It’s hard to predict what FKA twigs will do next. One thing’s for sure: it’ll be unique. Releasing eight days after the avant-pop and experimental R&B artist’s 37th birthday, her newest album, “EUSEXUA,” is an homage to the spirit of techno, drum and bass and experimental industrial music.
Pulling inspiration from rave culture, twigs’ third studio album displays a love for futuristic instrumentals, pulsing beats and the euphoria of the dance floor. “EUSEXUA” isn’t simply an album; it’s a feeling. According to twigs, Eusexua “is a practice. Eusexua is a state of being. Eusexua is the pinnacle of human experience.”
“EUSEXUA” continues the trend of Y2K aesthetics taking over pop music. With Charli xcx’s “brat summer” being one of the biggest pop-induced cultural phenomena to date, it’s apparent that the mainstream is ready to further embrace the electronica side of the turn of the millennium. “Perfect Stranger,” in particular, sounds like it could’ve been picked right from one of those late ’90s House compilation CDs. The track is comprised of a beat reminiscent of Kylie Minogue’s 2001 club classic “Can’t Get You Out Of My Head” and lyrics detailing the quintessential club experience of meeting (you guessed it) the perfect stranger—what else screams turn of the millennium pop like that? “Room of Fools” follows a similar formula: a beat heavily inspired by warehouse raves of the early aughts serving as the backdrop for feathery vocals singing about falling in love on the dance floor.
Prior to its release, twigs teased “EUSEXUA” to her fans on Discord, calling it “deep but not sad.” Though “Wanderlust” quite literally begins with “By the way, the film was brazy/I hate the cast but the aesthetic’s crazy,” most of the lyricism twigs brings to this album is poetic and consistent, elevating each song.
“24hr Dog” has FKA twigs calling out into the abyss: “Your love chores distract me from my worst flaws/Setting free the softest part of me/Gets dangerous sometimes, just feel guilty that it’s getting me high.” The track could simply be written off as a soulless declaration of submission (as she continues with “I’m a dog for you”), but it can also serve as the opposite. Reclaiming your sexuality is a contested topic, especially within feminist circles. Are you simply obeying the patriarchy by sexualizing yourself? It’s no coincidence that “EUSEXUA” closely follows twigs’ 37th birthday. Society does not usually allow the empowerment of older women, especially if they’re in the spotlight often.
Empowerment is a core theme for “EUSEXUA”—both the album and the idea itself. In a time when most of the world is continually dragged down by the powers that be, twigs uses the concept of Eusexua to inspire hope. “Drums of Death” ends with the lines “Crash the system, diva doll/Serve c*nt, serve violence,” a nod to those, specifically queer and people of color, who brought that slang to the forefront yet are now having that slang be used by the oppressors (re: the modern use of “twink” as a pejorative).
“Girl Feels Good” serves a similar purpose: empowering those being pushed down. It’s an atmospheric club track emphasizing women’s power, complete with glitchy effects and a Y2K feel. It’s Eusexua.
Of course, there are always weak spots. A perfect album doesn’t just fall from the sky when one pleases—a North West feature in Japanese can always be there to ruin it. “Childlike Things” is still a perfect homage to Japanese city pop, but maybe it’s time to retire Kanye’s nepo-baby’s world tour.
Admittedly, at first listen, this album didn’t click. On second listen, it does what it needs to do and it does it well. “EUSEXUA” is not an absolute masterpiece sonically, but to dismiss the message it successfully shares would be completely asinine.
If you get it, you get it.
Rating: 8/10
