“It’s Nuckin’ Futs,” says Pell as part of a goofy intro track to Banks’ new LP The Range 2. And like Pell so deftly described, the album highlights Banks’ range as both a rapper and a songwriter. Banks has built a following in New Orleans over several years, working his way into clubs and the larger music scene from humble beginnings. It’s what inspired the name of his brand “Underdog Central.” In 2021 he released One Guy Standing By Himself, a pandemic-era album that focused mostly on his introspective journey that navigated a crumbling relationship and music scene. The Range 2 is the sequel to a brief EP released in November 2021. The original Range was much shorter but was all hits, especially the highlight tracks “Flaunt” featuring CZA and “Too Much” featuring Wheatus & Saxkixave.
On The Range 2, Banks explores his sound further with pop-club bangers, nocturnal synth-laden grooves and off-kilter drill beats. It gives a real sense of where Banks is as a person. He has always been the “hardworking” rapper. The grind is a huge part of his musical identity, constantly referencing the work and sacrifices he makes to build the life he wants. In the releases last year, we saw Banks question all of that and ultimately come out of the pandemic on top, despite struggles.
Banks still seems to be in the same place he was last year, always grinding, never stopping. But you get a sense that he’s found a genuine peace that wasn’t quite there before this EP. Like on the track “Japanese Drift,” Banks raps over a heavy trap beat; “It’s like an ear canal, I keep my circle small /I ain’t worried about you haters, they won’t ever catch me slipping /laid back with my feet up.” Or on “Here and Now” which ironically sounds like a speeding heartbeat, Banks addresses the constant pressures of being an artist but ultimately grounds himself in the moment by looking back at all the work that brought him to where he’s at. All artists have personas, but it’s a seemingly thin veil between Banks the artist and Banks the person.
Sonically, the album captures a variety of hip-hop styles adapted by Banks. “Globe” follows a Kanye-style formula that sounds like a fan cut from “Graduation.” Banks reels in his flows for a more monotone-style drill track on “Go Off” that instead of being about killing cops, is about sneakers and cartoons. On “Right Here 3,” Banks attempts a sort of smooth love ballad. The groovy synths and playful keys laying out the track are obscured by Banks’ awkward flow. But once the chorus hits, everything snaps back into place and the full range of his vocal ability is flaunted to a lovely melody.
Overall, The Range 2 does exactly what Pell’s description says it does. Banks isn’t just showing off, though. He’s doing what he’s always done, getting better while inviting his audience to achieve their goals with him.
