How does it feel to get lost on the dance floor? It is so often associated with cheers, sweat and other people. And if you ask the question of FKA Twigs, the British universal scholar, who has made a career as an experimental artist, then there is also the feeling of complete physical dedication-a complete, joyful erasure of the self that indulges in the dark.
On her unpredictable new album “Eusexua”, twigs disappears into the deepest corners of the club world. It mixes techno beats, house productions and merciless industrial sounds and thus creates a space that she describes as “so euphoric” that one could “transcend human form”. Twigs appears as a kind of amorphous, extraterrestrial creature that glides back and forth between the tracks and finds a new version of itself every time.
“Eusexua” is intended for clubs
The title track creates the underground mood, while twigs mixes her falsetta with a trilling beat that slowly builds up and builds up before turning into a sprint. Her wafer -tender voice works wonders in the next songs, while twigs captivated the audience. This is an open invitation to lose yourself. Twigs knows that she has created a room in which you can hide everything. “Turn your love up Loud to Keep the Devil Down” is the direct instruction in “Girl Feels Good”.
Interest in club sounds was omnipresent in 2024, led by Charli XCX and her “Brat Summer”. The fact that it worked for other artists is largely due to the fact that it is easy to translate into pop. But “Eusexua” is the most convincing in its stranger turns and seems more like it is to find streaming hits in sets in the panorama bar in the Berghain.
The booming, uncomfortable sound of “Drums of Death”, one of the toughest and densest instrumental pieces on the album, was actually created by Glasgower DJ Koreless on a flight before laying it up in Berghain last year. Also, twigs are not afraid of adding something bizarre. “Room of Fools” is full of astral synthesizer, while the breathtaking ‘Sticky’ is a Björk-like trip that shows why Twigs compared to the Icelandic singer (as well as with Kate Bush).
The metamorphosis of Eusexua fits Twigs, a natural shape converter who never quite does what you expect from her – and this is the latest in a series of fascinating developments. After working as a background dancer for other musicians, she began to publish her own rippy R&B projects, including her debut album “LP1”.
FKA Twigs made her pain into music
“Magdalene”, from 2019, was a breathtaking breakthrough that dealt with pain and heartache, while “Caprisongs” was a happy self-welfare trip with friends and more pop-oriented beats. It is worth noting that Twigs spoke about her trauma in the course of her career and converted her most delicate experiences into music. (In 2021 she reported abuse by a famous actor with whom she had agreed and submitted a lawsuit against him.)
However, the focus is on complete freedom and impulsiveness on “Eusexua”. She loads and turns, becomes stronger and is sometimes not to be recognized. Hearing such a transformation is all the more impressive when you consider how vulnerable it has been in the past. It ends with “Wanderlust”, a dreamy, atmospheric piece in which she starts looking for the next place that she can explore. Nevertheless, she still linger a little on the dance floor. Here it is inviolable.