Review Summary: The slow comedown from last night’s rave.
What a busy year for FKA Twigs. Following the release of
EUSEXUA in January, she forged ahead through various ups and downs and even decided to turn a deluxe version of the respective album into a standalone piece.
EUSEXUA Afterglow adds eleven songs to the concept, envisioned as a soundtrack for the hours after the rave represented by its predecessor. Therefore, we can expect here a more subdued vibe overall. Nevertheless, the record starts strong with the pumping EDM beats of “Love Crimes”. Its catchy melody, haunting vocals and poignant synths signal that the party isn’t over yet. However, “Slushy” follows with a more downtempo groove, complete with breezy piano leads, warm ambient pads and impressive drum programming. The way Twigs chooses to blend her soft voice amid the sonic layers, rarely coming up front only augments the cozy feel of the tune. Moreover, “Wild and Alone” sees PinkPantheress joining for a sweet blend of styles, inserting a dose of UK garage into FKA’s techno leanings for this project. Seguing into “HARD”, probably the most infectious track on the album, the glitchy approach to the club pop instrumental is both serene and hazy at times. The vocal delivery is gorgeous too, fitting perfectly with the lush atmosphere.
As we reach the second half of
Afterglow, there is an audible change in vibe, like slipping into the early morning hours at a party. “Cheap Hotel” acts like a transition of sorts, starting with an upbeat melody that very soon drops into a hallucinatory, hip hop detour. The tempo doesn’t switch back anymore, even the chorus being sung at half speed, much like a lullaby. It is a cool experiment though, not really knowing what happens next. “Lost All My Friends” is the most intriguing number from this section of the LP, offering ethereal ambient synths over a dynamic beat. Underneath all the sonic layers and vaporous vocals, we can hear the drums transition from mid-tempo to a dancefloor-ready rhythm. The contrast between them works very well. Moreover, “Sushi” goes from a George Michael type dance groove to a nauseous breakdown, kind of like a sudden wakeup call. The attention to details is noteworthy, as both
EUSEXUA and
Afterglow feature multiple sound scapes and discreet arrangements often hiding in the background, waiting to be discovered upon further listens. Both albums contain a string of excellent songs, surrounded by various others which sometimes act as mood setters. Inevitably, some stand out more and could have been compiled into one brilliant effort. However, the concept FKA Twigs strived for wouldn’t have been possible to fully realize into a 40-45 minute LP.
In an unexpected move, she re-released
EUSEXUA with an updated track list, perhaps closer to her original view of the project. Four songs were removed, replaced by the single “Perfectly”, as well as “The Dare”, “Got to Feel” and “Lonely but Exciting Road”. Out of the newest additions, “The Dare” is the most gripping, a beautiful, soothing ballad of sorts, stripping away most of the avant-garde aspects in favor of a straightforward melody. “Lonely but Exciting Road” is a better closer than “Wanderlust”, feeling more personal and down-to-earth. So, now there are three versions of EUSEXUA waiting to be (re)discovered. Still, '"Girl Feels Good", "Perfect Strangers" & "Childlike Things" deserved their spots in the track list too, so it's hard to choose between them. Overall, it is an exciting era for FKA Twigs fans, as she continues her winning streak.
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