Springing from her much lauded third LP Eusexua, out in January this year, and following a hugely successful and spectacular tour, the innovative British experimental pop artist, dancer and producer extends her palette of ethereal, otherworldly and sensual creations in this new, more carnal, harder, beat-filled parallel release. Her originally created titular word was all about that ecstatic human state of losing all sense of time in the throws of creativity, dance, sex, or immersed in nature, while this follow-up brings in a more pummelling, pulsating, experience. Her collaborators, including co-writer Manni Dee and co-producer Mechatok also play a significant part in bringing out the sensuality of her voice and the synthesis of sounds in their shard and smooth glassy, watery, breathy, twinkling, brittle, rhythmic, clubby, sweaty, unpredictable range. It may well be in part a Eusexua afterthought as much as afterglow to keep the momentum of the former, but Twigs is still a thrilling artist and this is far more than the aftercuts, more a development out of it, with a flavour sweatier and dirtier. There’s a truly alien-like purity, fragility and sexy sensuality to her, brought out visually as well as musically, again this release, unique and different, but certainly comparable to other envelope-pushers such as Björk, or Arca. Highlights here are the punchy, subterranean Love Crimes, the potent juxtaposition of the innocence and experience in Hard, when she poses that question, in that thin, tiny, high, coquettish voice: “So tell me would you do it hard?”; Sushi’s sweaty syncopated dance; the fusion of psychedelia and garage beat in Cheap Hotel; the metallic sheen and sensual clicks of Predictable Girl; and the woozy, fizzing slowness of closer Stereo Boy. All in all, an extraordinary mix of squeals, groans, giggles and moans and synthetic stop-start sounds well beyond the what scope of what most dance-pop artists could even dream of. There’s simply no one quite like her. Out on Young Records.
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