I’m pretty sure Santigold’s best tunes are remixes.
TS: It’s definitely lost the dub element. It’s become more of a testosterone-filled fighting match between producers to see who can make the gnarliest track and make people spit their bass face at shows. It has this appeal to college kids who’ve never really heard what actual dubstep sounds like, but let them have their fun.
PS: It might actually have something to do with a lot of the age restrictions on people going to these shows [in America]. Because, by the time they get to go to an electronic music show, they’re all pent up and just want to go crazy, and this type of really heavy music caters to that. Going crazy is great, but people aren’t allowed to find their taste by going to shows when they’re 16 like they do in Europe.
Pitchfork: Some of the songs on Seplacure have pretty weird names.
TS: A lot of the time, you’re working on the tune and you’re like, “Fuck, we have to name the song now.” We’ll come up with something random, like “Carrot Man”.
PS: I was cooking carrots that night. Gotta be honest, I make a mean roasted fucking vegetable dish.
TS: He was doing this little dance when he was cutting the carrots and I was like, “We got Carrot Man over here.”
Pitchfork: Any rejected song titles?
PS and TS: “Grandpa Dingus and His Fertilizer Farm”.