Gucci Mane & Metro Boomin-DropTopWop Review

Gucci Mane’s return to the Trap and Hip-Hop scene has been one hell of a show to keep an eye on. On the year anniversary of his release last year (26/5), Guwop and close-collaborator, Metro Boomin’, released the latest onslaught of Trap music; ‘DropTopWop’. Gucci had been teasing the release of the album shortly after releasing ‘The Return of the East Atlanta Santa’. Shorter than his previous studio-releases’ last year, this album clocks in with 10 songs and just over 35 minutes. Metro handles all production as well as co-production from 808 Mafia’s boss Southside, London On Da Track and DJ Spinz.

Over the ten songs, there is no difference in the subject matter or themes that Gucci Mane is known for. However, his aggression, confidence, songwriting and progression as an artist is evident on this most recent LP. As well as that, as Metro Boomin’ is credited as a primary artist, his production contributions to this album are grateful as he keeps producing low-key Trap bangers as well as more friendly records (“Low Life”). Although two of the songs on the album lose my interest (“Bucket List” and “Dance With The Devil”), the majority of the album keeps me entertained. The solo effort “Helpless” has a nostalgic feeling too it as it reminds me of Gucci’s pre-prison career. The instrumental is mellow yet intense with deviant keys, slurred synths and edgy vocals from Gucci who details his “Helpless” addiction for women, even admitting “a pussy rehab” good help him.

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The first song that stands out for both Metro and Gucci is “Tho”. Over looped leaned-out keys, crisp cymbals and geeked-up synths, Gucci raps effortlessly of moving dope, being a living legend, performing “magic with a draco” and keeping his haters shut up. There are also great guest verses laced throughout the album. Offset of Migos provides gripping bars of his comeuppance over the gritty Metro beat as well as Rick Ross’ verse on the final song “Loss 4 Wrdz”. The Miami rapper has one of the most intriguing verses on the album, as well as Young Dolph on the the 2 Chainz assisted “Both Eyes Closed”.

In total, Gucci’s seventh project in a year is impressive; it’s one of his best post-prison projects, lyrically and production wise. While his content is repetitive, his music since his federal release has been above par and only proves that the Gucci is Atlanta’s King and forever the Trap God.

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