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Jillian Banks didn't so much as arrive on the music scene as she did float through the pop landscape like a siren ready to steal the hearts of men and women with her incredibly sultry and painfully honest minimal R&B. Since then, BANKS has emerged from her mysterious cocoon, revealing more and more about herself as a person with every single release; each one an enchanting slice of lusciously produced pop with a femme fatale edge that's still willing to dive into the dingy depths of her emotions. If Lana Del Rey is trying to go back to the golden age of Hollywood, BANKS is taking that old Hollywood glamour and mystique and throwing it head-first into the murky, urbanised 21st Century.

It's fair to say that Goddess is one of those albums that most music blogs have been marking the days on their calendar in anticipation of, particularly after the stellar London EP and the myriad of Ones to Watch pieces about her. And with a collaborator list that includes the likes of SOHN, Schlohmo and Lil Silva, who wouldn't be? Now almost seems to be the perfect time to release Goddess, as the last vestiges of summer slip away to be replaced by the uncertainty of autumn; the skittering beats and sparse synths throughout working perfectly in sync with BANKS's husky vocals to create something to suit the longer nights.

Goddess is essentially a more commercially marketable LP1; both albums seeing BANKS and FKA twigs utilising the vast space left by the minimal sounds to pour their heart and soul out onto the floor for everyone to see, filling every nook and cranny with their incredible voices. But whereas you probably wouldn't recommend LP1 to your parents, mainly because it's pretty overtly sexual but also because it's a bit weird, Goddess is full of the type of tunes that would sit comfortable in the charts.

And deservedly so. The album is packed with tracks that sound huge and dancefloor-ready, particularly the phenomenal Begging For Thread which is a belting piece of dark electro-pop that could've come straight out of Scandinavia, featuring a bridge that sees BANKS reach prime husky vocals that sends shivers down my spine every single time. It's menacing, it's exciting, and it's bloody brilliant. As is Brain, the Shlohmo-produced single that sees BANKS slowly build her voice up until it comes at you like a wrecking ball, laying vengeful waste to anything in its vicinity while she spits lines like, "Everything's a game, trying to look smart but not too smart to threaten everything they say," with a real venom.

Beats skitter, churn, and bubble with a menacingly magical quality but never do they outshine BANKS' vocals. This is her show and the myriad of exciting producers are only there to provide her with a stage and some sets; the spotlight is well and truly on her as she glides around with grace, revealing every single raw part of herself to her audience. There are, however, a few tumbles on Goddess, particularly when things take a more acoustic-turn, such as on 'Someone New' which, though filled with lyrics of that same honesty, fails to hit as smartly as the likes of 'Waiting Game'. It's proof enough that BANKS' sonic quality is much more suited to the dark electronic sounds; these little trips to more acoustic realms feeling completely out of sorts with the rest of the album. Luckily, these missteps don't seem detract too much from the overall experience of the rest of the album because the rest of it is just so damn good.

The problem is that this is an album filled with tracks we've already heard before, about half of the tracklist already available as stand-alone singles or as part of the London EP. The familiar tracks, which by this point I know like the back of my hand thanks to how wonderful and utterly addictive they are, are still fantastic but I can't help but want more BANKS to explore and Goddess just doesn't provide this. Maybe it's just greed on my part, wanting a whole album full of completely original material, but whenever I listen, there is always this little niggling in the back of my head asking, "Couldn't she have just done a few more new tracks?"

Still, the package that we have is a pretty accomplished one that still has the ability to rip your heart out with its pure honesty. This is a therapy for her and, though it does sometimes reach uncomfortable levels of honesty - as though you really shouldn't be hearing this sort of stuff - you can't help but dive into the beautiful, rich darkness of Jillian Banks' soul. You need only listen to 'You Should Know Where I'm Coming' From to know that BANKS isn't just a flash in the pan. What with this and FKA twigs' LP1, we've definitely been spoiled for phenomenal R&B this year. Fingers crossed for a collaboration, eh?

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