Right, so I have a bone to pick with Spotify UK. Why was I still waiting for Eusexua to show up, although it was 3:00 am? All my UK mutuals were busy streaming the album while I was contemplating whether I should download a VPN… When times are tough, I prove to be tougher. The most annoying attribute about albums dropping on Spotify is the fact that the differing time zones create space for narratives to be pushed online before you’ve had a chance to dissect a body of work for yourself. I was restlessly scrolling through X (Twitter’s stripper name) and seeing loads of people loving the album and loads of people being incredibly confused by the album, leaving me in a state of confusion.

I know this confusion all too well. As a music enthusiast, you become accustomed to understanding the lifecycle of a new album release. First, it releases, and people are trying to get a quick retweet bashing one song instead of taking time to understand the body of work. I had been anticipating ‘Eusexua’ as I’ve always been incredibly fond of FKA Twigs’ work and felt that the last year and a half had been an exciting year for the alternative pop/electronic scene, so I was excited to see what 2025 had in store for us after ‘BRAT’ dominated last year.

We’re currently in an era where music feels all too repetitive. ‘Eusexua’ transcends into the zeitgeist as a bold, unapologetic masterpiece that rebels against genre and expectation. The album displays a blend of hypnotic, experimental production alongside raw, intimate lyricism that makes you feel like you have access to the deepest depths of Twigs’ mind. As a listener, I feel invited to confront all my themes of desire, vulnerability, and identity. ‘Eusexua’ feels like more than just an album; it feels like an immersive experience that you continue to carry with you. ‘Eusexua’ dares you to almost show up for yourself in a way you’ve never done before. Embrace the discomfort and ecstasy that life throws at you because it’s all a part of the experience. Enjoy the experience and sit with how it makes you feel.

This album feels like a sonic crochet woven with pieces of sensuality, introspection, and a relentless desire for transcendence. The album has a strong sense of fluidity between bodies, sounds, digital, and the merging of the human touch. I enjoyed this album thoroughly because it feels as though each song serves as a piece of a larger narrative. Though some moments, like ‘Childlike Things’, feel out of place, I feel it’s a testament to the fact that journeys are never linear. You’re always in a tumultuous position that is neither here nor there; some moments you’re full of resentment, and other times you’re grateful for being able to embrace the simplicity of childishness.

The album blends avant-pop, techno, and electropop exceptionally well, which creates a soundscape that feels nostalgic and innovative. Songs like ‘Girl Feels Good’ feel very similar to late ’90s pop anthems whilst maintaining an element of Twigs’ style. Many people online have described ‘Eusexua’ as Twigs’ ‘Ray of Light’ moment, as they seem sonically in tune. Producer Marius de Vries has influenced both albums, which explains why they sonically feel very alike—they feel free and inviting to all experiences.

‘Perfect Stranger’ is the third track on the album, and it truly does feel too good to be true. It dives into the thrill of connections and features a distinctive beat that pulsates in a liberating nature alongside shimmering synths. The vocals convey a sense of curiosity and detachment, which perfectly captures the essence of fleeting encounters.

There is a slight shift in tonality as we go from ‘Perfect Stranger’ to ‘Drums of Death’, which is a stand-out feature with Koreless, who brings an industrial dark feel. As ‘Perfect Stranger’ ends, we’re met with a slight pause before being thrown into a harsh and callous industrial mode, which fits the visuals for ‘Drums of Death’ perfectly. As we approach ‘Room of Fools’, we’re able to see influences from artists such as Björk and Kate Bush, as this song juxtaposes introspective lyricism with delicate melodies.

This song, to me, feels like the joyful elements you would find in the early 2000s club scene. Twigs’ ability to encapsulate the pure ecstasy you experience in a club is something I find endearing and commendable. I feel like ‘Room of Fools’ is one of the pieces of evidence that support my claims that Eusexua is one of the most experimental and fresh albums we have had in a long time. It feels almost like she’s laid her heart bare on the line as a sacrifice for a groundbreaking project. Despite it being compared to other albums, I think that in itself is a testament to how good Eusexua is. The albums it’s being compared to are incredibly impactful albums.

‘Sticky’ is the sixth track on the album, and it stands out like a sore thumb for the simple reason that it’s a moving ballad that features a piano melody eerily reminiscent of ‘Aphex Twin’s Avril 14th’. Twigs delivers a remarkable performance that conveys strength and weakness simultaneously. I do like this track a lot because I feel like it’s the moment to wind down after being hit with heavier sounds beforehand. The themes don’t get any lighter, though, as we transcend into ‘Keep It Hold It’, where we’re met with haunting vocals and a hypnotic sound as Twigs delves deeper into the journey of understanding herself on a deeper level. Her lyrics display a sense of loneliness and disarray with lines like:

“Sometimes I feel so empty where I lay. And at best I live alone in disarray.”

She so badly wants to be understood but acknowledges that no one else including her can understand the depth of her soul. She expresses the internal struggle that comes from feeling alone but continues to show great tenacity, with the chorus serving its purpose as a mantra:

“What have I got to do? (Just keep it walking, keep it walking, hold it close)

And what have I got to say? (Just keep it moving, keep it moving, hold it close).”

Despite feeling very much alone, she acknowledges that there is no point in sitting in your feelings and refusing to continue. I feel that Keep It Hold It is a great call-back to her first mixtape, ‘Caprisongs’, where she expresses her desire to become much more comfortable being who she is. Before the song begins, she includes a voice recording where she’s being very vulnerable about how she feels towards her career:

“Each year I’m like, ah, I’m gonna own my shit, and then each year I’m still so shy and so quiet—No, but like—I wanna be more confident, I really do— ‘I really do.’ You’re just like— The universe, fam, the universe is so powerful. You’re gonna be more free, and you’re gonna love more, and you’re gonna have more fun. Do you think so? And I’m tell— no, I don’t think so, I know so.”

‘Caprisongs’ was the beginning of her committing to her dreams, and ‘Keep It Hold It’‘ seems to be a point in her career where she feels extremely comfortable being vulnerable, which is a double-edged sword as it seems it has all come as a sacrifice.

As we close out the album, we’re presented with songs that invoke a feeling of completion. It doesn’t feel like a definite completion but more an acceptance of the experience for what it was. ‘24hrDog’ calls on this sense of finally understanding your patterns and knowing exactly what your weakness is. Track three was Perfect Stranger, and there was this fleeting sense of short-lived fun with a perfect stranger, but ‘24hr Dog’ feels more like a sense of realising that all that glistens is not golden.

The feeling of completion follows through to the last track, ‘Wanderlust’, which is a heart-wrenching, moving track that invites listeners into her mind. We reach the album feeling a sense of sadness—not for Twigs, but more so a sense that the journey has been completed. ‘Eusexua’ stands as an experience for the lifecycle of growth. She tried new things, tried to be more authentic to herself, and I feel it was successful. I feel more in tune with who FKA Twigs is as an artist, and I cannot wait to hear what more comes from her.