Continuing a streak of albums—the likes of which will likely be studied for years and years—FKA twigs returns with her latest full-length project, EUSEXUA, out via Atlantic Records/Young Recordings. Although it’s only been three years since dropping her last album, CAPRISONGS, EUSEXUA came with another boundary-pushing rollout complete with raves across multiple cities.

The title, coming from a word twigs created herself, is all about the “moment before an orgasm: pure nothingness but also pure focus in a state of eusexua. That’s kind of the way I want to live my life right now.” Despite focusing on a specific feeling that may be hard for even the most seasoned artists to achieve, twigs does just that and then some, setting the bar high for any album coming out this year. To put it simply, she does it again.

On top of starting the year off right with her new album, FKA twigs will also be going on a headlining tour for the first time since 2019. There is no word on an L.A. date yet, likely because of her upcoming Coachella appearance. Stay tuned for any announcements sometime in the future.

A new realm for twigs

While no stranger to electronic music, EUSEXUA finds twigs tackling dance music, in particular, putting her own spin on it in the process. The title track is twigs guiding the listener into the world of EUSEXUA, both through her distinct vocal style and a rising underbelly of synths that intensify throughout the runtime. Like a vortex, the song serves as the first taste of what’s to come, continuing twigs’ exploration of themes such as being too emotionally available for those around you while slowly descending into a new era marked by house influences.

On the fittingly titled “Drums of Death” featuring co-executive director of EUSEXUA Koreless, twigs embraces a different side of electronic music: industrial. It’s a fitting corner that twigs has experimented in before. But “Drums of Death” appropriates it in the album’s context, moving through pockets of brutal drum barrages backed by a pulsating bass. The unorthodox, jittery rhythm of the track is also bound to inspire some stellar choreography, a creative field twigs pioneers time and time again.

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Potent meaning

Twigs has always had the ability to strike close to the heart, baring her soul in the production but especially in the revealing, heart-stirring lyrics. EUSEXUA deviates from past work, zeroing on moments of happiness and pure euphoria. In a song true to the definition of what eusexua means, “Girl Feels Good” doubles as an empowering message for women, a familiar but still revelatory topic for twigs. The strange, metallic textures in the background of the production are just one of many examples where twigs takes her varied influences and repurposes them with an end result entirely her own.

At the same time, twigs knows what makes raves so special is the simple yet deep connections that sometimes forge with those dancing around you. “Perfect Stranger,” one of the album’s singles released last year, is all about the thrill of those chance encounters with people you know next to nothing about. Listing everything she doesn’t know about this stranger, whether it’s “your star sign or the school you failed,” twigs strikes a balance between the loose energy of CAPRISONGS and the emotionality of MAGDALENE.

Taking genres to the future

It’s easy to label EUSEXUA as dance/electronic music, but that would discredit the rest of the album’s experimentation. “24hr Dog” captures what it’s like to finally come down from a hectic 24-hour period, slowing down so much it’s almost eerie compared to the rest of the album. But the change of pace aligns with the song’s submissive nature, particularly in the pre-chorus when twigs sings, “Please don’t call my name / When I submit to you this way.” The second half then expands, roping in eclectic hi-hats cracking along the now bubbling instrumental.

“Childlike Things,” even with its unexpected feature from North West (who sings entirely in Japanese), sees twigs moving away from the otherwise cohesive sound she’s developed for herself. The slightly pop-skewing production tied together by bubblegum percussion is closer to EDM than any else on EUSEXUA. However, it successfully shows how twigs effortlessly moves between worlds with ease, never coming off as forced or clashing with previous releases in the slightest.

Calling twigs a singular artist is putting it lightly, especially when she’s often ahead of the curve. In the same way LP1 predated the eclectic route that many pop and R&B artists would take in the coming years, EUSEXUA comes at a time when house and dance music are becoming fixtures in the mainstream. But what separates twigs from everyone else is how she gives it a soul, focusing on what house music means for people while succeeding in bringing people to the dancefloor.

Words: David Sosa

Visit FKA twigs on her Instagram and website to stay updated on new releases and tickets to her upcoming tour.

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