Bay Area RAP Radar
We’re excited to introduce an artist that has emerged out of the Bay Area. Go Fetti Sauce Game. GFSG is a rapper of whole different caliber, cut from a different type of cloth pushing nonconventional content with style and grace. But first, before we delve into Go Fetti, there are some things that need addressing.
With the monotony of copycat rappers and others who bite flows with a gluttonous appetite, it’s always refreshing and encouraging, as a fan of rap music and Hip Hop culture, to discover music from a new artist putting a new spin on a genre well-over 30 years old, all in while respecting and cherishing certain and quintessential elements of what it takes to make a solid rap record. And even less often there emerges a Hip Hop recording artist that redefines genre, or at least blurs the edges of the genre of Rap music specifically.
But what is it that quantifies or qualifies the essence of definition and redefinition? What does a rapper need to reshape what is already there yet shapeless? Rappers, or emcees respectively, can harness a slew of skills and abilities from their tool belt to whip together an impressive track. Such skills could be lyricism, flow, content, song writing, charisma or presence, breath control, pitch, etc. And really just to be clear the list can probably go on for pages, and more likely than not there are some obvious skills that were certainly left out. Blame the author.
If we are to speak of cadence or what is referred to in Hip Hop as “flow” then we can look no further than to the duo Migos. But whereas we make think of them as game changers who altered the modern flow, or at least provided another approach to flow, and influenced many others to copy and bite, one would be mistaken though to give Migos full credit for such a genre-shaking feat. Migos take their flow from none other than the late Lord Infamous (RIP) of Three Six Mafia. You can listen to DJ Paul and Gangsta Boo (both of Three Six Mafia) speak on Migos’ flow and the origins of the aforementioned style. Gangsta Boo refers to 2 Chainz’ song “Trap Back” where he addresses the issue head on with lyrics such as, “this flow come Drizzy, he got it from Migos, they got it from Three-Six.”
In terms of music, though, what is content? Or rather what is good content? Well, obviously content is the subject matter or perhaps the theme, or even the rapper’s thesis or argument or point that they are trying to make, present or get across. In terms of the modern rapper, the struggle seems to be of this very nature: the struggle over content or the lack of content. Biggie wrote about the street, slanging and his feelings of inner turmoil and conflict and despair. What’s the end result? Rappers copycat but only steal the flashier, edgier elements of Biggie, and focus less on feelings of despair and remorse. What we end up with are downgraded, cheaper versions of crack rap that spit over-compensated, braggadocios and fictitious tales of boss-ness and drug dealing. Content went from being a real person with struggles to rapping like you’re a made up character, like a super hero or a super villain rather. Rappers went from real people to villains like Wilson Fisk AKA the Kingpin.
And what does lack of content from rappers do? Well, it puts the focus elsewhere. Rappers get all huffy and puffy during interviews when they are asked personal questions about their life, and what does the rapper say? “Let’s talk about the music.” The only problem is there isn’t much to talk about. What should we say? How did you think of that subject matter? I mean, strippers, wow, that’s original and insightful. Don’t get it twisted, we all need the stripper anthem music in our life, we just don’t all need to hear the back-story. There really probably isn’t a back-story. Basically what happens is that rappers simply become topics of gossip, but not topics of discussion. No one cares about your creative process if you’re not creative. These artists are not authentic. They’re just made up characters, yet they lack character. Because their music lacks content, their lack of character becomes the content and the topic of discussion and focus.
Look at Young Thug. People refer to his voice as an instrument. Sure, that’s maybe a compliment. But shit, you better not compare Kool G Rap to a motherfucking trumpet or a trombone! G Rap’s voice is his voice, he’s a fucking narrator and that’s his voice, not some fucking instrument to be manipulated for the benefit of the hook or some other rapper’s project. Young Thug wants to be minimized into an inanimate object? Cool. Young Thug’s lack of content has done this to him, not his voice. And now his voice is nothing more than an instrument. But that’s not even accurate, because the sound of a guitar is not the instrument. The guitar is the instrument and the sound is the sound. There’s a difference. So Young Thug truly has lost an essence of humanness. Young Thug himself, not his voice, is now an instrument. He has been made inanimate by his lack of content, his lack of character. It is the accrued content compiled that is our character and thus makes us interesting. Without character we are nothing, just blobs wasting air and resources. A waste of space. Hey, this is no knock on trumpets.
You’ve heard terms like “keeping your ears to the streets”. Now you hear people jokingly say that they keep their ears to the Internet. What can be inferred from this? Is the Internet the new streets? Is that to say going online is akin to going outside and walking down the street? Rappers would say that a specific record was “for the streets”. But now we keep our ear to the Internet, the modern day “the streets”; the information superhighway. But this is odd, or at least counterintuitive or somewhat counter logical. We used to look for authenticity from the streets, now we plug ourselves into the Matrix. We look for what is real in a place that is unreal. A place whose very space is unactual. Now we glimpse reality through a device. We look through the looking glass. The manifold now is a digital one. The glass of the iPhone is the digital manifold that connects you to the reality you prefer. The place where you discover and digest content. The Twitter feed, Facebook’s feed. The call it the feed because it provides sustenance. Content for your soul. Granted, junk food is still junk food and you can’t eat a trumpet. Why would you want to?
This all brings us back to Go Fetti Sauce Game. Biggie rapped about being on the streets making sales. And we all know what the sale was. If you don’t go on Wikipedia or shoot yourself in the face, whatever’s more convenient. Go Fetti is no stranger to the streets. But also being a person of the modern day he’s also no stranger to the Internet. And likewise, akin to Biggie, making sales. But where are these sales taking place, which “street”? The streets used to be the place. Now it’s the Internet. But we’re talking about discovering music, not making sales, right? Well, this is where the subject of content comes into play.
Biggie rapped about his sales of specific narcotics. Go Fetti Sauce Game discusses a different type of hustle, a hustle that takes place on the Internet. But hey, money is money. Unless it’s Bitcoin, though that’s money too actually. On “I Am The Lord” Go Fetti raps, “They should know that I come straight from the ghetto/ Sell the puerico, but it’s just the wordos/” These lyrics specifically address the dichotomy that even Go Fetti himself is aware of. He knows he’s occupying two terrains, two planes of existence, so to speak, physical and cyber. Whereas most rappers jump on twitter to start beefs and aimlessly promote mixtapes as if they were themselves spambots and not people, Go Fetti instead implements a more lucrative hustle via cyberspace. Where Go Fetti says “it’s just the wordos” and he’s comparing it to selling puerico he gives insight to his hustle, to how he makes his money.
In “I Am The Lord” GFSW also says “bitches still wondering what SEO stood for.” If you google SEO it will inform you that it stands for ‘search engine optimization’. Hard to say exactly what that means. It seems like it in itself would directly relate back to Google. If you click on the SEO Wikipedia page that shows up in the search result, it describes how SEO is the process of affecting a websites visibility. Is this a hint? Is this yet another type of hustle that Go Fetti is partaking in? In verse two GFSG raps more about search engine results “ranking numero uno”. But after the last hook appearance there’s this bridge where Go Fetti says “you cannot run from income inequality” and “play this in your ride or across from some tech execs outside” and then “mom ain’t got not shoes, she’s walking the streets panhandling”. These lyrics seem to speak directly to the concept of wealth distribution and an elitist “tech bro” class that has emerged and remained. Mentioning playing something for tech execs outside while riding by gives hint that there is this juxtaposition of lower, struggling class existing adjacent to a decadent, digital-driven class so near that you can literally drive by a blare your music at them.
With all this to consider is Go Fetti Sauce Game a street rapper? Cocaine rapper? Or even conscious? Hard to say. But overall it makes for a pretty good listen. So far it appears that Go Fetti is receiving production solely from Dysmanic and we’re not complaining. The beats that Dysmanic is providing GFSG with are trappy, kind of jazzy yet spacey, sometimes boom bap esque, and even sounding like something that would come out of the Bay Area. And considering that Go Fetti is from the Bay Area that last point does make sense. On Dysmanic’s bandcamp page is where Go Fetti’s singles for his upcoming EP “Internet Lottery” have been uploaded. With such an eclectic range and sound we can’t wait to see what else the Bay Area native has in store for us.