Eusexua by FKA Twigs
Eusexua offers a layered auditory experience that reflects both the innovative essence and multicultural influences of its creation, showcasing FKA Twigs' continued evolution in the music industry.
When Twigs started talking about Eusexua, in the midst of her promo campaign for The Crow, I had a completely different idea of what it would sound like. She’s always been the kind of artist who lives and breathes her craft to the fullest extent, so when she said that her new record would be inspired by the rave scene in Prague, I expected a much more techno-sounding piece of work. But I think that says more about me than her, because while watching her interview with Imogen Heap for Spotify, she revealed how multicultural and heterogeneous the process of making Eusexua with her producer, Koreless, actually was. Which incidentally made me think of the fact that I have never even been to Prague. So what do I know about the sound of its club scene... Having realized my massive preconception of what this album should have sounded like, I then dove right in.
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I had heard the title track when it first came out, but as with everything, it’s impossible to judge a puzzle by one piece, although as a first taste it was pretty immaculate. The subtle and delicious crescendo in the sound design part of the production really achieves the goal of transporting you right to the edge of a feeling of euphoria and absolute calm. The word “eusexua,” invented by Twigs, describes a very human and grounded feeling of being present and in your own skin and body. As the last notes of the song bring you right to the edge of the experience, Girl Feels Good immediately grabs you by the memory strings with a Ray of Light-esque beat and sound. It sounds like Twigs and the producers of this track did their homework and were able to take Swim by Madonna, almost 30 years later, and be shamelessly inspired by it, without sounding like a rip-off.
Perfect Strangers moves us into a classy, dirty masterpiece of a pop number (with a nod to Kylie Minogue), which towards the end becomes even more club-ready with a four-on-the-floor drop that abruptly reminds us of why we’re here: to sweat and lose ourselves in a club in Eastern Europe. In the interview I mentioned earlier, Imogen questioned Twigs about her ephemeral sound and aesthetic, and Twigs told her she calls it the “pussy,” and that her songs always seem to embody that specific energy. Right. Forget this as we’re going into a track rightfully called Drums of Death, where I would say we can almost taste a metallic and in your face counterpart: the “dick,” as I called it. I can almost hear the gay kids screaming the last verse of this in the club: “serve c***/ serve violence”.
This wake-up call to all ordinary workers is followed by another much-appreciated techno number, Room of Fools, which takes us on a bit of a musical journey and is clearly inspired by Skin by Madonna, especially towards the end. Sticky is the first breather of the album, taking us to more vulnerable territory with its personal lyrics about how difficult it is to be exposed and naked with a partner, when all you want is some nice words and to be loved and not judged. A brash breakcore outro then leads us to my favourite track. Keep It, Hold It is insane. This Kate Bush-inspired experimental track goes from 70’s prog to techno lament in the space of a beat, with no previous warning and no way to slow it down. It’s a gem of a song that really embodies the feeling of losing your body to the rhythm and just letting go. I love the juxtaposition between the title and how you actually end up feeling after the drop.
Now, let’s talk a little bit about Childlike Things. I actually love this track. Musically and lyrically, it really does sound like it was born out of an innocent inner playground. All good, North West’s part was ok with me, even the fact that it’s Japanese because why not, but then I read the translation of what she actually says. She talks about Jesus being the only god and saviour. I honestly find it icky enough when adults talk about their religion and do proselytism, but when famous kids do it, I am repulsed and disgusted. It’s giving cult, it’s giving Ye’s influence, it’s giving extremism. I’m sorry, Twigs should have not put this in a song. These people have enough platforms to spread their beliefs. Really big black eye in an otherwise flawless project. Fortunately, Striptease is a flawless, raw, refined, superb song, and it almost makes me forget how much I just cringed. “Opening me/ feels like a striptease”, a really appreciated continuation of the theme previously found in Sticky.
Someone tweeted 10 years ago that FKA Twigs’s music is just her whispering about having sex over throwaway Bjork beats. While I disagree, 24h Dog really does this person’s tweet justice. A BDSM-esque theme sung delicately over a microbeat right out of Vespertine. Somehow, it’s very classy. A lot of “pussy” in this one. Wanderlust is a good album closer, lyrically and musically, with a stunning vocal performance that shatters the 4th wall and connects us with Twigs as a human and real person, with a job and things to do. Overall, apart from the disappointing feature of North West, I think this is a great album. A very early contender for AOTY, and another flawless addition to Twigs’ immaculate discography, Madonna pun intended.
