No, “eusexua” is not a real word — it’s an indefinable feeling.
On Friday, singer FKA Twigs released her third studio album, EUSEXUA. Twigs has garnered critical acclaim throughout her career for her transformative style, with her previous albums blending elements from electronic, R&B and pop into a futuristic pulp.
In a promotional interview with Vogue, Twigs describes the feeling of “eusexua” as “a kind of meditative … amazing, beautiful physical experience,” and cites dancing all night long and completely losing track of time as an example of when someone might feel it.
The self-titled track, “Eusexua,” cocoons these feelings into music. A faint bass drum pulses in the background, its fast tempo contrasting with Twigs’ sweet and delicate vocals. She sings of a shared feeling more powerful than love — her reassured “You’re not alone” in the chorus is comforting.
Bittersweet synths slowly fill the space, gradually adding more power to the song. By the end, the bass drum swells with intensity. What a breathtaking introduction to the album.
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Twigs then has one final revelation.
“People always told me that I take my love too far / Then refused to help me,” Twigs sings in the outro. “I was on the edge of something greater than before / But nobody told me.”
These lines mirror the closing moments of Twigs’ 2019 album, MAGDALENE, where she longs over an imbalanced relationship on “cellophane.” “Eusexua” serves as Twigs’ rebirth — newly empowered and self-determined.
EUSEXUA is unapologetic both in its lyrics and production. Twigs’ songwriting feels authentic and emboldening, bringing a vivacious spirit to many of the tracks. She flaunts her glitch-pop aesthetic, unafraid to morph and twist songs to her will. In an era where pop is often monolithic, EUSEXUA’s distinct energy is exciting.
Twigs carries this energy into “Perfect Stranger,” an ode to one-night stands inspired by 2000s Eurodance. She flexes her pop sensibilities on the chorus with an infectious hook: “You’re perfect, baby / My perfect stranger / You’re beautiful, you’re worth it / You’re the best, and you deserve it.” The beat single handedly drives bodies to the dancefloor, infusing optimism into an act often seen as meaningless.
EUSEXUA shines best when its songs glitch as if they’re on the verge of collapse. In “Drums of Death,” Twigs ingeniously chops vocals into rapid robotic bits, transforming them into a percussion line. Beats like those on “24hr Dog” stutter and skip as if tiny chunks were removed from the track. These harsh yet inviting soundscapes flavor the album, giving it a distinctive personality.
“Childlike Things” proves that not every experiment pans out. While its high energy makes it begrudgingly fun, 11-year-old North West’s feature is inexplicable, delivering a Google Translate-quality Japanese verse. Though West is excused due to her age, Twigs’ chorus walks a thin line between catchy and annoying.
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Twigs revels in confidence for much of EUSEXUA, though cracks in her armor are visible, with plenty of moments showcasing her raw vulnerability.
“Sticky” basks in silence, only featuring a sullen piano and muffled 808s. Twigs admits that she is tired and scared beneath the bravado, choosing to bottle up her emotions and longing for intimacy.
“You’re right, I hold it in my body,” Twigs sings. “Little snakes inside a bottle / Writhing in my frustrations.”
The vulnerable track offers a refreshing change of pace on the album, with a raw honesty that is both brave and uncomfortably relatable. Twigs’ attempt to make others feel seen shines through here, making it one of EUSEXUA’s highlights.
Twigs ultimately overcomes these insecurities, as “Striptease” exemplifies. The album’s climax sees Twigs finally emotionally connecting with her partner and feeling alive. The beat begins dark and atmospheric but brightens as Twigs introduces angelic vocals and raises the tempo towards the end. The song perfectly blends the album’s intimate and energetic strengths, securing its status as a standout.
With EUSEXUA, Twigs sets a high bar for pop music in 2025. She injects so much life and energy into the album, with many songs cementing themselves as instant classics within her larger discography. This unabashed energy is exactly what music today needs, and I’m all here for it.
