Californian singer-songwriter Jillian Banks released her new album, titled, The Altar earlier this month.

This is her second full length album, following her 2014 debut, Goddess.

The Altar opens with the single, “Gemini Feed” which was released ahead of the highly anticipated record. This song is a sharp introduction to a newer, livelier, rhythmic sound, whilst still carrying Banks’ signature dark, sultry style.

Her instrumentals on songs such as, “Mind Games,” remain vaguely bare, however there is increased depth to the production of the album as a whole – a notable change since Goddess.

“Trainwreck,” “Haunt,” and “This is Not About Us” are other songs that truly stand out as bold hits from the artist as well.

A relatively unpublicized modern artist, Banks has traditionally remained under the radar with interviews and the public eye, yet The Altar offers radio and audiences music while still staying true to Banks’ artistry.

Moodier tracks such as “Lovesick,” and “Mind Games,” radiate warmth, yet stay shrouded in slow tempo and intensely expressive lyrics sung by a frantic, love-drunk Banks, leaving listeners reeling into the album’s more overt and abrasive exploration of emotions.

The Altar offers insight into Banks’ writing evolution, showing risk-taking — such as on the song “Poltergeist”, with the lines, “I’d be a resentful caretaker,” in addition to, “Don’t even try to get creative; I smell a clown looking goofy, dressed up as a native.”

A more conversational aspect to songs as well as hard-hitting drums bode extremely well with more dooming topics and poetic lines.

Ballads such as, “To The Hilt” and “Mother Earth” lay on Banks’ softer side, utilizing a simplistic piano instrumental on “To The Hilt,” and a lovely strings section with “Mother Earth”.

While Banks stays true to her cross between brooding and airy vocals, she holds back with her performance on songs, which works with the occasional tone of resignation and mood, but leaves the listener expecting and wanting more.