OKP News: Santigold Talks About New LP, Reveals Art + Cover Shoot BTS

Our beloved Santigold is coming back out with a new LP after a four-year hiatus and it is not only big news to us, it is actual news, as in New York Times Magazine-type news. Santi unveiled the cover art (see after the jump) for the forthcoming jawn, titled Master Of My Make-Believe,  via the T-magazine blog (they're hip now, but they still printed her name using the old-school 'Santogold' spelling. Fact-checking, people!) as well as a behind-the-seen video documenting the cover shoot and visual conceptualization for the record (watch above). Santi also spoke at length in a recent Q&A about the inspirations for the new record (Jamaica!) and her thoughts on the music game as whole in 2012. See my favorite quote below (what can I say, I'm still LargeUp at heart) and read the full interview at PF:

Pitchfork: Was there a turning point as far as your creativity while making this album?

S: In May of 2010, I took a trip to Jamaica with Switch, Diplo, and John Hill. It was supposed to be the most productive trip-- I was supposed to finish my record in those two weeks. But it totally did not go down like that at all. Everybody was in a weird place. It was when everybody's career started taking off in different directions and we weren't the same four people that we had been last time. And, since we're all generally friends, you have to deal with a lot more emotional bullshit-- you can get great music out of those friendships sometimes, but it can also be difficult. Still, that trip actually had the hugest impact on my record.

I was having writer's block; I just did not have lyrics. Last time, it was coming right off of my dad dying and I hadn't had a creative outlet in a minute and it poured out of me. This time, I hadn't figured out the answers that I needed to write the songs. But the lyrics started coming out in Jamaica. I went out on this tiny speedboat with Diplo-- we were flying, no life jackets, it was so dangerous. I'm just holding on to the metal bars-- if I flew off, I would have gotten run over and died. But I was like, "This is so much fun!"

This speedboat had a little sound system, and it was playing old reggae, and it was making this distorted, blown-out, grinding sound over the ocean. And I was like, "This is what I want my record to feel like." That mood, and that adrenaline, and all of that beauty stayed with me through making the rest of the music.