Increasing this genetic modification on the fly of the songs is a world of attractive sounds – it would simply be a Twigs album without them. On EusexuaThe stranger is in detail. The piano on “Sticky” looks like “April 14th” if the keys to this song were rather ping-pong bullets. The voices in the Coda of “Keep it, Hold It” seem to be merged with woods. Metal stripes are formed above the ventilation of “Room of Fools”. “Drums of Death” Bégaie et Pépins for Sport. Although this is the most advantageous song here overall, “Drums” embodies the ethics of twigs and its main Korless co -producer: Hop up as much as possible to create fully articulated mechanized animals of songs. Everything is beautifully mastered, with a reliable separation of sounds and a large dynamic range. A range of star beatmakers, mainly credited with “additional production”, also worked on these tracks, notably Stuart Price, Nico Jaar, Marius de Vries, Sasha, Stargate and Eartheater.
The most distinct sound of twigs’ music remains his voice. It is the sonic titanium – light and unfathomably strong. It manifests more versatility than ever – disintegration and growls on “Room of Fools”, the hand game while chanting “childish things” alongside the northwest which, no shit, praises Jesus in a Japanese verse. When Twigs describes her condition on “Eusexua” as “King size / I am vertical in the sun / as flight flight”, she sounds somewhere between happiness and crying. The hook of “Room of Fools” is a succinct assessment of the club which has so fascinated it: “It’s good.” The way she sings is a close Yodel, a melismatic counting of syllables from the back of her throat, as addictive and impossible for the Plebs to sing like the choir of “Wuthering Heights” by Kate Bush.
While “Room of Fools” ends, the twigs rhapsot themselves on the process of getting lost on dancefloor: “The night I saw you / in a piece of fools / I knew that I could evoke / be want.” The dissolution of identity is a reason on an album whose songs are largely aimed at negotiating comfort in the larger world. On the bottom anthem “24 -hour dog”, she adopts a pragmatic approach to submission: “Your love tasks distract me from my worst defects / moving freely / the sweetest part of me.” On several occasions, the twigs sing the difficulty she has in triggering her real self: “Opening it seems to me to be a striptease.” Just as his songs work to find their final forms, the same goes for Twigs, whose personality has traveled a long path of “strange, post-humanist, Uncanny Valley-Girl” from its beginnings in 2014.
The twigs remain a difficult and attractive figure in contemporary music, but in the last decade, it has softened a little to let in more soul, pleasure and humor. Eusexua is more a derisory than a complete reimagination of the twigs as a pop artist, retaining his whims and his fixings while telling a story of transformation through the music of the club. Our Lady of perpetual healing is both a model and a guru on an album that is always concerned with the unlimited potential of imagination. During the sweet breaks of the final song, “Wanderlust”, she says to us: “I will be in my head if you need me.” Like a lot of EusexuaThe song knows with Pop but not indebted. In other words, Twigs has found his Sweet Spot.
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