The moment before you have your first kiss with the person you like, losing track of time through dance or finding yourself in a crowd is all “Eusexua.” Mixing the words “euphoria” and “sexuality,” FKA twigs describes this sensation as “of being so euphoric” to the point that it can “transcend human form.” This sensation of clarity isn’t just all about sex – even though it can be a part of it – but also involves art, movement, community and so much more. The word being twigs’ own creation opens the door for anyone to define it themself freely.
I have been following twigs since 2018 and have become infatuated with her unique sound. Bouncing from electronic-pop to R&B to Afrofuturism, she never fails to produce something you haven’t heard. That’s why back in January 2024 when she announced a techno album inspired by her time in Prague, I was hooked. Even in one of The Wood Word’s “What We’re Listening To,” I briefly mention twigs’ upcoming album and her first single “Eusexua.”
Eusexua: 10/10
Being both the opening song and the title track, it holds a high standard for defining the album. Twigs’ uses a rapid heartbeat to carry the life of the song as she helps describe to us the word “Eusexua.” The constant wondering and questioning about another person’s perception of what they are to twigs is amplified when she adds “But don’t call it love, Eusexua.” The song is very tamed at first, mimicking a longing for something, but once it speeds up and gets to a breaking point, it all spills out. The song’s breakdown is a beautiful representation of loving too hard and how it can be hurtful. However, this feeling of “Eusexua” helps liberate us from this shame. The last word she cries out is “Eusexua” as the instruments glitch and combine with twigs’ voice, leaving the first impression of what this album has in store.
The music video of this song helps add more to the concept of “Eusexua.” It begins in a dystopian cubical office until she receives a phone call that transports her to the barren wilderness. We see twigs and other dancers dance and distort their bodies, mimicking primitive animals. The finale has twigs returning to the office space, eventually leaving as the animalistic dancers follow her out. The song’s music video expands on how this feeling is in all of us and is an innate sensation we all experience.
Girl Feels Good: 7/10
“Girl Feels Good” sets a sci-fi scene with its galactic, artificial synths. Twigs critiques toxic masculinity as how they treat a woman, if you treat a woman well then she will stay around. She doesn’t dehumanize men, referring to them as “beautiful boys” who are just oblivious to their power. The song feels held back, almost like she wanted to say more but could not. I enjoyed the song, but it was nothing out of this world.
Perfect Stranger: 5/10
The concept of the song is something I love, with the line “I’d rather know nothing than all the lies” catching my ear through the song. Knowing nothing about someone that you’re getting intimate with is scary, but thrilling. You get to mold both yourself and them however you desire. The song itself is a bit boring for what I know twigs can do. It opens with an alarm sound that I wish was used throughout the song, then the song becomes a somewhat basic pop song. The ending –of course– is when I really got interested as it switches to a more fast-paced, electronic song. The song is a hook-up culture anthem – which is fun – but besides that, it’s pretty lackluster.
Drums of Death (with Koreless): 8/10
Being included in “Eusexua’s” music video, it alluded to the glitchy, techno theme traced throughout the album. It later turns into the classic, slower and moodier twigs sound. It still kept the choppy beat as twigs romanticized this guy, revealing her desperation for him. At first I did not like it, but it grew on me once I accepted the fact twigs is experimenting with this new club sound.
Room of Fools: 9/10
The ability to find yourself through a community is a core part of reaching “Eusexua.” “Room of Fools” is set in a club, with it opening with an aggressive, coily beat. Dancing with strangers is freeing: you can easily lose yourself in the crowd and feel the unity. This song is a prime example of “Eusexua,” finding yourself in strangers and feeling comfortable to create art with them through dancing. The switch-up on this song is very fun too, it reminds me of a carousel ride or a wind-up box.
Sticky: 10/10
A soft piano opens the song with twigs expressing her suppressed emotions. Wanting to open up to someone, but feeling regret because of “overcomplicated moments and sticky situations.” Just like “Eusexua” this song reaches a boiling point where the tone switches. Staggered electronic notes play as the piano carries the rhythm, shedding into a beautiful, layered melody masterpiece until it cracks to scratches and snares, it’s such a mesmerizing song. This vulnerability is holding twigs back from feeling “Eusexua,” kin to the anxiety most of us feel when we want to express ourselves.
Keep It, Hold It: 8/10
Twigs adapts a grand East Asian melody with traditional Asian instruments as she tries to keep her inner peace safe. “Sticky’s” anxiety carries over as twigs desires to just change, letting go of everything holding her back. The burden of appearing fine gets to her, and she confesses “Sometimes I feel like I’m not even trying, sometimes I feel miles away” as a club-pop sound emerges. Dancing is one way for her to feel free, reaching “Eusexua.” I thoroughly enjoyed this song, it reminded me a lot of Björk.
Childlike Things: 4/10
“Childlike Things” features North West, the 11-year-old daughter of Kim Kardashian and Kanye West. Her involvement with the album is questionable, but in respect of this song titled “Childlike Things,” it makes some sense. I would say it is camp including her on this track, but it feels borderline inappropriate. The song itself carries over the Eastern Asian sound from the previous song, as it begins with a playful beat. West comes in and praises Jesus in Japanese, which is something I was not expecting from a twigs album, and feels morally wrong for so many reasons. It’s a fun, catchy song, but I can’t see myself listening again and enjoying it.
Striptease: 11/10
Stripteasing is shedding your clothes, showing your skin and revealing what you look like. Twigs compares this to the vulnerable state of opening up to someone, shedding all the barriers to uncover your mind. The fuzzy synth bass and her soft voice frame a sultry, intimate atmosphere, heightening the sensuality. A noise replicating a heartbeat monitor beeping helps drive this personal emotion home. The song experiments with a hyper-pop and drum-and-bass remix accompanied by a sped-up version of the chorus to end the song, which stunned me on my first listen. “Striptease” was my absolute favorite song off this album, and probably one of my favorite twigs songs.
24hr Dog: 11/10
On first listen of this song it is easy to see that this is twigs’ most vulnerable song. She admits she is willing to submit to someone, just like a dog. This rawness she sings is on a new level of desperation, similar to the instinctive untamedness in “Eusexua’s” title track. At first glance I thought this song was about a power dynamic in a relationship; however, twigs talked about the obsession we humans have with technology in a conversation with Imogen Heap, where humans are like servant dogs to our phones. I think both perspectives are a valid representation of the song, which is the true beauty of twigs’ art where the definition is not definite.
Wanderlust: 10/10
This is the only song with honest, simple lyrics where she reflects on her life. Her raw, airy personality becomes autotuned, leading to the two eventually colliding as she realizes what “Eusexua” really is about. It is OK to want more in life, the important part is to live it. It was an emotional send-off for the album.
“Eusexua” is about releasing yourself from constraints that have been predetermined by any kind of rules or expectations. Twigs tells us that we shouldn’t feel any shame for what we want, feel and love. “Eusexua” is a universal, human experience. I have spent the past couple of days repeating the album trying to decipher each little noise and meaning, experiencing every song over and over. Each song was so distinct, but coherent in respect of the album. Each listen made me realize that twigs was about to explore herself with this album, and feel “Eusexua.”
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