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Thread: BANKS - III

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    by » Sat May 25th, 2019, 13:44



    Following the release of her comeback single Gimme, BANKS is set to release her third album in July (which is aptly titled
    III)

    BILLBOARD INTERVIEW

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    by » Sat May 25th, 2019, 15:32

    Finally! So excited for this... and July is sooner than expected

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    by » Sun May 26th, 2019, 05:48

    Most excited about this.

    I still hope it’s more Goddess than Altar even though I can’t imagine judged by Gimme.
    gimme, gimme, what I want, what I deserve, gimme, gimme | My last.fm

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    by » Tue May 28th, 2019, 02:45

    I'm obsessed with Gimme and I've been revisting Goddess and The Altar, she's talented AF

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    by » Tue May 28th, 2019, 10:43

    Quote Originally Posted by basticasas View Post
    I'm obsessed with Gimme and I've been revisting Goddess and The Altar, she's talented AF
    Same sis. It’s like both projects keep getting better and better when I return to them. Excited for this.
    Quote Originally Posted by Serby
    Cuz you ugly and can't relate

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    gimme, gimme, what I want, what I deserve, gimme, gimme | My last.fm

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    by » Tue June 4th, 2019, 19:26

    Quote Originally Posted by Tidal
    Jillian Banks, a.k.a. BANKS, has trouble articulating why and how she writes the songs she writes. As such, the 30-year-old pop singer had no preconceived plan when she was working on her upcoming third album, III — except that it would be about growth.

    “[It’s] about going from being a romantic who’s a bit naive and hopeful to being a wise woman,” she tells TIDAL. “But in between you go through pain and you learn people can lie and you learn those hard lessons that are quite painful.”

    For her, the way that material flows out is purely intuitive.

    “I always want to push my songwriting forward. But I think that [it’s] the death of creativity when you say that you want to do a certain thing; it feels like you’re already limiting yourself when you want to have a certain goal in mind with something. Whereas if you just allow yourself to create and see what happens, it just goes where it needs to go.”

    And as BANKS felt herself maturing as both a woman and an artist, she translated that self-assuredness into her most confident and musically impressive songwriting yet.

    The Orange County-born musician first came to prominence through a duo of EPs she released back in 2013, which caught the ear of both Zane Lowe and The Weeknd. That same year she opened for The Weeknd during his fall tour, and, in 2014, she released her well-received debut full-length Goddess. She followed that with 2016’s The Altar, a record that expanded on her sleek and moody meld of contemporary pop and R&B.

    After a hefty world tour in 2017 and a couple of more one-off singles, “Crowded Places” and “Underdog,” BANKS kept quiet until late last month when she dropped the first single from III, “Gimme.”

    “It feels kind of like a slap in the face,” she says of the song, explaining that it’s “about having no shame in who you are and being proud of your own desires.”

    BANKS’ music has always been bold, shadowy and self-empowering (one of The Altar’s standouts was called “Fuck with Myself”). But “Gimme” is a decidedly more aggressive beast than any of her previous songs, from its wobbling bass bombs to its unapologetically direct lyrics. “Gimme, gimme, what I want/what I deserve,” goes its hook.

    “I wrote it about romantic desires,” she says. “But in general, it’s really about any desire and just getting it, getting what you deserve. Saying it out loud.”

    It was through that gut instinct writing style that BANKS was able to capture a range of different characters on this album, each a different version of herself but all connected to her own experiences. That embrace of life’s nuance is reflected in the style of the songs themselves, which jump from intense experimental tracks, to straightforward ballads, to throbbing club numbers like “Gimme.”

    TIDAL talked to BANKS about writing an album that documents her personal growth and creativity — and about some of the ways she evolved her sound on album number three.

    How do these songs, lyrically or otherwise, feel different compared to your last albums?


    All my music is just really a mirror of what I’m going through, and, of course, I’m going through different things than I was when I wrote my last two albums. I think there’s a bit of playfulness on this album that I haven’t experimented with before and I felt really free and really inspired in general.

    I was going through a major growth spurt, just as a woman emotionally, over the last few years. You know, really diving deep to confront certain things. New songs, new subject matter, new everything. But same human.

    How did you feel yourself growing?

    I think in general some of the themes on this album are about learning to let go, learning that life isn’t black and white and that it can be really messy. Letting go of this tight grip on trying to control things and perfectionism. I am a major perfectionist, and it can be painful to be that way.

    What was your musical vision while writing this record? Like, was there a specific way you wanted the songs to sound or be presented?

    When I make music, I don’t have this vision board of how I want things to turn out. Because then it feels like you’re putting it in a box. It’s a really fluid process and I just make it.

    I’ll go in the studio and I won’t know what I’m going to make that day. I’ll think that I’m going to make some sort of ballad, but then I end up making a song like ‘Gimme.’ Or I think that I’m going to make a song like ‘Gimme’ and I end up writing about something that happened during a breakup three years ago that I still needed to process.

    You also put your voice through vocal manipulators on this album. What made you want to mess with your voice so much on these songs?

    I think it’s funny because my voice is actually quite unfiltered and more on top of the instrumentals on this album. But I think that there are certain songs where I just wanted to have some grit and distortion on them. Because it just felt like it needed it in that certain song.

    What was fun about this album is that I felt like I tapped into a few different characters with my voice that I’ve always had. But I really let myself play around with that.

    There’s a different part of my throat that I sing from in some of these songs that it almost sounds like I’m using an effect on my voice, but I’m not.

    Was there a certain way you wanted the production to sound on this one?


    It’s not like a thought-out thing; it all happens in the room. My niece, Georgia, says ‘I love you’ — she’s four — on one of the songs. And there’s another song that has some other voices from little kids.

    I’ve never done that before, but I really wanted this hopeful, naive romanticism to be on. Because I feel like this album is about going from being a romantic who’s a bit naive and hopeful to being a wise woman. But in between you go through pain and you learn people can lie and you learn those hard lessons that are quite painful.
    gimme, gimme, what I want, what I deserve, gimme, gimme | My last.fm

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    Forever Young

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    by » Mon June 10th, 2019, 16:20



    1. Till Now
    2. Gimme
    Produced by Hudson Mohawke / Written by BANKS & Buddy Ross
    3. Contaminated
    4. Stroke
    5. Godless
    6. Sawzall
    7. Look What You're Doing To Me (feat. Francis And The Lights)
    Produced by Francis and the Lights / Written by BANKS, Francis and the Lights, BJ Burton & The Wiild
    8. Hawaiian Mazes
    Written by Paul Epworth, BANKS, Buddy Ross & The Wiild
    9. Alaska
    10. Propaganda
    11. The Fall
    12. If We Were Made Of Water
    13. What About Love
    gimme, gimme, what I want, what I deserve, gimme, gimme | My last.fm

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    by » Mon June 10th, 2019, 20:41

    Expected release date seems to be 12th July.

    Really looking forward to this. Love "Gimme", the album cover looks great and the tracklist also looks good.

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    by » Tue June 11th, 2019, 06:18

    I am so curious to hear all these tracks. The Altar was amazingly strong for a sophomore effort which usually suffers from being overshadowed by the debut.
    gimme, gimme, what I want, what I deserve, gimme, gimme | My last.fm

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    by » Tue June 11th, 2019, 12:59

    The photo they've used for the album cover is stunning, it gives me mid-2000s R&B vibes. Wish they'd stuck with her previous logo/font though.

    I'm so glad we won't have to wait long for the album either; so many albums don't come out for near half a year after the announcement and it's so frustrating at this point. Maybe Jillian is making up for the insufferable Goddess rollout.

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    by » Thu June 20th, 2019, 16:03

    I‘ve just ordered my Gimme Tee + CD Bundle.

    Another t-shirt in my fan tee collection of Xtina, Tinashe, Marina and Florence + the Machine.
    gimme, gimme, what I want, what I deserve, gimme, gimme | My last.fm

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    by » Tue June 25th, 2019, 19:41

    New article on III

    https://www.thelineofbestfit.com/fea...athy-interview

    With chopped, distorted vocals harking back to earlier Sohn-produced efforts, “Gimme” boasts a brashness first heard on The Altar’s “Fuck With Myself”. Where “Fuck With Myself” glittered with self-assured malevolence, “Gimme” is anything but subtle – in fact Banks describes the track – which features the lyric “you can call me that bitch” – as “a punch to the gut, covered in neon light.”
    The single’s tectonic production comes from a star-studded team comprising BJ Burton (Bon Iver, The Japanese House, Sylvan Esso), Hudson Mohawke (Kanye West, Christina Aguilera), and Kito (M.O, Mabel, Jorja Smith) and is bolder and more immersive than ever before. It’s full of breathtaking moments, but the sudden bark that closes the bridge before a final chorus swings into action sits amongst Banks’ strongest ever creative choices. She describes working with “one-of-a-kind” Hudson Mohawke as instrumental to the song’s forthright sound, crediting him with the “growl” and “energy” it needed to come together – “his beats are hungry!”
    In spite of all of this, Banks struggles to elucidate on her reasoning for her choice of “Gimme” as the introduction to III:
    “It’s funny – for me it’s always an intuition thing,” she explains of the selection process. “It’s hard to chose which part of me I want to lead with. That’s a weird thing: what part of me do I want to put out in the world? Usually when people respond to that question, it’s something that they find their best characteristics in – like how people use social media – but for music it’s different.”
    The rawness of Banks’ music could not be further from the neatly curated self-expression of an Instagram grid. On III, perhaps even more so than on her previous records, Banks makes no attempt to soften each emotional blow. Whilst she’s never shied away from a sound as forceful and discomfiting as befits her lyrics, III sees her pushing her style to even further extremes.

    Last edited by Loose; Tue June 25th, 2019 at 20:16.
    gimme, gimme, what I want, what I deserve, gimme, gimme | My last.fm

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    by » Thu July 4th, 2019, 17:55

    Nobody’s interested in this but me?! I thought y‘all like a lil‘ drama.

    I am so hoping for a spontaneous single release tomorrow as the album‘s due July 12.
    gimme, gimme, what I want, what I deserve, gimme, gimme | My last.fm

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    by » Fri July 5th, 2019, 03:56

    Well this lead single was terrible so
    Forever Young

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    by » Fri July 5th, 2019, 06:53

    Quote Originally Posted by Loveguru View Post
    Well this lead single was terrible so
    I guess you mean the second single? Because the lead ("Gimme") was awesome!

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    by » Fri July 5th, 2019, 14:14

    Quote Originally Posted by Tansike View Post
    I guess you mean the second single? Because the lead ("Gimme") was awesome!
    Yea second
    Forever Young

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    by » Sun July 7th, 2019, 22:13

    Gimme honestly sounds like something off of her last album.

    I actually kinda dig the second single. But I still can't get a feel for what sound she's going for.

    Either way, can't wait 'til Friday.
    Quote Originally Posted by Serby
    Cuz you ugly and can't relate

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    by » Mon July 8th, 2019, 10:25

    I am just waiting for something with a bit of a strong melody now
    Forever Young

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    by » Tue July 9th, 2019, 08:35

    Look What You're Doing To Me might not have been the banger I was looking for. However, I find it quite refreshing now besides her bouquet of sad, depressed and angry songs.

    Gimme remains the better out of the two though. I still think it's a very strong lead single. I like it a lot better than 'Gemini Feed' and 'Fuck With Myself' at the time they got released.

    Apparently, Contaminated should see the light of day before the records drops. No signs of it being released before the album though - at least not on Spotify and iTunes.
    gimme, gimme, what I want, what I deserve, gimme, gimme | My last.fm

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    by » Wed July 10th, 2019, 10:47

    ALBUM REVIEW





    From Goddess to The Altar, LA musician Banks is back with her third installment.

    The number three is prominent and recurrent within this record. This is Jillian Banks’ new chapter, and she has something to share with us all.

    Album opener “Till Now” is a punch to the gut – in a good way. “I saw you outside, wearing the shirt that I gave you to remember me by,” Banks sings, immediately opening the record in a vulnerable space. As she says in a recent interview: “I went through something pretty painful, and that was me announcing ‘I’m done with it.” What makes this opening track so powerful is quite simple: Banks means it with every fibre of her being. This strength can be hard to find in music, but with III we get it right from the beginning. “Till Now” is a song everyone can all relate to, but we also feel Banks’ own pain as an individual within the short two-and-a-half minutes.

    The record continues to surprise with its tracklisting. Lead single “Gimme” fits perfectly as the second slice of III – it’s the third that catches you off guard. Already, Banks presents us with a slow ballad. At first glance, it’s a track that can make the listener feel unsure, and could even be viewed as one to skip. After a few listens, its unlikely third placement is what makes it all the more compelling – “And I wish I could change it and we’re always gonna be contaminated.” Banks leaves us without a choice other than to acknowledge the brutality of broken relationships. We can’t fix them, and Banks doesn’t find a resolution in the course of this record. Where previous albums provided full resolution through tracks such as”‘Under The Table” and “To The Hilt”, BANKS strays from this conventionality on III, presenting it as something to embrace.

    It can be difficult not to make direct comparisons to older works, particularly as Banks likes to remind the listener of what came before – and not always very subtly. The Altar, Banks’ second record, referenced her debut album title in “Trainwreck”, whilst “Godless” – track five on III – is clearly inspired by the Goddess album. A song half-written by her ex, Banks chose to finish it herself and put it on her album – a bandwagon possibly not worth jumping on.

    In spite of this criticism, III has many more strengths than weaknesses. “Sawzall”, another ballad, sees Banks pleading to a lover, hoping for some sort of resolution. The inclusion of a sample of a child (Banks’ niece) saying ‘I’m sorry’ gives a haunting yet warm feel to the track as the song wraps around itself in heartache. The inclusion of this recording repeated creates an eerie feel, which is welcomed alongside the high-camp lyrics. Here, Banks is poetic in multiple definitions of the word, creating something which compliments the LP as a whole and sticks as one of the stand-out tracks.

    Whilst “The Fall” is a classic Banks pop bop, “Alaska” and “Hawaiian Mazes” sit comfortably within the alternative R&B genre that the singer has found herself in since the beginning of her career. If you’re looking for further moody yet dancey anthems, then “Propaganda” will be a go-to track, with Banks singing “I can’t save myself, I might need help.” The themes of melodramatic and pleading lyrics found elsewhere on III continue in this track, yet they are cushioned by upbeat electronics that can’t help but make you move a few limbs. What Banks does here is what she does best; something she should cherish and continue to embrace as more records come.

    The final two tracks of III, “Made of Water” and “What About Love” border on forgettable: these are the types of ballads we’ve heard from Banks before. While this record is a deeply personal one, that’s no reason to give these tracks a free pass to disappoint. The shorter of the two tracks – “Made of Water” – could benefit as the album's final installment, rather than leaving it as the penultimate song.

    Overall, Banks has taken a step forward in her development as an artist, and you can hear this increase in maturity across each album. At times, her evolution is not as convincing as other artists on her level, though the quality of the songwriting here generally makes up for that. III is the sound of an artist solidifying her already concrete career and becoming a musician ready to take over the world.

    Rating: 8/10

    Source: thelineofbestfit.com
    gimme, gimme, what I want, what I deserve, gimme, gimme | My last.fm

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    by » Wed July 10th, 2019, 19:05

    Woah, I'm so hyped for this. Loved her during her debut era, but I kinda lost her during the second era so I really hope this gets me back into her

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    by » Wed July 10th, 2019, 21:22

    Quote Originally Posted by Tansike View Post
    Woah, I'm so hyped for this. Loved her during her debut era, but I kinda lost her during the second era so I really hope this gets me back into her
    Really? The Altar was really strong. However, the single choices were a bit odd.

    Overall I think era I and II were equally strong though.
    gimme, gimme, what I want, what I deserve, gimme, gimme | My last.fm

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