It manages to entertain and intrigue, and suggests that there's a lot more to Paul Banks than perhaps even he might care to acknowledge.
No pillars of noise, no bandmates – and he’s burning all the brighter for it.
Banks is all new material, and is a manifestation of the quantum leap Banks has taken as a songwriter and arranger.
It lacks cohesion, with eerie instrumentals featuring with gentle acoustic tracks, it is a noble attempt to progress a rather formulaic, albeit excellent, musical career.
With his eponymous sophomore release Banks, Interpol’s baritone leading man Paul Banks rises above past experiences, reaching nirvana in a way that’s both reflective and cathartic.
For the most part, Banks battles his animosity with underlying hope, always relying on the former with an almost self-deprecating hostility.
Banks, in contrast, is sluggish, unsteady, and ultimately noncommittal about forward motion.
There are flashes of experimentalism, but most of the focus seems to be on adding confusing levels of complexity to the album’s arrangements.
Born as a way out during those long hours of constant touring with his band, his sophomore, solo album has a cause but hasn't got any effect.
8, my dear Mr. Banks, your solo work is delightful <3.
Fav tracks:
- The Base
- Young Again
- Paid For That
- Another Chance
Least faves:
- I'll Sue You
- Lisbon
in a simple effort to separate of his main band. Banks makes an conceptual album, great enough, with synthetic touchs, with samples, and letting flow their own mind, in a categoric self named, debut. Well Banks, you have my attention.
#24 | / | The Line of Best Fit |
#39 | / | Under the Radar |