When BANKS arrived in 2014 with her debut album 'Goddess', the world wasn't ready.
The magnetic singer wove her intriguing vocals over layers of electronic samples that created a dark and alluring soundscape in tracks such as 'Beggin For Thread', while softer acoustic track 'Someone New' became a cult favourite.BANKS' subsequent albums followed a darker vein, always atop the electronic layers and thumping basslines she became known for. Now fans wait eagerly to assess what their electro-muse has produced with 2025's offering, 'Off With Her Head'.
First track 'Guillotine' starts with an ominous thudding synth, BANKS' ethereal vocals weaving a tale without words. The decidedly short track forms an ode of mistrust, "whose side are you on?". The track's end erupts in an aggressive, piercing high-end wall of sound that is hard to describe, before it abruptly ends.
'I Hate Your Ex Girlfriend (feat. Doechii)' takes a four-on-the-floor, filtered-bass approach that brings a sexual sensitivity, as the two protagonists spar back and forth in a war of words over a guy that can't really be worth all of this. Doechii's rap comes in like a tonne of bricks thrown through a phone line, and her energy is unmatched.
'Love Is Unkind' utilises steady hi hats in a trap rhythm that facilitates syncopated uncertainty reflective of the lyrics. The second verse features some eloquent scene setting: "Been to hell, then to Hades and back, never stopped." Before BANKS repeats her mantra numerous times: "Love is un-, love is un-, love is unkind."
'Delulu' commences with intriguing vocals and whirling synth lines, before BANKS begins a soft rap, highlighted with angsty high notes. Distorted guitar takes a line in the middle, before BANKS begs again: "Can't wait for you to see it too."
'Move (feat. Yseult)' starts on a nicely panning synth line with a sweet airiness, as BANKS takes a gentler approach. Yseult performs a decidedly strong vocal performance, floating in and out of French, balancing power and control well. Overall, their voices work well together, though some aligned harmonies would have been a sweet touch.
'Stay' takes a turn, as a heavily reverbed organic piano plays alone. "I'm sorry for the tone, can we let it go?" BANKS pleads. "All you have to do is stay." It's a sentimental rest for the ears that is welcomed.
'Best Friends' follows a similar vein, acoustic guitar and BANKS forming the basis, with the electro bass and drums joining later. The track is a standout, full of true emotion. "That's why we were best friends; you were my best friend; we never fit in." BANKS emotes a tale of two borne from what sounds like a trauma bond with a narcissist. "Said I was lucky for forgiveness; I didn't feel like you had something to forgive." It is a powerful track for anyone who knows the curse of dating someone with unresolved trauma, and potentially the best track of the album.
'Meddle In The Mold' starts with a circus-esque irreverence performed on strings, before BANKS enters with baby-like processed vocals. The song traverses sporadic piano hits and dramatic strings, BANKS interestingly calm and smooth, perhaps a reflection of frozen poise in a panicked environment. The song's conclusion is energetic yet unresolved, leaving a sense of 'what just happened?' reflective of highly emotional settings. It is an interesting composition.
'Direction' takes a different, well, direction, starting with layered R&B voices. "Shoot me with serotonin," BANKS sings, and it bodes of a post-fight make-up. The track portrays this well, it seems happy at first glance, but something is off.
'Make It Up feat. Sampha' allows the male antagonist to offer his perspective, pleading "whatever it is, we'll make it work". The track is lush, Sampha's vocals spreading throughout the background as synths swing in and out. It sounds like the two want to work it out, but the outcome looks ominous.
'River' is smoother R&B atop what sounds like 808s. "They're gunna have to treat you right, 'cause you are the river," BANKS declares in a song that appears to be one big innuendo.
Title track 'Off With Her Head' comes last on the album, striding in on characteristic vocal articulations. "I won't compromise and there's nothing you can do," BANKS announces from the emotional guillotine. Her vocals show strength, while the track almost has a gospel feel and a slicker pop production and arrangement than other tracks.
"In many ways, it's a big sister album to 'Goddess'," BANKS says. "I've reunited with those core musicians and producers. 'Love Is Unkind' is about an emotionally dangerous relationship that had me running around in circles. It's about how love can be unkind and masochistic. Rewinding your memory and seeing things clearly."
BANKS has certainly articulated the mood, sensitivities and consequences of damaging, volatile relationships extremely well. 'Best Friends' calls for a second listen, and should be well received by discerning music lovers.
The ultimate decision of 'Off With Her Head' where BANKS reclaims autonomy and puts herself first is a powerful message for victims of bad relationships, especially women, who so often put the male's feelings first, even after the breakup.
The range of musical styles makes the album hard to place genre-wise, but multiple artists have moved to the multi-genre format of late. It stands as a full tale of tragedy, designed to be consumed in one sitting. A true album.
