Twigs masterfully explodes club sonics across her delicately alien soundscape.
In an interview with Spotify for Eusexua, FKA Twigs describes how friend told her, “You could be the next Grace Jones… everything you do could be so iconic.” Taking this message to heart, Twigs created Eusexua, tagging the album with a statement on Instagram, “Eusexua is a practice. Eusexua is a state of being. Eusexua is the pinnacle of human experience.”
Eusexua is a state of being. Twigs’s voice waxes and wanes like the moon over eleven tracks, each a transcendent experience rather than a song. On the title track, “Eusexua,” her breath lingers on the microphone, her whisper elevated while the pliable instrumental wraps itself around her. Twigs can go from sounding laden with knowledge on “Keep it, Hold it” to even younger and brasher than the featured North West on “Childlike Things.” Her siren-ic abilities reach their pinnacle on “Striptease,” in which her voice climbs each scale with the ferocity of the quivering hi-hats under her. Even in the outlandish “Room of Fools,” which sounds like Björk making club music, Twigs’s voice is the dominant element. It is a metal that bends at will yet feels on the verge of breaking apart.
Everything is moving in eusexua. In a video titled “Have you ever experienced eusexua,” Twigs describes it as, “That feeling when you’ve been dancing all night and you lose seven hours to music.” So eusexua is an active drug, one that digs past inhibitions and hesitations to explore your body. Nothing is still in eusexua. Well over a decade since her musical debut, FKA Twigs has become one of the critical figures in pop, willing to expand its definitions and what it can mean to both the artist and the listener. Eusexua is a sublime transformation for Twigs, giving herself free rein over a boundless imagination.
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