brain
drowning
you should know where i'm coming from
under the table
**** em only we know
Goddess
BANKS
This year, it seems that experimental R&B girls are ruling the underground world, FKA twigs, BANKS and Jhene Aiko. To a general pop music listener, this kind of music may sound boring, as they usually don't have prominent hooks to catch your attention or make you sing-along to. I think for BANKS, this is less of a problem as she successfully fuses pop into her R&B (I am not saying that FKA and Jhene are boring).
BANKS' production is one of the highlights of the album. Though it is subtle and minimalistic, it is immaculate. Change and Warm Water have some pretty cool indie-ish production. Drowning and Beggin For Thread are perfect songs that combine pop melodies and great production. Even for the ballads, like Waiting Game and You Should Know Where I'm Coming From, they have solid productions. Especially the latter, where she goes for a more organic sound with real drums.
Another highlight is Jillian Banks' vocals. They are splendid. Both her lower and higher register resonate so well. And she can sing, hitting every notes nicely. Also, not only can she sound gloomy and scary in some songs, her voice emotes very well in the ballads too. There are plenty of ballads in the album and you can hear the emotions, even though the mood of the album is very dark and cold.
The only problem I have is the length of the album. 14 tracks is okay, but I simply can't sit and listen to 18 tracks without feeling very exhausted. The "monotonous" mood of the whole album will take its toll if I listen to this for more than an hour.
Overall, this is a stunning album that definitely lives up to expectations set out by the slew of increasingly flawless tracks she put out one by one before the album release. The music is not as alienating and bizzare as FKA, so that should make this a more pleasant experience to those who are not that big into those kind of stuff.
For many of us 2013 was the year Jhené Aiko floated onto our radar’s, when her features with everyone from Big Sean to Drake had the radio buzzing. While others like myself felt like we had found a hidden treasure when she released her mixtape “Sailing Souls” years before in 2011. November of 2013 she would release an EP entitled “Sail Out” accompanied by the #1 single “The Worst”, causing fans to fiend for more music from the songstress.
After much exposure and even more anticipation, Jhené has finally released her debut LP—“Souled Out”.
The album opens with “Limbo,Limbo,Limbo” and she lets us know that this album will be a “ride”, unlike her previous efforts, that she will be taking primarily alone. On this track we are immersed in the intergalactic production that Dot Da Genius has created for Aiko’s vocals. The journey is smooth until about 2 minutes in when it would seem that the rapper in Aiko, J. Hennessy, makes herself know and adds what seems like a guest feature to the track. This solidifies “Limbox3” as a electrifying opener.
Jhené has you hooked in her world and as the album segues into “W.A.Y.S.” (an acronym for “Why Aren’t You Smiling”—a phrase coined by her late brother Miyagi while he was being treated for cancer), she wastes no time telling you why she has you here. The inspirational track chronicles her life and the struggles she has endured, While biographical it will have the listener reflecting and thinking about their own experience in no time.
“To Love & Die” is the first official single from the album. It acts as an anthem for Jhené’s world. “We live for the love/ die for the love”, she sings, as we soon find out that “Love” is a life source here.
The journey continues with “Spotless Mind”, a peak into the Aiko’s psyche. We find that instability has been commonplace in her experience. “Moving from place to place and I never really settled down/without a place to call home”. Aiko is a self-proclaimed “wanderer” who is making her way the best she knows how through this world.
The album smoothly glides into tales of love, that explore layers of the subject often avoided by others such as unrequited interest, deceit, anticipation, pressure, and courage. These all play out like the acts of a love tale in “It’s Cool”, Lyin King”, “Wading”, “The Pressure”, and “Brave” respectively. Here we have a deeper look into Aiko’s relationships and the up’s and downs she has seen. We also find that "love" is a complex thing and despite this confusion Jhené has no desire to life without it.
As the closing of the album approaches we find reflection on Jhené’s part and we discover that life here hasn’t been all bad. “Eternal Sunshine” offers a bit of nostalgia that adds elements of time-travel as she reflects on her childhood. The journey is almost over, “But all in all it’s been ok (she’s) lived well”.
The journey enters into the saddest of territories on “Promises” where her late brother, Miyagi, and her daughter, Namiko Love, make appearances. Jhené reassures Nami a promise in a duet of the first verse that “if anything should happen” she’ll be alright, while the second verse she hears from her brother and promises him in like manner that she will be ok also. This is the apex of the experience.
Everything comes to an end on “Pretty Bird”, where Jhené sings to herself, “Pretty bird, pretty bird, please don’t die/you can fly” We see here she is still struggling with all that has come along with this journey, but she is encouraging herself anyway. She knows that she is special as she sings, “There’s a blinding light inside of you and they cannot deny you.” Jhené seems to discover by the end of the album that she was put here for a reason. Common makes this even clearer as he raps “ripped apart and get put back together.” Throughout the album Jhené has shown us her scars while also displaying her “beautiful feathers.”
The album plays out perfectly and comes across much better if it is consumed as an experience rather than an album. Unless you are ready to take this “ride”, don’t undermine Jhené’s journey. She is simply teaching us what she has learned so far. The only question left is what will we do with it and will we be ready for what she shares with us next?
"Cause everything’s a game, always trying to calculate, trying to look smart but not too smart to threaten everything they say."
It feels like the new solo indie girls are hitting hard this year, namely now that we’ve gotten close to the fourth quarter of the year (especially R&B indie girls). Granted, this may be normal, but it feels like they’re all releasing their debuts this year from the traction they gained last year. The first release from Banks dates back to March of last year, and some of those tracks from that EP wound up making the album. Although, I’m sure that having past tracks end up on your debut is very normal.
Banks took her moniker from her last name (her first name is Jillian). Being inspired to begin writing from the divorce of her parents, Banks’s music can be easily defined as dark R&B. The production at times feels similar to someone like The Weeknd, which I feel is an apt comparison since she opened for said musician, and her voice/open lyrics are reminiscent of Feist, perhaps maybe a more husky-voiced Feist. Quite a combo. Maybe relating her to Aaliyah would be an easier comparison, seeing as she’s covered an Aaliyah song for her live set.
The producers on the album are at least a majority to familiar to those who are into alternative R&B: SOHN, Shlohmo, Totally Enormous Extinct Dinosaurs, Jamie Woon, and other “Banks-only” producers like Lil Silva and Tim Anderson. Alibi opens up the album to show how the rest of the album will be: brooding, dark, Banks switching from her husky lower register to almost-squealing-but-still-sounding-good highs, and expressive lyrics. The album does take different terms form this formula in some songs, but as a whole this description could explain over half of the tracks on the album. Instances of deviations from that include electronic-but-boring Sticks, acoustic-guitar-only Someone New which is probably the most open and pretty track (it feels like a Colbie Caillat track on first listen which is odd), and piano/orchestra combo ballads You Should Know Where I’m Coming From and Under the Table (the latter of which being rather unnecessary).
The title track, Goddess, hits the listener on track 2. It’s ruthless to the boy she’s singing to, assuming she’s referring to herself as a goddess, and how foolish the boy is for “****ing with a goddess.” Brain is an extremely clever track where Banks comments on a boy trying way too hard to be something he’s not over the delightful plinky production. This is What it Feels Like can be defined in two words: simple and sexy. Warm Water is extremely relaxing and fits the name of the song quite well - you almost feel like you’re floating in a pool of warm water when you listen. When the songs don’t necessarily click, they kinda bog down the album a bit, but only Drowning and and **** Em Only We Know really feel that way.
Ultimately, the tracks that we’ve had for a while now ended up being the best tracks on the album. This doesn’t necessarily mean that the other songs are bad, and this is quite common in debut albums. It was risky for Banks to make the album around an hour long with 14 tracks on the standard edition, especially in the genre that she plays in. It’s definitely an exciting debut and will probably one of my favorite debut albums of the year. Here’s hoping Banks can keep her dark R&B charm going throughout the rest of her career.
8.0/10
★★★★★★★★✩✩
Top Tracks: Brain, This is What it Feels Like, Someone New, Warm Water
Following the release of Jhené Aiko's 'Sail Out' EP, the Soul/R&B princess returns with her first full length studio album entitled 'Souled Out'. With the urban smash 'The Worst' becoming a huge hit for her, there was much hype for the album's release and little Miss Jhené Aiko certainly lived up to the hype with her first studio album. The album on first listen seems to be heavily dominated with ballads and mid tempos but each one manages to sound entirely different from the one prior, something that for most artists is hard to do. But it seems to be the opposite for Aiko. With her calm and soothing vocals, it takes you on a one way ride to heaven. Her vocals put you into the arms of tranquility and almost even send you into a peaceful slumber. At points in the album, she shows off some vocal acrobatics surprising you often as Aiko has been known for her small petite voice. It's an album that would sound perfect in the dark at midnight when you're feeling a range of emotions. With her unique songwriting, Jhené really manages to captures the soul of bad love, happiness, and any other emotion you can think of. It's not just an album but it's a body of work. A body of work that could win Jhené Aiko some major accolades and possibly her first number one on the Billboard 200 this week.
Last year was a rather boring year in music, following a lot of unmet expectations from various artists, Ms Aiko was among the few artists who managed to produce musical content worth listening to.
Following her brilliant EP Sail Out, it would be quite difficult to envision an individual match such musical quality but Ms Aiko not only matches it but greatly surpasses it.
Souled Out being her debut album isn't only an album, but a journey guided by Jhené's sweet soulful voice.
With the album Jhené has spearheaded the new generation of R&B music, reinforcing the exact position awarded to her at this year's BET awards.
The album is soul lifting, mind gripping and heart rending all at once. This emotional ups and downs however don't demean the cohesiveness of the album, something quite difficult to achieve and which many artists have failed to achieve.
Highs: The entire album honestly; W.A.Y.S, Eternal Sunshine, Lying King and Limbo Limbo Limbo are standouts though.
Lows: None
Overall the album is among the best released this year and thus earns itself a strong 9.5 out of 10.
'Souled Out' is the debut album from the Los Angeles based Jhené Aiko. Although 'Souled Out' is the first full-length from Jhené Aiko, she's been a growing presence in the R&B world. She's been featured on the records of some higher-profile collaborators including Drake and Big Sean, she's released a mixtape 'Sailing Souls,' and an EP 'Sail Out,' and had her first solo hit with "The Worst" from the EP last year. Even though she's steadily been releasing material the past couple years, she's had a consistent sound anchored by her recognizable soft and soothing voice.
Jhené Aiko's unique tone of voice is the major highlight of each of her releases and often gives a dreamy and calming quality to whatever she's singing. Her voice does wash over you and soothes like the waves that are recurring in her cover artwork. On the 16 track, 65 minute, deluxe 'Souled Out,' Jhené's voice gently floats along each of the tracks; never really rising or falling in emotion, volume, or dynamics, the album moves slowly for sure, but never outright boring.
Jhené's vocals are the showcase of the album, but the production really shines and works to highlight the tone of her voice. The production is as gentle and calm as her voice on the tracks, sometimes carrying the weaker parts of the album, but never distracting; unlike most popular R&B, the production and songs are never dark or grimey sounding and at most, the songs take on a dreamy haze. The music is easy to get lost into, to the point that the lyrics are borderline unimportant to enjoying the songs but usually focus on love.
The only major fault on the album is Jhené's sometime style of singing. Occasionally, she sings in a half-rap, half-sung sing-songy voice that can get in the way of enjoying the music; this style of singing can get borderline annoying when used in long stretches and comes across as aimless and meandering whenever used. She does not have the most power in her voice, but she does not need to with this style music, tracks like "Blue Dream," "Eternal Sunshine," and "Promises" (which features her daughter) are gorgeous. The album is cohesive and maintains a similar vibe throughout, so it's difficult to single out album highlights; it's an album of smooth sailing.
Looks like I'm gonna be the lone dissenter for Jhene's album, it didn't do anything for me. Lets see if I can get through a second listen.
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Banks - 'Goddess'
8.0
I'm tired of waiting for permission to love
'Please give me one excuse/ to convince me that I'm not a monster', Banks sings on heartfelt opener 'Alibi'. 'Goddess' is such a personal record, it's hard to imagine that just a year ago Banks was a mysterious figure in music, falling on to people's radars after her enthralling debut single 'Fall Over',
The album is pretty cohesive, not straying too much from Banks's PBR&B comfort zone, but there is enough variety to keep you hooked. '**** Em Only We Know', despite it's title is refreshingly optimistic in the context of the album and has a nostalgic, 90s R&B feel. 'And I Drove You Crazy' is another interesting track, with Banks droning the title phrase over and over throughout the song.
There are no huge flaws in the album except the fact that Banks should have kept her cards closer to her chest..At the time of release, less than half the tracklist is new. With tracks from the 'Fall Over' and 'London' EPs all making the cut on the standard or deluxe, the album becomes very lengthy. While 'Change' and 'Warm Water' are lovely songs, they are somewhat unnecessary and add nothing to the album. Banks' weakest single 'This Is What It Feels Like' drags on for five minutes which does nothing to help the length of the album.
But despite the bulky tracklist, the only real misfire is when Banks tries her hand at more traditional singer-songwriter, the placid, guitar based 'Someone New', which is simply overshadowed by the more interesting and show-stealing songs such as 'Brain' or 'Beggin For Thread'. More successful are the piano ballads, 'You Should Know Where I'm Coming From' and 'Under The Table'. but it's clear that Banks' strengths lie in electronic music, not nondescript acoustic numbers.
Overall,the album isn't especially original, with many tracks reminiscent of James Blake's 'Overgrown' and Jamie Woon's 'Mirrorwriting'. Her music is just not as unique as her contemporaries, Kelela and FKA twigs and with so many artists trying their luck in alternative R&B, it's difficult to see where Banks' place is. But one thing is for sure, Goddess is a solid debut and I am definitely interested to see how she evolves.
Must Listen: 'Fall Over' 'Alibi' 'Bedroom Wall' '**** Em Only We Know' 'Beggin For Thread'
'Goddess,' is the debut album from Banks and follows in the footsteps of artist like FKA Twigs, Majid Jordan, Drake, Purity Ring, and AlunaGeroge; 'Goddess' sounds most like 'LP1,' the excellent debut album from FKA Twigs released earlier this year. Both 'Goddess' and 'LP1' have a dark murky electronic R&B sound but 'Goddess' makes the case that this sound is not for everybody.
'LP1' was such a success because of how completely deliberate everything was; 'LP1' is an album that is very well planned out, down to the little production tricks and nuances that fill the album. It is definitely a one of a kind debut that marked FKA Twigs as an artist with a distinctive voice. The album is experimental, but accessible and occasionally catchy; the production is dense and detailed, but restrained in such a way that it draws attention to FKA Twigs herself. FKA Twigs knows exactly how to stand out on her tracks, delivering staccato vocals on lead single "Two Weeks," for example, and changing up her vocal delivery to remain on top of the electronics below her.
"Goddess" does almost none of the things that made 'LP1' work. Most often, it almost sounds as if Banks listened to a lot of these experimental records, decided what sounded nice and asked her producers to replicate it. "Brain," the lead single from 'Goddess' shows this. Murky electronics surround Banks, she throws out brooding vocals, and lots of "ooh-ah-ah-ahs" that sound like borderline parody of experimental R&B music. It would be funny, and better, if it wasn't so serious. The song is a soundscape that has a neat sound but in reality, is mid-2000s emo music disguised as indie R&B, and most of the album follows.
Really, "Goddess" would be fine as brooding and emo as it is if Banks had enough personality and a distinctive artistic voice to stick out from the production, but she does not. Banks mostly blends in to the background production, adding to the gloom of the album. To contrast, Jhene Aiko often slips into the background on her record, but the production worked there to help her, the production was easy going enough to help the album float along which is what the album was intended to do. 'Goddess's' murky production stagnates and doesn't go anywhere, making the tracks and album feel much longer than they are. Even the more up tempo tracks like "Stick" would be better off left to the sound-a-like Grimes who has the charisma to sell a track like that.
Since the production and lack of a distinctive artistic voice are major flaws on 'Goddess' (describe her style and personality, it's hard) it makes sense that less murk and gloom would work for her. "You Should Know Where I'm Coming From," is the major highlight from the album: led by piano and simple strings, you get the most sense of what Banks is as an artist, and the track also makes the best use of her Fiona Apple-esque vocals. The track is soulful in a way that the brooding electronic tracks aren't. Gimmicks aren't present on the song except for the unneeded large drums at the climax of the song and Banks shines. "Someone New" is also a success in the same vein: it's a sweet acoustic track led by a guitar and is much more emotionally impactful and memorable than any of the dramatic dark electronic tracks. Unfortunately, these tracks are too few and far between on 'Goddess,' and most of the album's time is wasted on tracks that are better left to artist's with a more developed creative voice.
I was unimpressed by Jhené Aiko's mixtape back in 2011, but she slowly began to win me over. "The Worst" is so infectious as well as fresh while her 2013 EP Sail Out is top notch. Quality collaborations with artists like Big Sean ("Beware") and Drake ("From Time") also helped win me over. I went into her debut album Souled Out expecting something similar to Sail Out and her collaborations and so, while I believe the album is solid, I am rather disappointed.
The album definitely has some of the things which make Jhené great: spectacular storytelling ("Limbo Limbo Limbo") and personal moments ("W.A.Y.S." and "Promises") with overall rich lyricism, soothing vocals, and hip-hop-influenced production, but, like most debut albums, Souled Out has its flaws.
I am not fond of how the album lacks features, especially since, like most artists, Jhené is at her best with a little assistance from a collaborator whether it be a rapper or a singer. Also, the album overall feels incredibly boring and this is coming from someone who actually enjoys very laidback musicians.
Even with that being said, I do understand that the personal nature of the album is the reason why I am so stuck on those flaws. The album is Jhené sharing her spiritual and personal journey with the listener, so it works better for her to tell her own story and not have others (collaborators) try to add on to her messages with their own stories which may possibly take away from the overall vibe of the song and/or album.
Also, while I do think the album is very relatable, I personally have a hard time connecting to the lyrical content on Souled Out, excluding the positive and uplifting "W.A.Y.S." which has stayed with me since my first listen of the album.
Souled Out is not a terrible album, but I do not think it is Jhené at her absolute best nor do I think it is worthy of being labeled as one of the best of 2014.
The Lowdown: Dark, moody alternative album is captivating, melodic, and stunning.
Goddess, the debut studio album from American artist Banks, begins with a rather dark tone. Alibi kicks off the album with an unnecessarily long intro that contains an instantly catchy drum-and-synth instrumental. Banks' vocals in this song are nice and are light in contrast to the dark, haunting beat. She displays somewhat of a higher range as well, which is good and fits the song well. The piano outro is a bit superfluous, but overall this song is good. Title track Goddess follows with a very minimalistic trap-influenced beat. It's interesting to see the mix of trap and alternative sounds in this song. The vocals are a bit calmer in this song, and take the backseat to the instrumental. Although the song is a bit drawn out, it's a very interesting concept and one that ultimately makes for a pleasant listen. Third song Waiting Game starts with a haunting, harmonic intro. Banks' vocals in this song are great. Her tone is good and it goes very well with the piano in the first verse. The muffled percussion that kicks in after the first verse only makes the song moodier and easier to like. This is an excellent alternative song that deserves to be single. It is reminiscent of Pure Heroine in its synth line and airy feel. This is definitely a standout track on Goddess.
The fourth track on the album is Brain, and it has a very interesting synth intro that echoes alternative electronic music. The production is spacey, and Banks' quiet lower register works really well here. About two and a half minutes in, the song reaches its climax with a drum beat kicking in and the vocals becoming louder and more confident. It's a very exciting moment after all of the buildup earlier in the song. My only complaints here are that the vocals are too distorted and the outro is way too long. Otherwise, it's a good, captivating song. This Is What It Feels Like follows. It's also a very trap-influenced song. A trap-like drum beat is the center of the instrumental with a few odd synths here and there in the background. The melodies are well-crafted and deliberate in this song. It is moody and fascinating. Unfortunately, this is the first song on the album that gives off "filler" vibes. The instrumental and vocals got boring fast. It's an OK song overall, but definitely one to skip next time you listen to Goddess.
The piano intro in You Should Know Where I'm Coming From is a welcome change of pace. From the first line, it's easy to tell that Banks can convincingly execute ballads. Her voice is very well suited for them, and the simple piano riff is raw (more so than most of the instrumentals). The chorus is big, emotional, and gorgeous. I love the strings that come in during the 2nd verse, and the lack of a post-chorus. This is an excellent song, and one of the best on the album. The percussion that kicks in for the final chorus is just icing on the cake. Stick takes us back to that dark, moody alternative sound that has dominated most of the album so far. Upon first listen, the vocals are not indistinguishably Banks. This beat is just a bit too minimalistic to carry a whole song, and Banks' vocals aren't distinctive enough from the album; this song also feels like filler. At five minutes and fourteen seconds, it simply tires the listener out.
Eighth track **** Em Only We Know contains a very light synth intro before a trappy beat comes in. The instrumental is almost hypnotizing before some heavier percussion and synths come in. The melodies are catchy, as is the instrumental. I do wish the chorus packed more of a punch. This song is melancholy, but is something you can bob your head to and would definitely be pleasant to listen to after a more upbeat song. Drowning's intro is immediately striking and memorable. I wish the "you are not deserving" line segued right into a big chorus. The variation in the instrumental in this song is great, and allows Banks to place emphasis on certain section of the song. It is a great song and another standout.
Beggin For Thread, the current single, contains an unmistakably Glory And Gore-esque intro that is tremendous. Harkening back to Pure Heroine, this sound is what got me so addicted on the album in the first place. The first verse is awesome, with another trap drum beat and a few alternative synths. Banks' vocals are bittersweet but smooth. The chorus is great, as its spacey nature allows the mood of the song to percolate through to the listener over time. It takes a few listens to realize how much of a masterpiece this song actually is. It's easily the best song on the album. Change has the unfortunate distinction of having to follow Beggin For Thread. The song does nothing. I could fall asleep to the instrumental, and the vocals are even more monotonous than most of the album.
The slow guitar that opens up Someone New is shocking. You would never fathom such an instrument would appear on this kind of album. But it works absolutely brilliantly. Someone New is another honest ballad with great lyrics and quiet, stunning melodies. I do believe that having something added to the instrumental in the 2nd verse would have helped, and the song is just a bit tiresome. Nevertheless, it is another standout song and worth many listens. Warm Water whisks us back to the brooding, dark alternative sound of Goddess. Unfortunately, it is quite unremarkable and tedious. The synth beat is boring, while Banks' vocals are simply more of the same. There's nothing new here to keep the listener intrigued.
Under The Table finishes off the album. Its slow piano and string intro are appropriate for the occasion. The vocals are quiet and emotional. When Banks shifts to a higher register for the chorus, it's gorgeous but the instrumental needs a bit more substance; we already have a ballad just like this. Two and a half minutes in, though, the song reaches its climax. Following a pattern used elsewhere on Goddess, Banks belts out the penultimate chorus with gusto and it works great. The song ends on a whimper, which is predictable but does not take away from the quality of the song.
Goddess' weaknesses lie in its predictable song structures and lack of mood changes. It's hard to have fun while listening to this album, and it's hard to feel happy at the end. While the melancholy moods, the spacey instrumentals, and the dark vibes that Goddess gives off can be super-appealing in small doses, an hour of them is frankly too much for me. That being said, Goddess is an inventive body of work. The trap influences and the melodies are both quirky but are executed very well. I have to say that I'm quite impressed after listening to this album. It is really a thought-provoking, smart album. Though Goddess isn't something I'll listen to every day, it is chock-full of great alternative music.
Jhené Aiko, the new hyped artist at the moment, has released her debut studio album "Souled Out" a few days ago. Throughout the whole album, I appreciated the songwriting and the cohesiveness. Still, it was a very boring experience. There was not even a single change of sounds, nothing, it just felt like a 53 minutes long song and that's not good. The "highlights" were "Limbo Limbo Limbo" and "Pretty Bird", both being the best songs on the album, but still boring as hell. The lowlights were many, but the worst were "Blue Dreams" and "It's Cool".
Overall, I was disappointed with this album full of fillers. I didn't feel that any song was shining, an obvious single or something, but nada. It was just way too boring and it did not attract me in any single way. I hope that in the future Jhené will change that, because I don't think this sound will be her way to success.
My Reviews
