What is a Santigold? A few years ago, that is more than likely the response when referencing the now 39-year-old new wave pop singer.
A genre blending by nature, Santi White, better known by her stage name Santigold, is the type of performer whose success in the music industry has been more critically based rather than viral. Like Bjork and other, lesser known-yet-consistently relevant performers, Santigold’s politically-infused music has been highly acclaimed since the release of her debut album, “Santogold.” More than just another pop artist, Santigold’s style is worldly; tying reggae rhythms with electronic and new wave alternative sounds.
With the release of her third album, “99¢,” Santigold continues to hit her marks, even if her successes are moderate, at best. Unafraid of her own methodology, Santigold’s latest record is a cultural piece more than a mainstream radio smash. While each track is pop-driven, at its roots the album is far more complex. Each of the songs off of “99¢” are less typical than the ones preceding.
“99¢” works, on multiple levels, as a pop album infused with heavy artistic and political values reminiscent of performers like MIA. From the record’s packaging alone, this need to provide more than just practical music is visible. Wrapped in plastic, Santigold makes obvious statements against the consumerism that she works within; self-reflecting the life she leads and the one that audiences have bought into.
The album’s lead single, “Can’t Get Enough of Myself,” continues this sense of self awareness. Buoyant and upbeat, the track sounds as if it were a cartoonish stroll through a field of flowers. Its complexity only further created through a lyrical self-awareness that makes it more appealing. Santigold’s lyrics of “If I wasn’t me, I can be sure I’d wanna be,” penetrate with all of the self-gluttonous culture created around her and the parts that even she has bitten into.
On the verge of a breakup, the ILOVEMAKONNEN-featured track “Who Be Lovin Me,” is dreary and is far more compelling than most break up anthems. Where most find life in self-empowerment, “Who Be Lovin Me” finds its power in the conversation. As ILOVEMAKONNEN bounces back between Santigold’s airy melodies, the song is an enthrallingly abnormality with a pace that is sure to draw listeners into a dreamscape.
Other stand outs off of “99¢” include the electronica-fueled “Banshee,” the ballad “Before The Fire,” and the pop-driven “Who I Thought You Were.”
On “Banshee,” Santigold shines through thumping synths. Easily one of the more danceable tracks off of the album, “Banshee” hits its highest marks with a chorus that will make anyone jump out of their chair.
“Before The Fire” changes this pace, as it operates as one of the more pulled back tracks off of “99¢.” Solemn and echoing, “Before The Fire” is raw and emotive as Santigold’s vocals sway into the forefront.
The album does end on a more cheerful note with “Who I Thought You Were.” On this break up track, Santigold allows herself the ability to round back to her alternative pop sound so frequented by her previous two releases.
“99¢” is a skillful continuation of an artist who has been tried by the industry around her. With an ability to stick to her roots, drawing influences from a variety of genres, Santigold’s latest release is less about rebranding and more about honing a nearly perfected art. By maintaining this sense of self, Santigold is able to standout and, by default, “99¢” is too.
Rating: 4 out of 5
