Santigold - Master Of My Make Believe (11/06/2012)
Santigold's sophomore release Master Of My Make-Believe has copped criticism for not bringing anything new to the pop/electronica/hip-hop table and for failing to fulfil on the promise that her debut made. Some have blamed the exponential rise in popularity of the kind of global genre-blurring music she's known for – the likes of M.I.A. and Nicki Minaj have certainly taken a similar approach at their brand of pop. There is still room for Santigold, and her latest offering is a solid chunk of approachable, danceable tunes ideal for the Northern hemisphere's Summer parties.
'Fame' sounds like the “Santogold” we came to know and love on the debut, with its narrow vocal range and repetitive rhythmic riffs. It's dirty and grimey, with enough pop sensibilities coming to the fore to make it accessible.
Santigold's sound is difficult to classify, and certainly she sets out to subvert expectations. Some of the genres attached to her name are electronica, dub, reggae, R&B and pop. All have a home here on Master Of My Make-Believe. A huge chunk of this album was recorded in Jamaica and indeed, the reggae influences are strong throughout. This is in line with the ethnic-inspired sounds that electronica is hungry for right now.
My favourite moments on the album are the quieter ones. 'This Isn't Our Parade' and 'The Riot's Gone' provide a welcome balladic interlude, showing the gentle side of Santi's melodic lyricism. Another standout is 'Pirate In The Water', which follows on from these two to lift us back into Santi's trademark syncopated synth soundscape and her hip-hoppy layered vocals. It gets tribal in the middle eight, that Jamaican flavour bubbling to the surface.
Santigold's vivid soundscape is as vibrant as ever on this album – she certainly seems determined to be the master of her own art, integrity intact. A handful of radio-friendly tunes with enough global flavour and trademark spunk to keep her relevant, Santigold has changed her name but not her game. Good news for us.
Rebecca McCann
'Fame' sounds like the “Santogold” we came to know and love on the debut, with its narrow vocal range and repetitive rhythmic riffs. It's dirty and grimey, with enough pop sensibilities coming to the fore to make it accessible.
Santigold's sound is difficult to classify, and certainly she sets out to subvert expectations. Some of the genres attached to her name are electronica, dub, reggae, R&B and pop. All have a home here on Master Of My Make-Believe. A huge chunk of this album was recorded in Jamaica and indeed, the reggae influences are strong throughout. This is in line with the ethnic-inspired sounds that electronica is hungry for right now.
My favourite moments on the album are the quieter ones. 'This Isn't Our Parade' and 'The Riot's Gone' provide a welcome balladic interlude, showing the gentle side of Santi's melodic lyricism. Another standout is 'Pirate In The Water', which follows on from these two to lift us back into Santi's trademark syncopated synth soundscape and her hip-hoppy layered vocals. It gets tribal in the middle eight, that Jamaican flavour bubbling to the surface.
Santigold's vivid soundscape is as vibrant as ever on this album – she certainly seems determined to be the master of her own art, integrity intact. A handful of radio-friendly tunes with enough global flavour and trademark spunk to keep her relevant, Santigold has changed her name but not her game. Good news for us.
Rebecca McCann