some of their most unhinged music in some time. That last quote is the sort of thing Gucci does when he’s at his best: tightly-wound raps that betray a love of language, a comic’s sense of timing, a keen awareness about the way people see him, and the baggage of their preconceptions. There are times, too, when Gucci’s sly sense of humor pokes through: On “Finesse” he raps, “I’m a shyster, I’m spiteful, and I love rifles/And I love white folks/I walk on a tightrope.” “Tho Freestyle” pays tribute to fallen friends between gas station dead-drops and flying dope in on a drone.
“Helpless” plays around with the titular concept, throwing it into lighter contexts-into strip clubs-but the hook has a sinister subtext. Though much has been made about Gucci’s radiant positivity, the truth is that he’s still working out fiercely, sometimes uncomfortably dark things in his music. Imagine hearing Flockaveli* *out of a passing car and then trying to describe it to someone who only speaks a little English. And while “Met Gala,” which guest stars a furious Offset and includes assists from Southside and CuBeatz, is comprised of familiar parts, they’ve been arranged in a way that’s just a little bit foreign. “Dance With the Devil” is built on the shivers you feel when the feds are watching you as you watch your friends succumb to drug addiction, when you have unprotected sex and tremble in the clinic’s waiting room. The beats are spare and disquieting “Finesse the Plug Interlude” sounds as if it’s playing out of a haunted Game Boy Color. 1), *Droptopwop now stands alongside the 21 Savage vehicle Savage Mode *as a testament to Metro’s skill as an auteur. And while his reputation as a hitmaker has long been above reproach (he’s scored four top-ten hits in the past twelve months, including Migos’ “Bad and Boujee,” which hit No. This is thanks in no small part to Metro, who Gucci had sought out for production when Metro was still in high school, who has since evolved into one of the genre’s most important architects.
When the house lights came up, Gucci retreated back into his music to work out the kinks.ĭroptopwop, his full-length collaboration with Metro Boomin, is Gucci’s first post-prison project that truly gels. But the comeback album is supposed to be a Machiavellian statement of purpose, and *Everybody Looking *was weighed down by more than a few cobwebs.
The jewelry appraisals and the re-up math and the latent paranoia are supposed to bleed into one another like an endless river. The thing about Gucci Mane’s work is that it’s best consumed in endless, bludgeoning waves. Crucial in all this was that many were looking for the very first time.
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