"Gundamwenda." This was Saintfloew's breakout moment. In 2021, alongside Holy Ten, "Gundamwenda" announced Saintfloew as a Samanyanga Sounds artist and propelled him to national stardom: "Gunda anaHoly takachinja poto" - Gunda is now with Holy, we've changed stables.
The song was not only an anthem for new beginnings but also a proclamation of identity; Gundamwenda, popularised by Soul Jah Love and Saintfloew himself, the term colloquially refers to an overcomer, a conqueror, a master of his environment. This is how Saint sees himself. It is a moniker and a description of character all in one.
The artist has been presented to us in 3 distinct acts, that have seen him going through transitions in not only his sound but his life outside the studio. He has worn the skin of hip hop, shed it and adorned it again. Act I began in 2017 when he released "How You Feel" and soon after signed to ScripMula's Mula Nation. Hip hop broke his heart multiple times in that period and that saw the birth of Gundamwenda, an artistic persona that was the centre of Act II, which was announced by a single with the same name.
Act II saw him joining forces with Holy Ten under Samanyanga Sounds, and this was when we learnt that Saintfloew with just a cup of tea was an unstoppable force. He revealed his personal torments in "Under Pressure," and won our hearts as "Silas Mavende." The was then followed by the commencement of Act III, when Saintfloew joined forces with Tinashe Mutarisi under NashTV. A chapter when "blessings to the man selector" became paramount and leaving behind a legacy became important.
He rose to lead, became a preacher of the trap and now he's still Gunda. What seems to be both an announcement that he hasn't changed and a yearning for the past, yet it still very much sounds like Saintfloew in his third act. It is a cauldron of hip hop, dancehall and Afro pop, driven by philosophical thoughts packaged in Harare's street lingo. A particular quality to Saintfloew's artistry that has been constant over the years.
The album is driven by a self belief that sees Saintfloew above his peers and standing among biblical legends: "Gunda anokunda vanokunda kusvika vaakudeepisa... Gunda is a bad nigga panaShadreck naMisheck." This sense of self belief is announced by the title track "Still Gunda," then echoed on "Barca yeRagga," "Inini Ka," and multiple other moments across the 15 tracks.
In addition to witty braggadocio, this sense of self sees Saintfloew bouncing across genres and from one subject to the next. "Believe," a heartfelt collaboration with Gemma Griffiths that delivers the album's best chorus is grounded, while "Don Tolipito" is heady with success and "Kana Ndada" is a dancehall laden love song produced with the dance floor in mind.
Still Gunda comes on the heels of Trap Yevafundisi, and Rise & Lead, albums that had a certain thematic approach to them, yet it defies these expectations.
On "Bhima neBenz" the collaboration with Nisha Ts, Saintfloew affirms that he is still as brilliant as ever (something he does equally so on "Mandikurumidza" with Mr Attention, and on "Inini Ka" with Jnr Spragga), while in almost the same breath, "Sister Betina," the slightly forgettable collaboration with Sane Wav, feels like he's still figuring himself out.
Ultimately Still Gunda is a showcase of versatility that features many gifted moments but feels incomplete. Maybe rushed would be a better phrase. In isolation more than a few of the pieces seem shaped to perfection but together the edges don't quite fit. It's certainly still him, yet in some ways it's not.
Greedysouth rating: 6.5/10