FKA Twigs might be one of the most exciting artists working in the broad field of art-pop, electronic pop and R&B, although those genre labels and any effort of categorization cannot capture the breadth of sounds the British artist has covered in her short but revered discography. Her last studio effort, 2022’s excellent “Caprisongs,” veered into an adventurous flex of Afrobeats and abstract hip-hop to give an almost mainstream-sounding album, while remaining a layered record that rewards repeat listens. On “EUSEXUA,” Twigs aims to create an unending atmospheric rave dance party—and comes out swinging with a masterfully crafted album. 

The word “eusexua” is a sex-tinged play on the word “euphoria,” and while sexual liberation and joy is not new lyrical ground for Twigs, the sense of joy and thrill is magnified by the immaculate production throughout the record, held together her amazing voice that soars and glides into uncharted territories. There are points on this album where Twigs goes berserk. “Room Of Fools” is a worthy salute to Björk, with warped vocal and melodic chops and builds, threaded by a pummeling percussive beat that builds and builds into a beautiful crescendo. It is one of a few compositions that keep shapeshifting but never lose cohesion.

“Childlike Things” is a fun little detour, with guest vocals from North West (the daughter of Kanye West) who sings in Japanese. Some of my favorite moments of the album are songs such as “Striptease” and “24 hr Dog.” The previous blurs the line between sexual satisfaction and transcendence with its beautifully evocative imagery. The latter is an example of how Twigs manages to evoke pretty sultry imagery without being as lyrically explicit as her previous work. This album is spread with such beautiful wordplay and lyricism that are endlessly quotable. 

Overall, I loved “EUSEXUA.” If you love avant-garde music fused with pop sensibilities, FKA Twigs might turn out to be your next favorite artist.