By Ryan Gee
FKA twigs is back with her fourth studio album, “EUSEXUA,” following the stunningly intimate “LP1” and the hauntingly powerful “MAGDALENE.” If you’ve been following her evolution, you might have caught her 2022 mixtape “CAPRISONGS” — a playful, genre-blurring project that leaned into joy and community. But “EUSEXUA”? This one feels different. This one is something else entirely.
What does “EUSEXUA” even mean?
twigs coined the term herself, describing it to British Vogue as "a sensation of euphoria so intense it feels like one transcends human form." Sound abstract? Sure. But when you break it down, it actually makes perfect sense.
Imagine being at a rave, losing yourself in the music so completely that time disappears. Or that electric, otherworldly feeling of kissing a stranger for hours, the kind of high that isn’t drug-induced but still alters reality. That’s “EUSEXUA,” and it's exactly what twigs explores on this album.
Just before the album dropped, she sat down with Jake Shane on his “Therapuss with Jake Shane” podcast to dive deeper into the meaning of “EUSEXUA” and how it shaped her creative process. It turns out, this wasn’t just a sonic experiment it was an emotional and physical transformation.
The sound of “EUSEXUA”
twigs describes “EUSEXUA” as having "11 corners," each song representing a different shade of this transcendent feeling. Expect a wild mix of dance techno, glitchy beats and lush instrumentation. It’s unpredictable, immersive and deeply sensual everything we love about twigs but taken in a new direction.
One of the biggest inspirations for this album? Her time in Prague filming “The Crow,” a movie she starred in. Maybe that European underground energy seeped into the production because this album feels like it belongs in a dimly lit club at 4 a.m., right before the world starts to blur.
Here’s the breakdown of each track:
“Eusexua” (Title track): The gateway to twigs’ universe
One of the first singles from the album rollout, “Eusexua” sets the tone for everything that follows. twigs takes an ethereal approach here like an offering, an unraveling of the world she’s created. From the first listen, I was hooked, but when the music video dropped, it quickly became one of my favorites.
The video opens with “Drums of Death” (track four on the album) before seamlessly transitioning into “Eusexua,” creating a hypnotic, immersive experience. twigs herself described this visual pairing as representing "being in a place you want to break out of, and in the end, you eventually do." And honestly? That feeling is woven into every note of this track.
“Girl Feels Good”
At first, I wasn’t sure how I felt about “Girl Feels Good.” Unlike some of the other tracks we’d already heard leading up to the album, this one was a different sound than the others. I didn’t know what to expect.
The pre-chorus builds tension, layering sounds until it bursts into an undeniably catchy beat. And as someone who’s a sucker for a solid beat, I have to admit—this one delivers.
Lyrically, “Girl Feels Good” explores the desire and power of being a woman. twigs weaves in simple yet expressive lines like: "When a girl feels good, it makes the world go 'round /When the night feels young, you know she feels pretty."
It’s a celebration of feminine energy, confidence and the ripple effect of feeling empowered. Whether it’s about reclaiming sensuality, owning your presence or just embracing the moment, this track carries an effortless sense of freedom.
It may have taken me a minute to appreciate, but now? I get it.
“Perfect Stranger”
When “Perfect Stranger” dropped as the second single back in October, I wasn’t sure how I felt about it. I think I was expecting something more in line with “Drums of Death,” especially since that track had already been teased in the “Eusexua” music video. But “Perfect Stranger”? It was different — softer, more hypnotic and a little unexpected.
This song isn’t about high-energy intensity — it’s about surrendering to that fleeting moment, about letting go of expectations and just feeling. It’s effortlessly intoxicating, the kind of track that makes you want to kiss a stranger, share a night with someone you’ll never really know and exist in a moment that’s purely about sensation.
It’s a feel-good song in the most humane way possible, light, unburdened and full of possibility.
Go kiss a stranger idk?
“Drums of Death” with Koreless
Before the album even dropped, “Drums of Death” with Koreless had already secured a spot in my top five. The moment it was released, I couldn’t stop playing it — pretty sure I ran it back a billion times that first week alone. The obsession? Real. The beats? Addictive. The glitches? Pure perfection.
There isn’t much singing on this track, but honestly, it doesn’t need it. The production itself is the star –– hypnotic, pulsing and impossible to sit still to. Everything about “Drums of Death” makes me want to throw on my headphones, turn the volume all the way up and dance around my apartment like no one’s watching.
If there’s one song you listen to from this album, listen to this one. It’s a full-body experience.
“Room Of Fools”
As someone who isn’t a Björk listener, I didn’t immediately pick up on the comparisons — but after seeing the conversations online, I get it. “Room Of Fools” isn’t just a song; it’s an experience, drenched in techno and electronic dance music influences. The pulsing, rave-like energy is undeniable, pulling you into its otherworldly atmosphere.
From the moment twigs opens with the lyrics: "Stranger… in a dark room… dancing… almost lost you," you’re transported to a dimly lit club, bass vibrating through your body, completely losing yourself to the music. It’s chaotic yet immersive, the kind of track that makes you want to close your eyes and let the beat take over.
Whether or not Björk was a direct influence, “Room Of Fools” channels that same avant-garde, experimental spirit — and it works. However, there’s been quite a lot of people who don’t necessarily like this song because of the influences, but like the other’s it grows on you with each listen.
“Sticky”
From the very first listen, “Sticky” stands out — both sonically and thematically. The track dives into the feeling of being bound by repetitive situations, trapped in cycles that are hard to break. It’s tense and emotionally charged in a way that lingers long after the song ends.
On “Therapuss with Jake Shane,” twigs opened up about the song’s meaning, highlighting one of the lyrics that resonates with her most: "Little snakes inside a bottle, withering in frustration."
She describes this as the overwhelming sensation of bottled-up emotions — so intense that it starts to feel like her skin is crawling, almost slithering. And honestly? You can feel that unease throughout the track, especially as it builds toward the bridge and outro.
By the time “Sticky” reaches its climax, it’s impossible not to be completely immersed. It’s the kind of song that knocks you off your feet. You’ll definitely want to listen again.
“Keep It, Hold It”
A track that starts off slow in almost a delicate way is “Keep It, Hold It.” twigs’ voice in this song is so buttery and smooth. Throughout the track twigs’ keeps this delicate vibe up until the bridge which transforms it into a full-blown rave track. The track takes its time to turn into something euphoric, but when it does it turns into something that is chaotic but in all the best ways.
One thing about this song is definitely the beautiful harp instrumental woven throughout. It adds this dreamy element to the song, creating a contrast of what the song then becomes by the end.
“Childlike Things” with North West
Of all the collaborations on “EUSEXUA,” this might be the most random — but does it work? Honestly... yeah. Surprisingly, yes.
The production carries this song — synth-heavy, drenched in autotune and layered with an unexpected yet Japanese vocal moment from North West. twigs sets the tone with lyrics that feel straight out of a surreal fairytale: "Where the wild things are, I will be... lost in a world of childlike things and fantasies."
Some fans weren’t thrilled with West’s inclusion, especially since her verse brings in religious themes, a subject twigs has never really explored in her music before. But whether you love it or find it jarring, there’s no denying that “Childlike Things” is one of the most fascinating tracks on the album.
“Striptease”
Another HUGE standout from this album. The production is sleek and sensual, effortlessly blending twigs' haunting vocals with the kind of rhythmic tension that gets under your skin.
Lyrically, “Striptease” isn’t just about physicality, it’s about stripping away layers, exposing the raw truth of who you are and reclaiming control over your own narrative. It’s about embracing your sensuality, shedding those societal expectations and just being yourself.
It’s definitely one of my favorites off the album; it’s been on repeat the whole week it’s been out.
“24hr dog”
The production here is intense, brooding and a little unsettling. twigs’ voice drips with emotion, almost like she’s telling you about a confession in whispers and broken sentences.
The track explores this yearning and loneliness aspect that we’ve seen before in twigs’ work.
This track has still to be one of my favorites on this album only because I don’t find myself coming to it as much as I do the rest of the album. I think it’s simply just because of how intense the “24hr dog” is. It is the kind of track you play late at night while you reflect.
“Wanderlust”: A dreamy conclusion to “EUSEXUA”
“Wanderlust” is the perfect closing track for this album, slowing things down with a tone we haven’t heard on “EUSEXUA.” It’s soft, intimate and reflective. twigs focuses on a relationship, expressing a longing to be found in an immaterial world (her version of “EUSEXUA”). She pleads with her love to come find her, to hold her tight once they do.
It’s a beautiful, serene way to end an album that’s been both intense and transformative.
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