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Hello everyone! Nick is back… and I have come to share with you the good word of EUSEXUA. I've gone through an emotional rollercoaster with this album. At first I was obsessed with the first single, Eusexua--listening to it multiple times a day, on the road, in the shower, everywhere. Then, when it dropped, I was honestly disappointed by the rest of the album, but once I eventually gave it another shot I completely fell in love with all of it. Now, two months out, I find myself somewhere in the middle, albeit leaning quite a bit more towards the positive side.
Eusexua. What a beautiful opening track. Such an effective thesis statement for the project. Absolute ear candy with lyrical themes to keep you chewing. Nothing crazy deep here, but still provocative and a conduit for personal introspection. Eusexua, itself, isn’t a “real” word, twigs coined it herself. She describes it as “a feeling of extreme euphoria in which one transcends the human form.” You can read more of her personal thoughts yourself, because honestly it is very illuminating--Her conversation with Imogen Heap in particular made for a very interesting grocery run. But, coming back to the song itself, Eusexua does a great job at conveying the feeling of an intimate, almost mysterious discovery in the first half before bringing the kick, bass, and juicy synths into focus for an introspective, pulsating climax.
Girl Feels Good. One of my favorite examples of a thematically “basic” concept that has more depth than a passive listener might gather. Girl Feels Good calls for the pleasure and perspective of women to be centered, something she points out will benefit men as well. The first lines of this song really stick out and reflect the state of masculinity in 2025: “I fear the man who finds himself lost / In tales of war, delusions of more / Beautiful boys, I wish you knew how precious you are / Your mother's, sister's, lover's heart is where there's healing.” I think this is a great idea to share, as many men who find themselves alienated and radicalized believe that they’re being persecuted or attacked (i.e. tales of war) but in reality, they simply need to take responsibility for themselves and their actions.
Perfect Stranger. Probably my least favorite track on the project, Perfect Stranger details twigs’ desire for anonymity in her sexual and romantic endeavors. It’s not that the subject matter is bland or uninteresting, it’s more so the songwriting as a whole which leaves me wanting more after the two heavy hitters that preceded it. The lyrics come across as one-dimensional, despite the emotions and message behind them. And the structure of the track really solidifies that one-dimensional feeling. Despite this, I can still admit the four-on-the-floor groove that ends the track is a good time. Honestly, though, this album’s flow would greatly improve if it went straight from Girl Feels Good to Drums of Death, but alas. Perfect Stranger is still a song I can pop on every once in a while, but certainly not a main tenant of why I love this album.
Drums of Death. Back to the heavy hitters! Immediately the heavy kick, dark synths, and electric vocal chops make for an excellently produced main “riff” or chorus. Feels like you’re being transported to a futuristic, cyberpunk dance club. With lines such as “Rip your shirt, flesh exposed / Feel hot, feel hard, feel heavy / Fuck who you want / Baby girl, do it just for fun.” and “Craving rabid fuck / Hard metal / Silver stiletto / Devour the entire world / Fuck it, make it yours / do it just for fun,” it seems this may be a particularly sexually liberating future as well. The stark contrast between this song’s main “riff” and its verses are striking to say the least. It took me a bit to decide how much I really fucked with this one, as outside of that skull-crushing main riff, the song relinquishes itself for a more “poppy” and “generic” sound. I use quotations because that is more so how it comes across, and less the actual nature of those sections themselves. I grew to love them though, as they provide both great payoff and continued tension as they continue.
Room of Fools is one of the songs I (for some reason) did not like at all on the first run-through. I think part of that is the expectation I set immediately upon hearing the woozy, pulsating synths that open the track. I was craving something even more unconventional after hearing Drums of Death, a craving that was not satisfied once the kick and bass came in. Despite that, this track is a delight. Once I relistened, I became enamored with the pumping, optimistic chorus and the flourishes of production that never distract from the focus on twigs. And vocally, she is wearing her influences on her sleeves here. Not for the entirety of it, but for sure Björk was weighing heavy on her vocal cords for this one. twigs really digs into her lower register and graces us with some growly, aggressive deliveries that are a nice change of pace for the album, not to mention a nice contrast with the lighter, flightier lines that accompany them. Another banger, onto the next!
Sticky was another one I didn’t care for at first, which honestly I feel is a bit more understandable here. The chord progression, lyrics and vocal melodies feel a little undercooked in the beginning. Since then I’ve reconsidered my thoughts and come out with a more positive response to these things, but I think wherever it still might lack just a bit in these areas, it makes up for in the instrumental ideas on display. The keys wax and wane like waves in the sea, the vocals evolve into synths with evocative production, and the whole track explodes into one of the most unsettling and random drops I’ve ever heard. In headphones, her voice directly burrows into your ear with production that genuinely gives me goosebumps in an almost uncomfortable fashion.
Keep It, Hold It. Honestly this is one of the songs that I have the least to say about. Its ideas are interesting and work well--especially once the track, almost as an afterthought, finally kicks itself into some movement. Still, this is one of those tracks that really doesn’t spur you to come back to it. Within the context of the album it works well, but I haven’t found myself revisiting this one much.
Childlike Things. I’ve been dreading arriving at this one. Not sure exactly how to feel about it, honestly. Aside from the obvious glaring North West of it all, the whole song is just… it feels a bit Harajuku Girls by Gwen Stefani. Obviously not to that extent but still, it just feels a little wrong. I can’t lie though, it is unfortunately super catchy and fun. And the breakdown that begins at 2:08 is super satisfyingly subtle, production-wise. There are things to like about this song but the question left in my head is still “why?”
Striptease and Eusexua are tied for my favorite songs on the album. The beat on this thing just goes so hard juxtaposed with the pre-chorus sections where all percussion drops out, leaving room for soft, angelic pads to accompany the reverbed-out vocals. While the structure may be particularly uniform, it works for me and makes the outro that much more satisfying when it switches things up with a breakbeat placed perfectly in the mix--not too attention-grabbing but driving and effective. And does 3:32 remind anyone else of Shakira?
24hr Dog is such a good song! Everything here is produced so eloquently. From the cascading snap that appears in the beat every once in a while to the main synth line that buries itself as the vocals come in, unearthing here and there--this one is another treat to the ears. This micro-beat, calling back to the Björk influence with a particular Vespertine twist, swings subtle beeps, boops, and bops along with ear-tingling hi-hat and snare rolls across the stereo field. The production here is a highlight, but what truly elevates this one is the lyricism. Perhaps the most striking, as most of it is describing her desires to completely submit to her partner. But there is much more depth to this than simple submission and domination. Her plea to not have her name spoken when being “commanded,” lyrics revolving around her shame in these acts, but also about the comfort and freedom it provides shows deeper insight into what she’s truly getting at when saying, “I’m a dog for you.”
Wanderlust. I remember the first time hearing this I was surprised how much I felt it borrowed from Frank Ocean’s style on Blonde. It was something that excited me as the track began, but was partially dashed as the chorus came in with a much more traditional vocal performance and chord progression. I do really like the production and creative decisions towards the end of the song, though, such as the breakbeat making a triumphant comeback--but I can’t help but feel a little underwhelmed by this one, especially as a closing track.
While not as unconventional and mind-blowing as I was expecting from the Eusexua and Drums of Death singles, EUSEXUA still found a way to absolutely dazzle me with incredible production and just enough fascinating imagery and messaging to keep me thinking. This review may have come across as particularly subjective, as I didn’t analyze all too much the musical aspects with precision, and this is mainly because I lack much of vocabulary to adequately analyze EDM and Dance music. While it is a genre and sound I have recently been discovering and listening to all the time (as well as, of course, having had the classic middle school dubstep phase), I still feel like a newbie in the space. Nonetheless, check this project out! With an open mind and some headphones this project can really make your night special!
8/10
 |
| photos stolen from the internet. |
Hello everyone! Nick is back… and I have come to share with you the good word of EUSEXUA. I've gone through an emotional rollercoaster with this album. At first I was obsessed with the first single, Eusexua--listening to it multiple times a day, on the road, in the shower, everywhere. Then, when it dropped, I was honestly disappointed by the rest of the album, but once I eventually gave it another shot I completely fell in love with all of it. Now, two months out, I find myself somewhere in the middle, albeit leaning quite a bit more towards the positive side.
Eusexua. What a beautiful opening track. Such an effective thesis statement for the project. Absolute ear candy with lyrical themes to keep you chewing. Nothing crazy deep here, but still provocative and a conduit for personal introspection. Eusexua, itself, isn’t a “real” word, twigs coined it herself. She describes it as “a feeling of extreme euphoria in which one transcends the human form.” You can read more of her personal thoughts yourself, because honestly it is very illuminating--Her conversation with Imogen Heap in particular made for a very interesting grocery run. But, coming back to the song itself, Eusexua does a great job at conveying the feeling of an intimate, almost mysterious discovery in the first half before bringing the kick, bass, and juicy synths into focus for an introspective, pulsating climax.
Girl Feels Good. One of my favorite examples of a thematically “basic” concept that has more depth than a passive listener might gather. Girl Feels Good calls for the pleasure and perspective of women to be centered, something she points out will benefit men as well. The first lines of this song really stick out and reflect the state of masculinity in 2025: “I fear the man who finds himself lost / In tales of war, delusions of more / Beautiful boys, I wish you knew how precious you are / Your mother's, sister's, lover's heart is where there's healing.” I think this is a great idea to share, as many men who find themselves alienated and radicalized believe that they’re being persecuted or attacked (i.e. tales of war) but in reality, they simply need to take responsibility for themselves and their actions.
Explaining it in this way, with their issues directly stemming from their insecurities about themselves and learned, patriarchal ideas about where their worth lies, is a very effective way to communicate to these “lost men” an answer: listening to, caring for, and understanding the women in your lives. “When a girl feels good, it makes the world go ‘round.” As far as the song itself, the early 2000s techno synth riff that continues throughout the whole song is nothing but addictive, allowing the rest of the elements, such as the rhythm section and FKA twigs’ incredibly satisfying melodies to take center stage. Overall a banger that I have yet to get sick of.
Perfect Stranger. Probably my least favorite track on the project, Perfect Stranger details twigs’ desire for anonymity in her sexual and romantic endeavors. It’s not that the subject matter is bland or uninteresting, it’s more so the songwriting as a whole which leaves me wanting more after the two heavy hitters that preceded it. The lyrics come across as one-dimensional, despite the emotions and message behind them. And the structure of the track really solidifies that one-dimensional feeling. Despite this, I can still admit the four-on-the-floor groove that ends the track is a good time. Honestly, though, this album’s flow would greatly improve if it went straight from Girl Feels Good to Drums of Death, but alas. Perfect Stranger is still a song I can pop on every once in a while, but certainly not a main tenant of why I love this album.
Drums of Death. Back to the heavy hitters! Immediately the heavy kick, dark synths, and electric vocal chops make for an excellently produced main “riff” or chorus. Feels like you’re being transported to a futuristic, cyberpunk dance club. With lines such as “Rip your shirt, flesh exposed / Feel hot, feel hard, feel heavy / Fuck who you want / Baby girl, do it just for fun.” and “Craving rabid fuck / Hard metal / Silver stiletto / Devour the entire world / Fuck it, make it yours / do it just for fun,” it seems this may be a particularly sexually liberating future as well. The stark contrast between this song’s main “riff” and its verses are striking to say the least. It took me a bit to decide how much I really fucked with this one, as outside of that skull-crushing main riff, the song relinquishes itself for a more “poppy” and “generic” sound. I use quotations because that is more so how it comes across, and less the actual nature of those sections themselves. I grew to love them though, as they provide both great payoff and continued tension as they continue.
Room of Fools is one of the songs I (for some reason) did not like at all on the first run-through. I think part of that is the expectation I set immediately upon hearing the woozy, pulsating synths that open the track. I was craving something even more unconventional after hearing Drums of Death, a craving that was not satisfied once the kick and bass came in. Despite that, this track is a delight. Once I relistened, I became enamored with the pumping, optimistic chorus and the flourishes of production that never distract from the focus on twigs. And vocally, she is wearing her influences on her sleeves here. Not for the entirety of it, but for sure Björk was weighing heavy on her vocal cords for this one. twigs really digs into her lower register and graces us with some growly, aggressive deliveries that are a nice change of pace for the album, not to mention a nice contrast with the lighter, flightier lines that accompany them. Another banger, onto the next!
Sticky was another one I didn’t care for at first, which honestly I feel is a bit more understandable here. The chord progression, lyrics and vocal melodies feel a little undercooked in the beginning. Since then I’ve reconsidered my thoughts and come out with a more positive response to these things, but I think wherever it still might lack just a bit in these areas, it makes up for in the instrumental ideas on display. The keys wax and wane like waves in the sea, the vocals evolve into synths with evocative production, and the whole track explodes into one of the most unsettling and random drops I’ve ever heard. In headphones, her voice directly burrows into your ear with production that genuinely gives me goosebumps in an almost uncomfortable fashion.
Keep It, Hold It. Honestly this is one of the songs that I have the least to say about. Its ideas are interesting and work well--especially once the track, almost as an afterthought, finally kicks itself into some movement. Still, this is one of those tracks that really doesn’t spur you to come back to it. Within the context of the album it works well, but I haven’t found myself revisiting this one much.
Childlike Things. I’ve been dreading arriving at this one. Not sure exactly how to feel about it, honestly. Aside from the obvious glaring North West of it all, the whole song is just… it feels a bit Harajuku Girls by Gwen Stefani. Obviously not to that extent but still, it just feels a little wrong. I can’t lie though, it is unfortunately super catchy and fun. And the breakdown that begins at 2:08 is super satisfyingly subtle, production-wise. There are things to like about this song but the question left in my head is still “why?”
Striptease and Eusexua are tied for my favorite songs on the album. The beat on this thing just goes so hard juxtaposed with the pre-chorus sections where all percussion drops out, leaving room for soft, angelic pads to accompany the reverbed-out vocals. While the structure may be particularly uniform, it works for me and makes the outro that much more satisfying when it switches things up with a breakbeat placed perfectly in the mix--not too attention-grabbing but driving and effective. And does 3:32 remind anyone else of Shakira?
24hr Dog is such a good song! Everything here is produced so eloquently. From the cascading snap that appears in the beat every once in a while to the main synth line that buries itself as the vocals come in, unearthing here and there--this one is another treat to the ears. This micro-beat, calling back to the Björk influence with a particular Vespertine twist, swings subtle beeps, boops, and bops along with ear-tingling hi-hat and snare rolls across the stereo field. The production here is a highlight, but what truly elevates this one is the lyricism. Perhaps the most striking, as most of it is describing her desires to completely submit to her partner. But there is much more depth to this than simple submission and domination. Her plea to not have her name spoken when being “commanded,” lyrics revolving around her shame in these acts, but also about the comfort and freedom it provides shows deeper insight into what she’s truly getting at when saying, “I’m a dog for you.”
Wanderlust. I remember the first time hearing this I was surprised how much I felt it borrowed from Frank Ocean’s style on Blonde. It was something that excited me as the track began, but was partially dashed as the chorus came in with a much more traditional vocal performance and chord progression. I do really like the production and creative decisions towards the end of the song, though, such as the breakbeat making a triumphant comeback--but I can’t help but feel a little underwhelmed by this one, especially as a closing track.
While not as unconventional and mind-blowing as I was expecting from the Eusexua and Drums of Death singles, EUSEXUA still found a way to absolutely dazzle me with incredible production and just enough fascinating imagery and messaging to keep me thinking. This review may have come across as particularly subjective, as I didn’t analyze all too much the musical aspects with precision, and this is mainly because I lack much of vocabulary to adequately analyze EDM and Dance music. While it is a genre and sound I have recently been discovering and listening to all the time (as well as, of course, having had the classic middle school dubstep phase), I still feel like a newbie in the space. Nonetheless, check this project out! With an open mind and some headphones this project can really make your night special!
8/10
Stream EUSEXUA.
-Nick.
See FKA twigs on the remainder of their tour.
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