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Nov 1, 201283He's still an undisputed expert at cannily spinning his joy-divided spiderwebs. [2 Nov 2012, p.68]
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Nov 21, 201280The real delights are the dreamily sinister instrumental sections. [Dec 2012, p.100]
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Oct 22, 201280It makes a terrific album, stronger than Interpol's last two, with enough detail in the arrangement to separate Banks and his day job. [Nov 2012, p.95]
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Oct 22, 201280It is personal without actually being personal.
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Oct 22, 201280Banks allows an astonishing texture to flourish without trumping songcraft, as the accoutrements he adds serve to embellish his adroit arrangements.
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Oct 19, 201280It's a strong album and shows once and for all that Paul Banks doesn't need Interpol, Interpol needs him.
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Oct 31, 201272Banks' phantasms manage a construct a decent corporeal form.
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Nov 28, 201270Anchored by the fantastic production of longtime Interpol collaborator Peter Katis, the incorporation of drum loops, sampled dialogue a la Primal Scream's "Loaded" and textural Books-esque embellishments on songs like "Arise Awake" and "Another Chance" offers the sense of sonic adventure Interpol never entertained.
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Oct 30, 201270On these songs Banks fashions more of an identity for himself as a solo artist outside of anything he's done before, and arguably works even harder here to separate himself from his established project. Some of Banks' songs feel unpredictable even after a few listens.
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Oct 26, 201270Certainly, there's a familiarity here, the thin guitar lines and washes of synth, topped off with Banks' despondent croon, though in lyrical terms, there is a more confessional tone. [Dec 2012, p.67]
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Oct 22, 201270It lacks cohesion, with eerie instrumentals featuring with gentle acoustic tracks, it is a noble attempt to progress a rather formulaic, albeit excellent, musical career.
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Oct 22, 201270Banks succeeds in channeling the intensity of one man's regrets, ultimately looking outward and searching.
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Dec 4, 201265On Banks, he takes a decent pass at pop. [No. 93, p.54]
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Oct 24, 201263Even though the album's zany unpredictability can be thrilling, it often feels like Banks is adorning vacant tunes ("Arise Awake," the plodding instrumental "Another Chance") with bells and whistles.
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Oct 29, 201260At times, the songs feel a tad underdeveloped, with sumptuous hooks shining bright over slipshod, kraut-inspired synths and metallic percussion lines... [Yet] Banks can still write a killer song like Summertime is Coming, which greatly overshadows most of the others.
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Oct 19, 201260Banks is a dense (and sometimes prickly) listen that's not immediately accessible, although it rewards those who give it time. [Nov 2012, p.86]
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Oct 26, 201258The best parts of Banks are the ones that most resemble Interpol, rather than the stabs at spooky, old-guy mope-pop that comprise most of the record. In that respect, this album fails as a valid statement outside of the confines of Banks' band.
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Nov 8, 201250The guitars and drums machines and electronic selections are a bit unlistenable. There are some redeeming qualities, however, with a solid groove-ridden guitar fashion show with "I'll Sue You" and an eccentric but extremely tasteful European guitar ballad in "Lisbon".
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Oct 30, 201250At 34, Paul Banks writes bitter adolescent songs, and his namesake proves he still makes it sound true.
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Oct 23, 201250Banks is showing some desire to move beyond the design that his career has sustained itself on, but this album shows he's not quite ready to cut the cord.
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Oct 19, 201250While it lacks focus and cohesive identity, the album Paul Banks named after himself does demonstrate that there's more to this artist than previous form suggests
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Oct 26, 201240The passive, languid tone of this album often translates into emotionless muck.
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Oct 19, 201220This solo album is stuffed with aloof, adolescent apocalyptism and self-regard set to lumpy, mechanistic beats and cluttered arrangements.