Santigold

Santigold is back and at the height of her power. On her new track, “High Priestess,” Santigold takes her spot on the throne, commanding others to bow down. Eclectic as always in her craft, “High Priestess” takes inspiration from rock and hip-hop, creating an electrifying sound inimitable by others. The track marks her first proper release since her 2018 dancehall-inspired mixtape, I Don’t Want: The Gold Fire Sessions and was recorded remotely during the pandemic.

Click here to read the full article. Santigold has returned with a jittery blast of future punk, “High Priestess,” which marks her first solo release in four years. “High Priestess” is pure energy with its blend of restless percussion and new wave synths (a video short for the song was also released). Santigold largely crafted the track with the Berlin-based producer/DJ Boys Noize, though she brought in a handful of other collaborators — including Ray Brady, Psymun, and Ryan Olson — to help her fine-tune the exact sound she wanted. “The energy I was looking for couldn’t be the old version of...

Last year, NPR Music asked 12 writers to answer that question as part of Turning the Tables. That's our long-running project about musical greatness, where we discuss artists, histories and lists of songs and albums that make up the popular music canon and challenge the often sexist and exclusionary way that canon has been shaped. Turning the Tables has published lists of the 150 Greatest Albums Made By Women, the 200 Greatest Songs By 21st Century Women+ and more. In last year's series, we turned the lens on our own lives by enlisting women and non-binary critics to each tell us about one life-changing record by a woman artist. This March, for Women's History Month, we're taking over All Song Considered every Wednesday to go deep with writers from the series.

NPR Music's Turning the Tables is a project envisioned to challenge sexist and exclusionary conversations about musical greatness. Up until now we have focused on overturning conventional, patriarchal best-of lists and histories of popular music. But this time, it's personal. For 2021, we're digging into our own relationships to the records we love, asking: How do we know as listeners when a piece of music is important to us? How do we break free of institutional pressures on our taste while still taking the lessons of history into account? What does it mean to make a truly personal canon? The essays in this series will excavate our unique relationships with the albums we love, from unimpeachable classics by major stars to subcultural gamechangers and personal revelations. Because the way that certain music comes to hold a central place in our lives isn't just a reflection of how we develop our taste, but how we come to our perspective on the world.

Revisit The FADER’s 2008 interview with Santigold ahead of this week’s episode of The FADER Uncovered with Mark Ronson. It’s mid-October in New York and hoodie season has turned into light jacket season. A bundled up Santi White enters Chung King Studios carrying bags filled with miracle potions, nuts and a plastic cylinder of green seedless grapes. She is on day six of Dr Richard Schulze’s 20-day cleanse and detoxification program, though she only plans to finish the first ten. All afternoon White’s been at her place in Bed-Stuy making black anise-flavored tea, concoctions of OJ and garlic and olive oil, and mixes of spirulina and fresh squeezed whatever. Having completed the colon stage, she’s now focusing on her liver, which considering that she doesn’t really drink, is endlessly amusing to John Hill and Switch, her two frequent collaborators who’ve both been waiting to work some more on the Santogold record.

A final full-length recording by the late iconic originator of chatty rhythmic toasting style U-Roy will see daylight in mid-July, featuring guest appearances by top notch talent like Ziggy Marley, Mick Jones of The Clash, David Hinds of Steel Pulse, and others, and promises to be a celebration. Santigold was honored and awed when asked to sing on her favorite track, “Man Next Door.”

A posthumous album from late dancehall and reggae icon U-Roy has been announced, featuring guest spots by Santigold, Ziggy Marley, The Clash‘s Mick Jones and others. ‘Solid Gold U-Roy’, which drops July 16 via Trojan Jamaica/BMG, features the late vocalist’s classics as well as a cover of the reggae standard ‘Man Next Door’ with Santigold. The music video for ‘Man Next Door’ was shared today (May 20) – watch below.

In February, the pioneering reggae toaster U-Roy died at the age of 78. Before his death, U-Roy was working on an album called Solid Gold U-Roy. The album was originally set to come out in 2020, with a big tour behind it. It features collaborations with a lot of prominent reggae and reggae-adjacent artists, including Sly & Robbie, Ziggy Marley, Shaggy, Big Youth, Richie Spice, and the Clash’s Mick Jones. The album is now set for release this summer, and the first single has just come out.

Tony Santillan - 4.0 IP, 3 H, 1 R (0 ER), 0 BB, 7 K. The Bats did not live up to their namesake last night, falling 2-1 to Columbus. Tony “Santigold” Santillan was fantastic in his AAA debut, striking out 7 and walking none in 4 innings of work. The lone run he allowed was unearned. The bullpen was also solid, with Hector “I hardly knew her” Perez and Brad Brach each throwing a scoreless inning in relief. Alfredo “Little Pasta” Rodriguez went 1 for 3 with a walk, a triple, and a RBI while Mike “I was born” Freeman went 1 for 2 with 2 walks and a run scored.