Are you feeling “Eusexua?” The term was coined by FKA Twigs and describes a heightened state of being, a tranquil flow, or even “the pinnacle of human experience.” In fact, she released her third studio album of the same name on Jan. 24. The project was long-awaited by Twigs fans and electropop enthusiasts alike, following her full-length mixtape, 2022’s “Caprisong,” and her last studio album, the 2019 “Magdalene.”
In a post-Brat world, the culture has shifted to examine pop music — specifically in the club and house subgenre — as a philosophical phenomenon worth analyzing and interpreting. Twigs takes this a step further, bringing partying and dancing into the limelight as an activity of self-discovery, human companionship and freedom.
While retaining certain aspects of “Magdalene,” “Eusexua” takes inspiration from Prague’s club scene, departing from the former’s dramatics and melancholia in favor of pop melodies, all-in-all becoming more accessible to casual listeners. That being said, Twigs doesn’t compromise her storytelling abilities, nor her capability to cultivate a distinct aesthetic — an aspect of her work that she deeply values. On “Jimmy Kimmel Live!” she described to entertainer RuPaul, “I’m obsessed with alternative cultures and subcultures … that kind of amazing East Bloc techno warehouse raves, techno kids, I just couldn’t resist.” “Eusexua” works to communicate the anticipatory moment just before out-of-body sensation, eventually transcending the physical world.
I would not venture to describe the sounds of “Eusexua” as human or warm, but rather more akin to a nearly indescribable existential experience. Its drum-heavy, electronic noises are robotic and supernatural. In an interview with Dazed Magazine, Twigs said she considers the physical frame as a concept, describing her journey with somatic healing as “learning how to use and live in my body again.” This journey is made apparent throughout “Eusexua,” which considers the physical frame as a concept and a tool.
Pitchfork says “Eusexua is for the girls who find their true selves under a hard metal silver stiletto on the damp rave floor.” The album’s third lead single, “Drums of Death,” features Koreless, a London-based electronic artist known for his “sci-fi inspired” tracks. Koreless also served as a producer for all “Eusexua” tracks. The song’s drums and chopped vocals create a sharp sound, successfully fueling an otherworldly aestheticism. In the music video, Twigs and her dancers dress as office workers. She stares blankly at the viewer as the group falls into a choreographed trace, akin to how the viewer may feel as they are hypnotized as the beat arranges itself in an unorthodox manner.
Eleven-year-old North West, the “nepo baby” daughter of supermodel Kim Kardashian and controversial rapper Kanye West, is featured on the album’s eighth track, “Childlike Things.” West speaks in Japanese for the duration of the verse, introducing herself as “North-chan” and referencing her love for Jesus. At first glance, the song is off-putting and remains a sore spot to certain listeners and critics — North West’s lyrics, and her very presence in the project, might seem misplaced at best and problematic at worst. But thanks to its catchy rhythm and a growing TikTok dance trend created by user “zoifishh,” it has solidified itself as a stand-out song within the project. While it’s a slight departure from the darkness of “Perfect Strangers” and “Drums of Death,” it is still cohesive with the “Eusexua” themes of growing out of your own body, described by The Quietus as the “sensation of being so euphoric that one could transcend human form.” “Childlike Things” successfully blends the innocent fun of childhood with the self-realization of adulthood fame.
Other standout tracks include the first released single, “Perfect Stranger,” which contrasts airy, ambient moments with the nearly claustrophobic sections of stacked instruments. The ninth track, “Striptease,” refers to emotionally and physically unveiling for the sake of self-confidence, not to serve another person’s perception of you. The track is cold, and Twigs retains control of her voice even in the midst of vulnerability. Notably, “Striptease” also credits Dylan Brady of hyperpop group 100 Gecs with a songwriting credit.
“Eusexua” is complex, the beginning of Twigs’ journey to understand music as a representation of the body in spiritual and physical terms, melting our inner barriers. Once again, FKA Twigs teaches her listeners to use rhythm as a tool to bring us back to the deepest parts of ourselves. FKA Twigs will depart on the “Eusexua” tour on March 8, including stops in Europe and North America and beginning in Prague, a direct return to the project’s inspirational roots.