Reviews

FKA twigs’ ‘Eusexua’ is a World You Can’t Turn Away From

‘Eusexua’ alludes to the catharsis of getting lost on a dancefloor — a feeling that FKA twigs suggests is “the pinnacle of human existence”

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FKA twigs album Eusexua
Eusexua is FKA twigs’ third studio album, released in January 24. Photo from Atlantic Records

In her third studio album Eusexua, FKA twigs has created an environment that exists as an ecosystem of culture, practice, and meaning: “A way of life,” “a way of survival,” and, most importantly, “the pinnacle of human existence.”

There’s a sense of immediacy and palpable “nowness” in Eusexua like we’ve never heard before — not in the dark and intimate LP1, the vulnerable Magdalene, or the adventurous Caprisongs. The opening track of Eusexua begins with its self-titled song, ushering in allusions to trance music as twigs’ vocals dissolve into a sea of rolling, distant synthesizers. The next two tracks — “Girl Feels Good,” and “Perfect Stranger” — highlights twigs’ vocal presence over hard, mechanical snares and kicks. On “Drums of Death,” a sample of G-Dragon’s “hello” can be heard, embedded with twigs’ glitchy and rhythmical production on top of Glasgow-based producer Koreless’ mind-blowing mix.

Other highlights include “Sticky” and “Keep It, Hold It,” which continue to push dance music to the forefront — from its 4×4 beats soaring beneath twigs’ falsetto, to the acidic textures that melt beneath it. The jersey club, amen break instrumentals of “Striptease” is also a prime example of Eusexua’s dedication to electronic music, calling back to the euphoria and catharsis of getting lost on a dancefloor. 

However, some cuts aren’t quite as cohesive. “Childlike Things” features an entirely Japanese rap verse from North West — the daughter of Kanye West and media personality Kim Kardashian — which is an awkward transition between verses that sounds more like a prompt on Google Translate. Similarly, “Room of Fools” abruptly shifts to twigs belting out with a Björk-esque intensity, pushing her vocal styling to its peak. This may be off-putting for first-time listeners of twigs’ music — and this album, in particular. 

Explaining the appeal of FKA twigs is no simple task. Some argue her brand of experimentation paved the way for a more leftfield form of artistry in commercial music, where pole dancers can swing on Roman pillars, and theatrical performances are set against a burning empire. Others have pointed to her once-in-a-generation voice, alongside her image which is equally unconventional. Eusexua is, without a doubt, a bold album that is more about the way one feels in the dance, rather than a direct take on dance music, and her vagueness regarding its concept as the “pinnacle of human existence” — especially in the eyes of a wider audience — is a perfect representation of herself. 

We also can’t deny that once an album is out for the public to consume, it becomes the listener’s work too. So, despite any uncertainties in its concept, Eusexua still resonates with a community rooted in dance music and club culture that is increasingly embracing vulnerability. With Eusexua, twigs sits with her listeners by starting a conversation.


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