Santigold is Santi White: an artist whose perseverance relies on invention, a champion who survives off her own skill and faith. She is a major muse watched by the inspired world, an incategorical performer who collapses time and genre with one hand guided by tradition, while the other carves out a shining future. Santigold is neither calm nor mayhem, but from her lungs burst every color in between.
After four years of hide and seek in which blogs blew up at the sudden release of any track with her name attached to it, Santigold returns in a moment of global aggression and vulnerability. Honing in on the hyper-media cult of personality, in her unmistakable voice she asks the listener: into what fantasy do you hurl yourself as you gaze into the glow of your machine? The answer to this question is central to what drives Master of My Make-Believe, her latest work.
As an antidote against self-celebratory status updates in a climate where the focus on fame outweighs a day’s emotions, Master of My Make-Believe summons pop culture zombies back to life. This is sound proof of an artist on a diligent journey, measuring the power of individual mood against social clamor. Sifting through a wondrous wreckage of airplay, upload, and anguish, Santigold’s talent lies in filtering reality through freakdom, to find in desire a timeless spark of raw magic.
Anyone caught referring to Master of My Make-Believe as a sophomore effort is only half right. Though relatively fresh as Santigold, Santi White’s history of writing, production, and performance stretch beyond the century’s flip. Her collaboration with the industry’s most recognized and respected talent is something continuous and wide reaching, making her musical lineage all the much richer. Declared Best Breakthrough Artist by NME in 2008 and Pop Music Vanguard by ASCAP in 2009, the voice that defines Santigold is as complex as the faces that pack a subway car, as intimate and honest as conversation on a weathered stoop.
Through chopped pianos, the clink of glass bottles, and the peaking blast of motorcycle engines, Master of My Make-Believe accounts for 21st century details of life from the heart’s center to the mind’s periphery. In her pen and in her voice, the breadth of substance presented in Santigold’s songs is immediate and complex. There are valleys here wherein the drudge of daily living is met with caution and confronted by mortality, but underneath it all there is the celebration of each person’s power and vision to fight toward what they believe. Consider this your invitation.
In November 2016, "Can't Get Enough of Myself," the first single of her third and most recent album 99¢, was released. In February 2016, Santigold released an interactive music video for the song, which allowed viewers to insert themselves in the video, furthering the song's message about self-absorption as well as promotion in the social media age. Regarding the song and video, Santigold commented: "We have no illusion that we don’t live in this world where everything is packaged. People’s lives, persona, everything, is deliberate, and mediated. It can be dark and haunting and tricky, and freak us out, but it can be also be silly and fun and we can learn to play with it". The second single, "Who Be Lovin Me," which featured iLoveMakonnen, was made available in December. The album, 99¢, was released in February 2016.