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The Tufts Daily
Where you read it first | Thursday, March 28, 2024

BANKS’ debut compelling but unpolished

a0918-banks1
BANKS' lyrics are generally compelling and honest, with a few notable exceptions

Before BANKS released her debut album "Goddess" this September, she had already become one of the most widely known names in the music scene. Her releases on Soundcloud helped her develop a fan base, and soon after successfully impressing record companies, she landed her first deal with Harvest Records. Unfortunately, this debut album will likely come as a disappointment to many audiences.

The songs in BANKS' first studio album, which include works from her previous EPs along with some unfamiliar tracks, unfortunately lack coherence and feel scattered. The lack of consistency does not arise from BANKS' musical abilities; her vocal performance, lyric writing and production arrangement are more than impressive. Though the audience may enjoy listening to her songs individually, the album as a whole lacks maturity.

BANKS' voice in the opening track “Alibi” heavily resembles Ellie Goulding’s vocal style. As the lyrics “Please, give me something to / convince me that I am not a monster” illustrate, BANKS’ lyric writing is dominantly confessional -- delving deep into personal matters. In addition, the song showcases the first hints of the electronic-acoustic balance that continues throughout the album.

The next track, “Goddess,” attracts the listener with its playful and confident attitude. The song also exhibits a remarkable technique -- the backup vocals are not only used to enrich the lead melody, but also carry their own unique melodic line.

The dark atmosphere of “Waiting Game” is one of the most noteworthy aspects of the album. While the vocal style initially reminds the listener again of Ellie Goulding, the song delves into BANKS’ unique realm with the entry of the bass. The clever arrangement of gaps and instrumental breaks enhance the poignant effects of the song.

Similarly satisfying, the two-part structure of “Brain” highlights BANKS’ voice in both high and low registers. Although certain instruments stay in loop throughout the song, melody and rhythm transform in time to create variability.

“This Is What It Feels Like” breaks the ongoing spell of the album, however. Even the interesting synth solos are insufficient to cover up the monotonous layers of production.

The album’s first thoroughly acoustic ballad is “You Should Know Where I’m Coming From.” The pure instrumental layer of the song complements its raw and highly personal lyrics. With the words, "what if I said I was built on bricks of carelessness and crumbs,” Banks seems to confess much not only to her lover, but also to her audience.

The vocal backing technique we noted earlier fails in “F**k Em Only We Know.” This time, the distinct melodic structures of both the lead and backing vocals become too chaotic and the listener must struggle to understand their meaning. Only as the discord of vocals fade in the second verse does it get a little easier to appreciate the synth and the percussion. “Drowning” is the just the opposite -- here BANKS arranges the song’s dynamics cleverly and gives each instrument a chance to shine with sudden rests.

“Someone New” begins with the unexpected sound of a classical guitar. Unfortunately, though, it breaks the trend of sincere lyrics with its cliched, unoriginal words. As the album approaches its end, the problems increase -- “Warm Water” agitates the listener with issues in its phrasing. Because the lyrics and melody don’t complement each other smoothly, the song feels incomplete. The final track, “Under the Table,” has a creative chord progression but lacks a memorable melody line.

Although "Goddess" has high points, the overall performance is poor and includes unpolished compositions. It almost seems like BANKS tried too hard to show everything she has worked on and neglected to think through her song choices and arrangements. If the album were more concise and compact, it would be far more enjoyable.