in a time when many rappers have built their followings on their ability to spit, kemba takes a different tact. the bronx native weaves together stories, family issues, and aspirations through an array of perspectives. his ability to deliver insightful stories with absolute conviction is what separates gilda from other albums.
despite its political undertones, gilda is devoid of any overt political messages. if anything, the record is a poignant illustration of the universal human experience. the record is a love letter to the family we all wish we had. on the track “i know,” he raps, “i want a family, i can’t wait to be a dad. but me and my family, we’re all in this together.”
from the family-oriented lead single, you’re a little fire, to the confessional i do to the playful “kick ’em in the face,” gilda is a family album, one that only kemba could make. for his first record, the bronx native has delivered a record that feels universal, yet still his. fans will love gilda, and critics will love gilda, because it’s the type of record that only he can make.
kemba has always had this special quality, of being able to make people feel like they are a part of something bigger, a family. it’s why people love him. when he says “i’m going to be a dad,” it makes you want to look around and see if anyone you know is a father. with gilda, the same will be true. each listener will find a part of the album that they can relate to. whether it’s the family album or the introspective “i know,” no one can deny that gilda is his best album yet.
after making a name for himself over the last decade with punchy tracks like “call it off” and “keep it moving,” with tinkletone, he returns with a new project with his friend and collaborator dub side of moon, which is out this week on beatport and streaming services. dub side of moon’s approach to music has always been different from gilda. unlike gilda, who makes music that the masses can easily enjoy and connect with, with dub side of moon, he’s just trying to make the best album he can. that’s why he worked with artists like sampha, christine and the queens, and even bon iver.
she was a performer of german origin who, at the beginning of the twentieth century, was considered one of the greatest women of the german music world. born as gilda salomea woermann in a musical family, she was the daughter of a conductor and a singer. she began her career at the age of 6, when she entered the opera house of the city of cologne, as a singer. she was performing in the opera of “the creation of the world” by carl maria von weber. her first international success was achieved when she performed the role of “königin” in richard strauss’ opera “salome,” in vienna. she moved to berlin to play in the opera house, the krolloper. she appeared in the opera “the magic flute”, “the barber of seville” and “le nozze di figaro”. in 1908 she had her greatest success in the international opera of “la bohème” and appeared in berlin and vienna. in 1910 she recorded the first of her 45 albums. she played in the first viennese music festivals and became the first austrian to win a prize at the berlin music festival. in 1912 she performed for the first time in london, and her international career began. gilda broke with wagner and strauss and with the european music in general. she began to explore the world of jazz and dance and recorded for the first time in the united states. she opened a dance school for young performers and is considered as the mother of modern dance. in 1928 she moved to brazil and performed there for twenty years. she returned to germany in the fifties, married the famous writer bertolt brecht and starred in “the threepenny opera” in the federal republic of germany. gilda died in berlin on june 10, 1989.