Two years ago, Banks snuck onto the scene with the release of her first full album “Goddess.” On “Goddess,” the singer established her distinctive style, marked by dark, rhythmic house beats, melancholic lyrics and melodically gritty croons. Each song flowed to the next without too many surprises, setting a clear framework of what could be expected from her.
On “The Altar,” Banks is more experimental and personal, departing from the comfort of familiarity without entirely abandoning her trademark electronic, R&B sound.
The album starts off with her single “Gemini Feed,” her iteration of a power ballad. Immediately, the quick, subversive layers and clean production quality exhibit how her style has grown since her last album. The track is upbeat and danceable without being predictable. In the chorus, she expresses both strength and vulnerability when she cries, “And to think you would get me to the altar / Like I’d follow you around like a dog that needs water,” in a powerful, clear voice more prominently displayed than in her previous work.
The album takes a sharp turn on the next two songs. First, Banks showcases her vast vocal range on “F—k With Myself.” The singer skips between gritty whispers, nasally, hollow croons and plucky, full-bodied melodies. The wide range of styles verge on incohesive without ever going too far.
Next comes “Lovesick,” a soft, intimate song of love and loss featuring a cloudy bass shrouded by steady, minor chords from a muffled synth. Banks’ clear voice shines through on this track thanks to beautiful harmonies and a simple melody. Though the style is separate from the rest of the album, the song remains on message through the content.
Though the first three songs put Banks’ considerable talent on display, the album starts to fall flat on the ensuing tracks. For example, numbers like “Mother Earth” and “Judas” unsuccessfully attempt to straddle the line between an intimate, acoustic coffeehouse ballad and gritty, electro house music. Though the songs stand well on their own, they interrupt the flow of the album and cloud the direction of the narrative.
“The Altar” is an intimate yet bold showcase of Banks’ versatility as an artist. Taking stylistic risks has pitfalls, which Banks does not entirely avoid. When her experimentations work, however, the results are fantastic. This is especially evident on “To the Hilt,” the record’s second to last song and one of its most powerful. Banks’ vocals shine against the dark, pumping piano accompaniment, another testament to her growth as an artist.
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