After using the last three years to garner inspiration for and cultivate her newest album, EUSEXUA, FKA Twigs is back with another genre-blending masterpiece. I daresay this is one of her boldest foray into experimental sounds yet, blending eclectic hyper-pop with genre-defying production. Showcasing her ethereal and perfect high vocals along with unique electronic sounds, the album takes you through a whirlwind of sounds that perfectly takes listeners through a whirlwind of sounds, evoking fantastical dreams and vivid imagination.
This project not only draws on her signature avant-garde style but also channels new inspirations that set it apart from her previous works. Drawing inspiration from Prague’s underground rave scene, FKA Twigs fuses electronic and techno influences to craft her most experimental album yet. We are taken on a journey to a supernatural world, immersing ourselves in entrancing sounds. The album title Eusexua is a term coined by Twigs. She explains the term “Eusexua” as representing those transformative moments of complete immersion, describing it as “that feeling when you’ve been dancing all night and you lose seven hours to music. When everything moves out of the way. Everything in your mind is completely blank and your mind is elevated.” Through this definition, Twigs captures the album’s ethos of transcendence and complete emotional surrender to music and connection.
From the opening track, with its heavy beat transitioning into quick electronic rhythms, it’s clear we’re in for a ride. Twigs’ soft, high vocals are introduced here and continue to evolve throughout the album. The machine-made noises are fit for a science fiction film. She experiments with different sounds and instruments from the get-go. “Eusexua’ offers a preview of the album’s dynamic range.
“Girl Feels Good” delves deeper into experimental electronic sounds, with Twigs altering her voice using autotune to create an eerie vibe. Computerized effects blend with layered instrumentation, enhancing the track’s electronic foundation. The track is unique and captivating, blending thoughtful lyricism, flawless melodies, and transcendent backing sounds. The next track “Perfect Stranger” is a more classic electronic, trip-hop song that brings us relatable, honest lyricism that many can connect with. This track showcases Twigs’ alluring voice, seamlessly shifting from rich lower tones to soaring soprano notes.
“Drums of Death” is my favorite track on the album, starting with a resonant, glitchy beat that scratches my brain perfectly. This poignant club dance track could be found at the raves that FKA Twigs so dearly loves. The choppy glitches dominate this track as it pushes the boundaries of club music. It leads into “Room of Fools,” a similarly electronic and glitchy track. Though more calm and constant in its beat, the experimental electronic club energy continues into the track. The middle of the song seems to feature some car sounds of an engine preparing which adds to the convoluted track.
Starting with a ripple of techno beats, “Room of Fools” draws from Trip hop and dance music with an avante gar taste. Though not lyrically dense, the song is fitting for a club or rave. To follow, “Sticky” switches to a more slow, low-key vibe. The background piano adds to these feelings. Her classic rippled vocals join as the song progresses yet it is still calm and beautiful. The coily ripples work with her melody and enhance the song. She ends the song by dropping into the strong electronic sounds repeating the song title, “Sticky.”
“Keep It, Hold It” starts with a dulcet choral that erupts into a quick house beat, a consistent theme on the album. The harp that joins the track furthermore shows Twigs’ multifaceted talent which includes her explorative producing skills. “Childlike Things” became a surprise hit, featuring North West—a collaboration none of us saw coming.
Furthermore, its upbeat, sing-along energy makes it enjoyable for a diverse audience, especially ravers and club-goers. The uplifting rhythm takes the lead yet is a great couch for North West’s Japanese singing which she surprisingly kills. She adds to the already-catchy track, leading us to wonder what is next in West’s music career.
“Striptease,” as it sounds is definitely one of the more sensual tracks on the album with its slow, steady build with the lines. The trap track gives a quick head-bopping track that I care to play on repeat when boosting my dancing energy. “24hr Dog” comes next, again playing with the slower building beats that lead into her eccentric, unearthly sounds that dominate the album. The song details her people-pleasing tendencies in relationships which manifest in submission to a dominant partner, a taboo topic that she shamelessly talks about.
To close the album we are hit with a moment of pop as the song begins with hints of electro-pop and dance music idol Charli XCX in her vocal auto-tune use. From the auto-tuned beginning into long transcending notes. The song certainly lives up to its title of “Wanderlust” giving us a magical aura. The mellow, more conceivable track is the idyllic close to the album.
Overall, FKA Twigs showcases a new side of her production skills, blending trip-hop, dance, and electronic genres into a concise and electrifying album. As a longtime fan of Twigs, I can confidently say this album did not disappoint. The fresh sound makes it hard to rank among her previous works, but EUSEXUA is nothing short of undeniable artistry.
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