Banks' latest album, "Off With Her Head," presents a fusion of familiar melancholy and bold new directions, highlighting her growth in the face of personal and artistic challenges.

I have been a fan of Banks for a long time; her alternative left-field pop songs have enchanted me since Goddess first infected my ears approximately 10 years ago and never left me. So, I go into this first listen of Off With Her Head, Banks' fifth studio album, like Kevin McCallister about to walk into the toy store in Home Alone 2: anything is possible, and I'm trembling with anticipation. And yes, I managed to reference two Tim Curry films in one sentence (although I don't know why that's relevant). But I digress, let's talk about music.

Since III, Banks' opening tracks all seem to have served as eerie introductions of what was to come, and this case is no different. In an interview, the singer talked about how the title of the album was inspired by the feeling of not wanting dialogue with inner demons and thoughts, and how sometimes it's better to say "off with her head" and cut the problem at the root. So Guillotine, the first track of the album, feels like the perfect statement to start. Especially in the current political climate, I might add, where it's easy for people to forget what happens to modern-day pseudo-Marie Antoinettes...

As I'm listening, I quickly realize why this album will probably rank among Banks' best for me: the second I hear Sohn's recognizable synths, I am brought back to Goddess and The Altar and their dark and lush soundscape. Combined with Lil Silva's presence throughout the whole record, that's enough to bring me to familiar yet unexplored territory, with enough room to enjoy new ideas and, at the same time, be lulled by a subtle nostalgia. Songs like Guillotine, Love is Unkind, Stay, the standout Best Friends, and Direction are all gorgeous examples of what we love from the 'ghost of the Banks past', while I Hate Your Ex-Girlfriend featuring an incredible and biting verse by Doechii, the deliciously infectious Delulu, River, and Move all seem to point to a newer and fresher direction, reminiscent of the more recent Serpentina.

Move is probably my favorite track, the melody and the crooked beat are superb, with Yseult's vocals adding a sultry and smokey dimension to the already erotic charge of the song. River also explores a sexual topic, which nostalgically brings me back to III. In the words of the kids on the internet, on this track, Jillian perfectly reheated Madonna's nachos, leftover from Erotica, while still using her own secret sauce.

But enough praise, let's dissect the main negative: this album is a little bit on the fence about whether it wants to be comforting or avant-garde. Songs like Make It Up and Meddle in the Mold, which are the only two cases where I felt a little bored, feel a bit too 'beige' compared to the others. I feel as though a bigger statement should've been made with the overarching theme. While I understand the lyrical message behind the album, it's not really backed by its songs and it doesn't feel like an interesting departure or take on the very popular topic of inner conflict.

I must say, however, that apart from lacking a little 'salt' and 'flavour' here and there, Off With Her Head manages to be both an elegant and irreverent album. It's an album fans and new listeners alike will no doubt appreciate, and it might be up there with Banks' best works. Decapitation never looked so chic.

Off With Her Head by Banks

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