That's My Dad.

Santigold - Master of My Make-Believe

Four years ago, Santi White, better known as Santigold, set the bar for pop music for the music industry, especially herself.

Her debut record, “Santogold”, featured not just several of its year’s greatest tracks (“L.E.S. Artistes”, “Shove It”) but shed light on the line between mainstream and indie pop. White fit both molds, using creative freedom associated with indie music and the resources of a mainstream release. Looking back, “Santogold” still holds a place in my heart for making some of the most irresistible pop tunes without having to get weird (i.e. M.I.A., Lady Gaga).

Despite previous efforts, there wasn’t specifically any tension for her latest album: “Master of My Make-Believe”. As far as anybody was concerned, listeners were well aware of her creative standards. Looking her track record, there couldn’t possibly be anything wrong with any of White’s future work. Yet, “Master of My Make-Believe” succumbs to the worst complaint pop music could get: it’s boring.

Astonishingly so, “Master of My Make-Believe” barely rises to the occasion of its agenda and, frankly, lacks any sincere artistic efforts. It’s not that this LP has anything sour or tracks that stick out like sore thumbs, “Master of My Make-Believe” barely throws any hooks or punches that calling it a ‘snore-fest’ wouldn’t be entirely inaccurate. Four years ago, Santigold would walk in your door and kick-start the party into one of the best nights of your summer. Here in 2012 and Santi’s in the corner of the party with a red cup at hand, not particularly interested in socializing.

I can’t even get excited for the lead tracks: “Go!” and “Disparate Youth”. Despite their positive reception, all I’m left doing for three to four minutes is looking for something to impress me with. The weight of this album gets worse as songs begin clumping together; nothing prominent grabbing my attention or inspiring repeated listens. I wouldn’t be as indifferent or saddened had “Master of My Make-Believe” came from a newcomer artist, but this was freaking Santigold. All we’ve received is a lousy excuse of the same ingredients in “Santogold”, minus any trace of inventiveness. Here is an album destined to be bullied into the dusty corners of record stores and ignored during its week of shelf-time at Best Buy.

This album was not my dad. (3/10)

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Major Lazer - Guns Don’t Kill People…Lazers Do

A monumental, hyperactive work of reggae-fusion/dancehall guaranteed to serve whopping amounts of thrills and a plethora of sonic textures. (9/10)

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Tune Yards - W H O K I L L 

Take your contemporary experimental influences: Dirty Projectors, YACHT, St. Vincent and move them to a deserted island where they meet a savage African tribe and the both decide to make music. You may find that their album might sound a lot like Tune-Yards’ 2nd album “W H O K I L L”, an endlessly energetic and zany indie release that stretches what music is capable of just a little more. Regardless of personal preference, ”W H O K I L L” is a release I will continuously recommend to all listeners; I believe there is something here for practically everyone. (9/10)

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Sleigh Bells - Reign of Terror 

I was never one to deeply analyze Sleigh Bells. They built themselves to be irresistible for the indie scene, and they were. Their debut release “Treats” came out of nowhere and took the indie pop scene by storm in 2009. It’s murderous loudness and juicy pop hooks created polarizing opinions, most in favor of the band. One might construct a deeper meaning in the intentions of this group, but some things are best left enjoyed on face value.

In case you didn’t know, Sleigh Bells is duo Alexis Krauss, former teen pop singer, and Derek Miller, former hardcore guitarist. On their sophomore LP, Reign of Terror, the duo is most notebly out for a new style and, believe it or not, an itch to sound louder than Treats. Sure enough, it was made possible. Just when you thought Sleigh Bells was loud enough to shatter your eardrums, they kick it up another notch.

This is where the pros and cons of this album come from. It’s commendable to see Sleigh Bells go beyond their comfort zone, go for a different artistic and recording style and accomplish their goals in doing so. Specifically, Reign of Terror’s hi-fi recording and arena-sized guitar-based songs are what make this LP feel so fresh. But in all these new changes, what was the opportunity cost? Simple. Where Sleigh Bells became louder, they became less interesting; far less interesting, less entertaining, less immediate, less poppy, less exciting. Listening to a track on Treats gives the same joy as striking a match does: the friction of two forces dying to get set ablaze into something powerful. With Reign of Terror, I feel like I’ve been given a bite stick made of pure metal and am forced to sit through 36 minutes of an album. 

It’s a shame to see an exciting group do the right thing as artists but fall short in their results. Reign of Terror is not worth anyone’s time, but Sleigh Bells will be around. Here’s hoping for them to us with album No. 3. 

This album was my drunk and racist grandmother. (4/10)

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