Album Review: EUSEXUA by FKA twigs

On Eusexua, FKA twigs' third album, she - alongside co-executive producer Koreless - infuses her avant-pop sensibilities and commercial dance music, harnessed with devastating surgical precision. Moments here nod to pop royalty at their very zenith: Girl Feels Good channels William Orbit-era Madonna with its late-90s shimmer, while Keep It, Hold It weaves Fairlight-esque chords and diaphanous backing vocals that feel lifted from Kate Bush's The Ninth Wave. Yet each nostalgic echo quickly snaps back to serve Eusexua's sensual, urgent thesis.

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Her first album in five years feels as much like a physical sensation as a sonic one, a cohesive and transcendent artistic experience It has been five long years since FKA twigs last graced us with an album, but her newest work makes every moment of the wait feel worthwhile. The British experimentalist has long made a career out of dismantling the boundaries of pop, and here, she ventures further still, delivering a record that feels as much like a physical sensation as a sonic one. EUSEXUA is a collection steeped in feelings of sensuality, hedonism, and coming to terms with oneself.

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This "bliss" is unlike any other. According to her, we can redeem its most exact sense by using the term "eusexua" that she coined while filming in Prague three years ago, with dance music and culture's tremendous help. It encompasses propitious feelings born out of sexuality and - to add from her hypnotising performances for Valentino and On - honest desperation to feel a connection.

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"Words cannot describe, this feeling deep inside," FKA twigs glides on the opening title-track of her third studio album proper, 'EUSEXUA', before establishing a deep-rooted collective mantra: "Do you feel alone? You're not alone. " Together, these maxims lay out an album intrinsically built on feeling, on shared experience, and on femininity - the latter of which is laid bare on the outlying pop embrace of 'Girl Feels Good', an ode to womanhood that directly positions the dangerous vulnerability of men against understated female power. It's a thread that runs throughout 'EUSEXUA', too - a powerful audible companion to unfiltered lust, yet one that plays out with a considered acceptance of ephemeral realities.

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Like a lot of multi-platform artists, FKA Twigs' music can be hard to remove from the larger context: the videos, the fashion, the looks, the art projects, her incredible dancing, and, most of all, the larger concepts that always accompany her music. That's one reason why her 2022 mixtape "Caprisongs" was such a breath of fresh air: Although it was 17 songs long and featured collaborations with the Weeknd, Jorja Smith and others, apparently the looser format of a mixtape allowed her to explore and relax a bit from the at-times oppressive weightiness of projects like her previous album, 2019's "Magdalene. " Fortunately, although "Eusexua" comes with a very heavy concept and many of the above trappings — to wit, according to the press materials, "Eusexua is a state of being.

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FKA twigs has always found a home on the dancefloor. From the balletic intricacy of her early EPs, to the loosened-up dancehall of 2022's mixtape Caprisongs, her music embodies the physicality and control one would expect from a long-time dancer. Even at their most sparse, her songs are intensely crafted, deftly choreographed - each sonic limb considered, much as a dancer considers her whole body in the dance.

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FKA twigs's debut album, 2014's LP1, wasn't a total reinvention of R&B as much as it was a sensory-driven variation on the genre, with an ear toward British electronic music--primarily dub, glitch, and U.K. bass. twigs is a detail-oriented soundscaper and consummate singer who makes compelling left-of-center pop music, regardless of notions of trailblazing.

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