You still have to parse through his sometimes clumsy phrasing and garbled speech, but the flows are trickier here and the wordplay niftier than on a lot of his other recent releases. He doesn’t reach Peak Gucci on King Gucci, but there are flashes of it everywhere ("Cash smell like cocaina/ Got Febreze for all my cheese" on "Still Selling Dope" the combo of "My pops wasn’t ‘round but least he gave me good looks" and "Tattoos on my face card ‘cause I don’t want no job" on "I’m Too Much"). When Gucci Mane is at his muddled best, his words mash together and his phrases bury ledes in favor of ancillary details so colorful they pique one’s interest. To that end, King Gucci feels like an attempt to reaffirm Gucci’s identity and re-establish his place in trap’s mixtape hierarchy with a measured dose of what he built his trap house on: a wild mixture of slurry phonetic gaffes, lumbering wordplay, and sly wit over production from the subgenre’s marquee names.
There’s more disbelief in his voice than menace, as if to render the notion unthinkable. On the title track from his newest mixtape, King Gucci, he hears those murmurs echoing: "Some people say Guwop ain’t Gucci/ They say Bricksquad ain’t So Icy…/ What?!" It’s a shot at any suggestion that he’s self-saturated to the point of being washed up or that he’s become a parody of his former self. The general consensus surrounding Gucci Mane has always been that he’s limited by his inconsistency, a sentiment that resonates even louder now. In an effort to preserve his image as a mixtape workhorse, Gucci is slowly becoming a caricature. On his last mixtape, Trap House 5 (The Final Chapter), he squandered nearly a dozen beats from Zaytoven only a few months removed from producing Future’s scintillating Beast Mode tape. In March, he released Breakfast, Lunch, Dinner, and Dessert, three albums and an EP which all did little to whet the appetite, but still received a sizable amount of coverage simply because of the grandness (and absurdity) of the gesture. February produced an EP entitled Views From Zone 6, an obvious play on the title of Drake’s forthcoming album, which featured eyebrow-raising features from Andy Milonakis and the Based God. When they do, it’s because of the stunt itself. But he’s been playing a game of diminishing returns: the more music a mercurial Gucci releases, the less people seem to check for it. These days, it’s less about the music itself and more about how he rolls it out. He releases new projects en masse simply for the sake of it. There is often little to no method to his madness. Mixtapes arrive one after the next or in packs with no consideration for consumer consumption. Projects are compiled of old throwaways from long-forgotten hard drives. It seems during this current stint, his longest bid behind bars as a rapper and maybe the first where his relevance has been threatened, Gucci is releasing music more aimlessly than ever.
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