In recent times a lot has been made about whether Saintfloew is hip-hop or hip-hop enough. Trap Yevafundisi arrives amidst that ongoing storm and with a distinctly hip-hop title, it was expected to answer the question of Saintfloew's hip-hop credentials. However, to a yes/no question, the album instead says Saintfloew is Saintfloew, an artist who is unapologetically himself. A long-proven way to respond to criticism.
Trap Yevafundisi fits right into the kaleidoscope of sound that is Zim hip-hop. Titled as an open-armed gesture to the ethos of Zimbabwean religion, the album lives up to its title in two different ways: The first is that it speaks on God with personal reflections on how Saintfloew sees his relationship with him, and the second is that the album itself is a sermon on navigating the topsy-turvy nature of Zimbabwean life.
However, the themes of Trap Yevafundisi are not always apparent because Saintfloew seems to explore whatever is in his stream of consciousness at any time. This is noted right from the start with the track "Nharo," which kicks off the album with a braggadocious edge. While the linear narrative is a fervent self-belief, Saintfloew wonders from hopes and aspirations to his current state of mind and what he sees in his own abilities.
"Margarita" comes as a feel-good song, yet it's one that certainly needs time to grow on you. The track cascades into "MuSatanist," which is an anthem for the ever-relatable dreams of success we have. While Trap is certainly the underlying sound of this project, the album wonders sonically, almost as much as Saintfloew's stream of consciousness. While they're certainly great tracks among the 12 that make this album, it feels like it was failed by its sequencing (it certainly was by the choice of singles that preceded it).
What sounds average in the first half of the tracks, is far more elevated in the second. However, in regular moments the artistry stands out above its blemishes. "Bag raJahman" featuring Kwetsa wraps up hopes and dreams in a catchy tune that has the potential of being an earworm. "Kuti Senza" is a powerful word of advice, "Energy" featuring Michael Magz carries Afropop influences and is a near-perfect collaboration, while "Ginsa Marina" adds more than a few words to our lexicon (Ginsa is interchangeably used to refer to time and a timepiece) and offers up important reflections on time.
This presents another issue about Saintfloew's music. He uses lingo that's not necessarily part of the common man's tongue. It makes it even feel premature to be writing a review because a month from now I know a realization will hit me as I decipher one of Saint's obscure-sounding lines.
However the meaning of certain songs is more apparent, and "Makuruku" stands out among these. It is often that artists have apportioned equal blame in discussing how young women are taken advantage of by older men, but Saintfloew takes on the subject just right. "Makuruku" is heartfelt and places the weight of decisions on those who are older and should know better.
"Karikoga" featuring Jah Prayzah embraces the Trap-Chimurenga sound (a second such hip-hop collaboration for Jah Prayzah after "Munengwe" with Probeatz), while "Chigunduru" gives the album a fitting summation, with its message of not judging a book by its cover.
The Zimbabwean Trap gospel as told by Saintfloew is multilayered and colourful. A mirror of Zimbabwean society with all its different facets. While sonically varied, there's a linear theme that appears the more listen.
While they're certain things about it that could've been better, Trap Yevafundisi avoids the sophomore album curse, and it showcases a continued growth in Saintfloew as an artist. Key to that is the production, a collective effort from No Limits, Rodney Beatz, Ghost Magician, and YoungDLC that helps Saint strike the right cord.
Greedysouth rating: 7/10
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