British singer FKA Twigs’ third album, “EUSEXUA,” delves into a whole new realm of experimental, alternative pop, transcending the boundaries of the genre. Listeners first got a taste of Twigs’ sound with her first studio album, “LP1,” an avant-pop R&B album ahead of its time that received rave reviews from critics and the public alike. She continues to captivate and expand her experimental landscape with her subsequent albums and mixtapes, and EUSEXUA is no exception.
Leading up to the album’s release, Twigs ended the music videos of all preceding singles with a message:
“EUSEXUA is a practice. EUSEXUA is a state of being. EUSEXUA is the pinnacle of human experience.”
With the release of the album on January 24, it is evident that Twigs stayed true to her message through its raw lyricism and state-of-the-art alternative production, simulating an out-of-body experience while traversing through the album’s tracks.
EUSEXA explores sexual liberation and empowerment as Twigs confides in its lyrics, adding a personal touch to the techno-inspired album. Its release occurred amid her legal case against Shia LaBeouf, in which she accused him of sexual battery. Steering away from her alternative R&B sound, Twigs drew inspiration from “the techno rave scene in Prague.”
The precise and expert execution of the album made it an instant classic in the world of experimental and alternative music, becoming Twigs’ highest-charting release in both the United Kingdom and the United States.
The album opens with the title track “Eusexua,” whose lyrics elicit the rush one experiences as they get closer to the state of EUSEXUA, the midst of physical intimacy. The lyrics “King-sized, I’m vertical sunrised / Like flying capsized” express the complete submission one gives to their partner as they consensually let go when their partner takes control in bed. Twigs emphasizes the need for a meaningful connection to fully grasp the state of EUSEXUA as she questions with the lyric “Do you feel alone?” and immediately answers “You’re not alone.” The song fades out into static, distorted and glitchy noise as the audience fully enters the world of “EUSEXUA,” but the album is just getting started.
Rolling onto the second track, “Girl Feels Good” opens with psychedelic-sounding synths and distorted vocals, encapsulating the out-of-body sensation during a sexual experience as Twigs sings “When a girl feels good / It makes the world go ‘round.” The song’s production continues to build up in intensity and complexity, with the multiple layers of instrumentation and vocal layering creating a groovy, transcendental listen.
The upbeat tempo of the second single, “Perfect Stranger,” explores hook-up culture, finding the appeal and beauty of one-night stands with a “perfect stranger.” As Twigs sings “To live my life with some mystery / Please don’t say that I must know … I’d rather know nothing than all the lies / Just give me the person you are tonight,” she acknowledges the thrill of not knowing a sexual partner while still finding pleasure in brief connection. She also recalls the rush of having a rebound as a form of escapism, coping and liberation after a toxic relationship in the third line “I’d rather know nothing than all the lies.”
The build-up of production is a common theme in the album. Besides “Girl Feels Good,” the relatively mild, slow-tempo ballad “Sticky” deviates from the electrifying production of the album, opting for a more raw and intimate style. It remains in this slow style until the very end, where it literally explodes into full-on dubstep and percussions with distorted, inaudible vocal layerings. The fourth single, “Striptease,” also follows this progression, as it starts off with a trappy R&B sound with seductive vocals in its verses, which is then contrasted by strong vocals — akin to a wail — in the chorus. In the bridge, the track transforms into a fast-paced atmosphere accompanied by Twigs’ transcendent falsettos; it is by far one of the most experimental on this project, making it an album highlight.
“Childlike Things,” the album’s eighth track, stays true to its name with simple dance-pop production and lyrics akin to a nursery rhyme. Particularly, its chorus merely consists of the repetition “Dun, dun, dun.” The song features North West, the 11-year-old daughter of reality star Kim Kardashian and rapper Kanye West. Her feature on the song primarily consists of melodic rapping in Japanese. Although the repetitive lyrics and childlike singing may sound off-putting and borderline annoying initially, its qualities make it an endearing stand-out track — a breath of fresh air amongst all the sexual ambiance on the other tracks. However, the decision to feature a child’s voice on an album with mature, sexual themes is an unexpected artistic choice.
Overall, the album is coherent in its themes of sexual liberation and empowerment, successfully executing its production while paying homage to ‘90s techno-pop. Its lyricism is raw and explicit, which, accompanied by the experimental, sleek instrumentation, makes it a one-of-a-kind album.
Rating: 9/10
