The Altar Survivor Review by AciidRose

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BANKS THE ALTAR

BY ACIID

Producers: Tim Anderson, The Anmls, Ben Billions DannyBoyStyles, DJ Dahi, Aron Forbes, John Hill, Al Shux Sohn, Chris Spilfogel oo1. Gemini Feed 002. Fuck with Myself 003. Lovesick 004. Mind Games 005. Trainwreck 006. This Is Not About Us 007. Weaker Girl 008. Mother Earth 009. Judas 010. Haunt 011. Poltergeist 012. To The Hilt

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ALBUM REVIEW

lternative Goddess Banks makes her return to the scene after being absent for two years. The album titled “The Altar” is the follow up of “Goddess”, which launched her career back in 2014. Her second effort dives into themes of relationships, self-acceptance and how one can be self-damaging. According to the singer, this album helped her heal internal wounds when expressing her thoughts on twitter earlier this year, but what will be our veridict? GEMINI FEED The album opener introduces us back to Banks signature dark sound, mysterious vocals and an enchanting production. A characteristic heavy bass enhances the verses leading to a great build up and uptempo chorus. A song that sets the foundation for the rest of the album, “Gemini Feed” gives us a feel of what is like to be in a manipulative relationship. (10/10)

and confident touching the topic of putting herself above others. An interesting choice for a lead; now we know she’s a risk taker. (8.5/10)

never vanishes from the melody and seems to go nowhere. Accompanied with a grating hook, this track fails to deliver despite its great potential. (5.5/10) TRAINWRECK An interesting album track that experiments with urban elements and rap-like sung verses. Unsurprisingly, the man behind the production of this track (and upcoming tracks “This Is Not About Us” & “Haunt”), DJ Dahi, is a heavyweight producer, known for his work with Kendrick Lamar, including multiple tracks on the critically acclaimed, Grammy album of the year nominated “DAMN.” (we will learn the fate of this nomination come January), and interestingly even multiple tracks on something probably more familiar with ATRL, Madonna’s “Rebel Heart”. “I had to get away, I had to get away, I had to get away” she tells us, reinforcing a theme about being miserable in a relationship. The singer songwriter confesses that she had some of the lyrics down for this song since the age of 14; we can’t deny her talents. Trainwreck is a nice and welcomed surprise that we cannot ignore. (8/10)

LOVESICK Our first peek into Goddess, Banks performed part of this song live 3 years prior to its release. A softer approach, Jillian lets us in on her obsession with a boy singing over siren like chants and an a serene production. This sensation FUCK WITH MYSELF Banks pulls in Grammy award carries us into a beautiful outro, winning producer Al Shux, known undoubtedly the best portion of for the Jay-Z and Alicia Keys lead the piece. A nice addition that megahit drummed into everybodys can’t be called a standout but you minds “Empire State of Mind”, on can love for what it is. (7/10) THIS IS NOT ABOUT US the first single off the album, which A needed uptempo song that sucks was the last song the songwriter, us in immediately with its hook who wrote on every track on the MIND GAMES promotional single and most importantly a catchy and album, wrote for it. In your face Second lyrics infused with a witch-pop released for the album. Mind dynamic chorus. The production feel, Banks whispers the title of Games while holding touching experiments with electronic beats the song continuously like a snake and vulnerable lyrics leaves us while still holding true to the slithering inside your ear. Seductive wanting more production wise. Banks sound. A song worthy of and seducing, while being assertive It has a monotonous feel that being a single, Banks shows us

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she can dive in into pop anytime she wants. (10/10) JUDAS On a track cowritten by the rapper Belly (known for cowriting WEAKER GIRL and providing backing vocals In this emotional midtempo on Beyonce and The Weeknd’s effort, Banks explains her need to “6 Inch”) and produced by The find a better lover. “Imma need a Weeknd collaborator Danny bad mother****er like me”, she Boy Styles, Banks confidently sings blunt and with no doubts. compares her lover to the biblical The track ends with a stunning Judas, demonstrating the ways in orchestral strings. (7.5/10) which she feels betrayed and used by her former flame over a beat with striking hip hop elements. MOTHER EARTH Despite the hip hop vibes, the Carrying over seamlessly from track interestingly also carries a Weaker Girl, Mother Earth sets vibe of grandeur similar to the the ground with a guitar stripped sounds explored on Halsey’s down feel. Banks penned a ‘Hopeless Fountain Kingdom’. beautiful song about healing and However, the song is somewhat overcoming depression. Once lacking and does not take the more the song finishes with listener on ride throughout the strings in an arrangement that we song, which instead chooses can’t help but love. (7/10) to remain of a similar pace throughout and give off a low

energy chorus, interesting from a conceptual standpoint however this refrains the track from becoming a standout among the album. It lacked a hard punch to truly leave impact. (6/10) HAUNT Another interesting turn production wise on this track, as tropical and tribal vibes swarm over this song, igniting it with a strong wilderness feel. Lyrically though, the song remains quite similar, as she croons over her former lover again, feeling as though he is haunting her after their parting, quite simply. This track finds itself very in the middle, neither being a huge let down, nor an impressive or memorable offering from the album. (6/10)

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POLTERGEIST f you feel some slight dejavu when listening to this track, it’s probably because you do recognise it. That is, unless you don’t listen to the radio. The song was uniquely sampled by Zedd and Alessia Cara on their popular track “Stay”. The sample and sick synths throughout set this song alive, with a return to the signature dark, alternative R&B nature Banks is often recognised for, and it’s no surprise since it is produced by Grammy’s ‘producer of the year’ nominee John Hill, who is known for his vast production history from Shakira to Santigold. Lyrically here Banks goes deep, reflecting on her reality and her past, and accepting the fact that she must face that the internal wars she

has been fighting throughout the album could possibly be fault of her own. As we near the end of the album, we are haunted by the “call me up, call me up, call me up, call me up” refrain echoing throughout the track. (7.5/10) TO THE HILT Finally, we are arrive at the album closer, and 4th song released from the album. Banks strips everything down here for the finale, as her lonely voice is left only accompanied by a piano. Lyrically, she wraps the album in a bow by reminiscing about her past lover, explaining how she misses him even though she hates him and still thinks of him as her muse. A fitting ending to the album, though not particularly uncharted territory. (7/10)

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OVER VIEW

anks sophomore album “The Altar” picks up perfectly where she left off. “Goddess” introduced us to the singer delivering a now signature obscure, alternative and witchy sound, found in the same vein throughout her follow up. However she does not fail to move forward artistically, tweaking her craft and maturing around her characteristic qualities. “The Altar” gives us a perfect mix of what we like about Banks while experimenting with genres such as urban, tropical, and r&b. Doing so, she maintains string elements and gives us magical moments with refined instruments. An album that does not touch unheard of themes such as healing, relationships and self demons, but that will leave her fans and new found listeners more than satisfied.

Hits: Gemini Feed, Fuck With Myself, Trainwreck, This Is Not About Us

Misses:

F I N A L

S C O R E :

Mind Games, Judas

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