Brady Lasher ’26
COLUMNIST
Since the release of her 2014 debut album LP1, FKA Twigs has cemented herself as one of the most forward-thinking artists in pop music. She has taken the artsy, boundary-pushing ideas pioneered by Björk and expanded upon them, crafting experimental releases beloved by fans and critics alike.
Although EUSEXUA didn’t make the biggest cultural splash of any album released this month, it is the one I’ll be returning to the most as the year goes on thanks to its atmospheric production and vocals. The title track sets the album’s tone perfectly. Twigs has described the word “EUSEXUA” as a “moment of human transcendence,” an apt descriptor for the song itself. The instrumental is both sparse and entrancing, while Twigs’ vocals feel almost otherworldly. The slow build subtly eases into the chorus, where Twigs delivers a brilliant performance. The following track continues the spacey, hypnotic feel, and unsurprisingly, she shines once again. “Perfect Stranger” is irresistibly catchy with its bouncy beat and infectious chorus.
On the contrary, “Drums of Death” is a minimalist’s nightmare, dominated by booming kick drums and warped vocal tweaks. I don’t think it would be a great aux pick, but I still appreciate its unabashed weirdness. “Room of Fools” is far more accessible, similar to “Perfect Stranger.” This is the kind of track where Twigs truly excels—her ability to effortlessly blend ethereal vocals with fun, engaging instrumentals leaves you wanting more. “Sticky” carries an almost unbearable level of tension, which is executed flawlessly. “Keep It, Hold It” delivers on its title: the song builds for two minutes before bursting into a flood of layered, well-placed noise.
Kanye West and Kim Kardashian’s daughter North West appearing on this album is as strange as it sounds; while she doesn’t fit seamlessly, “Childish Things” exists as a bright, playful moment in an otherwise bleak and minimalist tracklist. “Striptease” is my favorite track on the record—it feels like the most fully realized execution of the album’s ideas. “24hr Dog” and “Wanderlust” continue EUSEXUA’s signature weirdness, with the latter serving as a strong closing statement.
Ultimately, EUSEXUA has solidified itself as my favorite album of the year so far, and I hope Twigs continues to explore this beautifully alien sonic palette.
