Maybe Fifth place...

Banks Arcade have plenty of ideas, but on SECOND PLACE SUPERSTAR, those ideas don't always translate into convincing songs. The New Zealand-born, Melbourne-based band blend metalcore with electronic production, hip-hop, R&B and alternative rock, aiming for something that moves between aggressive riffs and slick, melodic hooks. The production is clean, the bass has a satisfying punch, and there are moments where the band builds a genuinely catchy groove. The biggest obstacle is the vocal delivery. Joshua O’Donnell jumps between singing, screaming and rap-influenced flows, but the transitions often feel forced rather than natural. Instead of sounding like different sides of one vocalist coming together, these approaches sometimes feel like competing musical identities fighting for space. There's a decent album buried in here, but it takes some patience to find it.
The opener, “MOVE,” establishes the album's general approach with digitized textures, plucky bass and chunky, nu-metal-leaning riffs. The groove is solid enough, and the simple, punchy drums provide a decent foundation, but the buildup doesn't deliver the heavy payoff it seems to promise. When the softer vocals arrive, they sound serviceable without leaving much of an impression. “DON’T MISS” pushes the singing into a higher register that feels uncomfortable, while the rap-like phrasing struggles to sound convincing. The djent-inspired guitar work and thick rhythm section aren't bad, but the vocals make it difficult to get fully invested. The production is polished, perhaps a little too polished for material that occasionally needs more personality. Both songs are easy enough to listen to, but neither establishes a particularly memorable identity.

“ROCKSTAR” doesn't exactly help matters. The title already feels familiar, and its combination of synths, rap-influenced delivery, shouted vocals and heavy riffs doesn't do much to distinguish it from the crowded modern alternative-metal landscape. O’Donnell sounds like he's trying to sell a larger-than-life persona, but the delivery doesn't always have the confidence or character to support it. The riffs are competent, and the band understands how to build a catchy groove, yet the vocal performance and occasional lyrical choices hold the song back. “MIRROR” fares a little better because the heavier sections bring out a more convincing side of the vocalist. His screams have a rawness that the cleaner, more stylized singing often lacks, making him sound more connected to the band's instrumentation. The song takes a while to find its footing, with stretches of sparse beats and distant vocals, but it gradually becomes more engaging. “SEVERANCE” follows with thick bass, tight drum fills and atmospheric synths, although its straightforward metalcore structure doesn't offer many surprises.

The middle of the album is where the formula begins to wear thin. “KNOW ME” relies heavily on the same rap-influenced vocal style that has already proved divisive, and the delivery interrupts the momentum rather than adding something fresh. “YUCK!” brings the heaviest riffs and punchiest drums so far, but some of its vocal choices are also among the album's least convincing. The screams and cleaner passages work better than the exaggerated rapping, even if neither feels entirely natural throughout. “SWEAT” provides a brief transition with deep synths, chugs and hazy vocals, but it passes without making much of an impression. “000” returns to thick riffs and bass, though the drums feel less precise and the familiar vocal approach makes the song sound like another variation on ideas the album has already explored. None of these tracks is an outright disaster; the problem is that competence alone becomes difficult to appreciate when the same weaknesses keep resurfacing.

Thankfully, the final stretch offers a more compelling direction. “LAST TIME” is one of the album's strongest songs because Banks Arcade give the arrangement more space and ease off the obvious gimmicks. Soft synths, restrained vocals and a groove-led rhythm section create an atmospheric setting where O’Donnell sounds more comfortable. The riffs take a back seat, but the song benefits from that decision, building a catchy, understated mood instead of constantly reaching for another heavy drop. “WAIT” continues in a similarly spacious direction, combining slow guitar strums, ambient textures, deep synths and a thick, resonant bassline. The drums feel tighter, the instruments work together more naturally, and even the higher vocals are easier to appreciate in this setting. For a band that spends much of the record trying to combine multiple styles, these songs demonstrate that restraint can be just as effective as adding another layer of electronic production or another vocal technique.

“HAVE FAITH” closes the album with a softer, emotional arrangement built around simple keys and atmospheric textures. It's encouraging to hear the band commit to a more vulnerable ending, and the eventual drop gives the track some scale. However, the higher-register singing still feels inconsistent, while the screams layered over the synths don't quite improve the emotional impact. The heavily digitized ending also leans a little too far into the polished, synthetic sound that occasionally makes the album feel less sincere than it intends to be.

SECOND PLACE SUPERSTAR isn't a bad album, but it feels caught between having a distinct identity and trying to incorporate every modern heavy-music trend at once. The musicianship and production are generally solid, the bass has plenty of weight, and the atmospheric material near the end proves Banks Arcade can write songs that let their ideas breathe. The biggest issue is that the vocal experimentation doesn't consistently serve the songwriting. When the delivery feels forced, even decent riffs lose their impact. There's enough here to suggest the band could build something stronger by focusing on the styles that genuinely suit them rather than forcing every approach into the same record.