FKA twigs
EUSEXUA
Boomkat Product Review:
Twigs commences her horny rave-pop era with an ode to ‘90s euphoria and rave subcultures produced by herself with Koreless, Two Shell, Eartheater, Stargate, and Ojivolta - plus flipping’ Sasha! - to mark 13 years at the top of her game
Ever since we had the honour of playing a modest part in introducing Twigs with an early whitelabel pressing of her prodigious debut EP in 2012, it has been deeply rewarding to witness her come to occupy a special place in the popular imagination as a triple threat dancer, singer, actor and all-round modern pop pioneer and cultural icon. She says her 3rd studio album ‘Eusexua’ - a portmanteau of “euphoria” and “sex” - is named for the “sensation of being so euphoric” that one could “transcend human form”, and in that sense kinda reminds us of Coil’s reflections on the nature of early rave experiences with ecstasy as like having sex with oneself (not quite onanism; something else), but sans any explicit nod to gobbling garys. The result is a grown up definition of poptimism that balances its more frivolous aspects with finessed songwriting that edges on Kate Bush’s operatics as much as Orbital’s sort of arena/field-scale fireworks and SOPHIE’s queered hyerspop futurism, and all brims with a finely tempered, heart-in-mouth quality that pushes the right buttons dead on.
From the opening blood pump palpitations of a filtered rave hoof and trance siren glyde that feels like arriving at the club in its title piece, thru the lilting come-down grunge strums and soft touch breaks of ‘Wanderlust’, Twigs embodies the sylph-like spirit of what were once termed fluffy ravers, rather than the froth-at-mouth hardcore type. She epitomises how OG rave and its ‘90s commercialised form of “dance” music has transcended its scuzzier roots to become a runway score found in a permo state of nostalgia for rebel utopianism that feels more elusive with successive gens. She hears dance and its trip hop offshoots as the younger siblings of synth-pop in The Beach OST-esque ‘Girl Feels Good’, and it’s not hard to hear the electronic filigree of Koreless inflecting ‘Perfect Stranger’, which is also enhanced by Norse pop gods Stargate (Rihanna, Mariah, Atomic Kitten), whilst Koreless really gets at it on the glitching big beat banger ‘Drums of Death’. As yet we’re not privy to production credits for the rest, but can confirm the surging electro-house canter of ‘Room of Fools’ is a standout, like Kate Bush meets SOPHIE, and ‘Childlike Things’ feels like Basement Jaxx gone J-pop, whilst she saves a bit of signature, UK-style mutant R&B balladeering for ’24hr Dog’.
View more
Boomkat Product Review:
Twigs commences her horny rave-pop era with an ode to ‘90s euphoria and rave subcultures produced by herself with Koreless, Two Shell, Eartheater, Stargate, and Ojivolta - plus flipping’ Sasha! - to mark 13 years at the top of her game
Ever since we had the honour of playing a modest part in introducing Twigs with an early whitelabel pressing of her prodigious debut EP in 2012, it has been deeply rewarding to witness her come to occupy a special place in the popular imagination as a triple threat dancer, singer, actor and all-round modern pop pioneer and cultural icon. She says her 3rd studio album ‘Eusexua’ - a portmanteau of “euphoria” and “sex” - is named for the “sensation of being so euphoric” that one could “transcend human form”, and in that sense kinda reminds us of Coil’s reflections on the nature of early rave experiences with ecstasy as like having sex with oneself (not quite onanism; something else), but sans any explicit nod to gobbling garys. The result is a grown up definition of poptimism that balances its more frivolous aspects with finessed songwriting that edges on Kate Bush’s operatics as much as Orbital’s sort of arena/field-scale fireworks and SOPHIE’s queered hyerspop futurism, and all brims with a finely tempered, heart-in-mouth quality that pushes the right buttons dead on.
From the opening blood pump palpitations of a filtered rave hoof and trance siren glyde that feels like arriving at the club in its title piece, thru the lilting come-down grunge strums and soft touch breaks of ‘Wanderlust’, Twigs embodies the sylph-like spirit of what were once termed fluffy ravers, rather than the froth-at-mouth hardcore type. She epitomises how OG rave and its ‘90s commercialised form of “dance” music has transcended its scuzzier roots to become a runway score found in a permo state of nostalgia for rebel utopianism that feels more elusive with successive gens. She hears dance and its trip hop offshoots as the younger siblings of synth-pop in The Beach OST-esque ‘Girl Feels Good’, and it’s not hard to hear the electronic filigree of Koreless inflecting ‘Perfect Stranger’, which is also enhanced by Norse pop gods Stargate (Rihanna, Mariah, Atomic Kitten), whilst Koreless really gets at it on the glitching big beat banger ‘Drums of Death’. As yet we’re not privy to production credits for the rest, but can confirm the surging electro-house canter of ‘Room of Fools’ is a standout, like Kate Bush meets SOPHIE, and ‘Childlike Things’ feels like Basement Jaxx gone J-pop, whilst she saves a bit of signature, UK-style mutant R&B balladeering for ’24hr Dog’.
Boomkat Product Review:
Twigs commences her horny rave-pop era with an ode to ‘90s euphoria and rave subcultures produced by herself with Koreless, Two Shell, Eartheater, Stargate, and Ojivolta - plus flipping’ Sasha! - to mark 13 years at the top of her game
Ever since we had the honour of playing a modest part in introducing Twigs with an early whitelabel pressing of her prodigious debut EP in 2012, it has been deeply rewarding to witness her come to occupy a special place in the popular imagination as a triple threat dancer, singer, actor and all-round modern pop pioneer and cultural icon. She says her 3rd studio album ‘Eusexua’ - a portmanteau of “euphoria” and “sex” - is named for the “sensation of being so euphoric” that one could “transcend human form”, and in that sense kinda reminds us of Coil’s reflections on the nature of early rave experiences with ecstasy as like having sex with oneself (not quite onanism; something else), but sans any explicit nod to gobbling garys. The result is a grown up definition of poptimism that balances its more frivolous aspects with finessed songwriting that edges on Kate Bush’s operatics as much as Orbital’s sort of arena/field-scale fireworks and SOPHIE’s queered hyerspop futurism, and all brims with a finely tempered, heart-in-mouth quality that pushes the right buttons dead on.
From the opening blood pump palpitations of a filtered rave hoof and trance siren glyde that feels like arriving at the club in its title piece, thru the lilting come-down grunge strums and soft touch breaks of ‘Wanderlust’, Twigs embodies the sylph-like spirit of what were once termed fluffy ravers, rather than the froth-at-mouth hardcore type. She epitomises how OG rave and its ‘90s commercialised form of “dance” music has transcended its scuzzier roots to become a runway score found in a permo state of nostalgia for rebel utopianism that feels more elusive with successive gens. She hears dance and its trip hop offshoots as the younger siblings of synth-pop in The Beach OST-esque ‘Girl Feels Good’, and it’s not hard to hear the electronic filigree of Koreless inflecting ‘Perfect Stranger’, which is also enhanced by Norse pop gods Stargate (Rihanna, Mariah, Atomic Kitten), whilst Koreless really gets at it on the glitching big beat banger ‘Drums of Death’. As yet we’re not privy to production credits for the rest, but can confirm the surging electro-house canter of ‘Room of Fools’ is a standout, like Kate Bush meets SOPHIE, and ‘Childlike Things’ feels like Basement Jaxx gone J-pop, whilst she saves a bit of signature, UK-style mutant R&B balladeering for ’24hr Dog’.
Boomkat Product Review:
Twigs commences her horny rave-pop era with an ode to ‘90s euphoria and rave subcultures produced by herself with Koreless, Two Shell, Eartheater, Stargate, and Ojivolta - plus flipping’ Sasha! - to mark 13 years at the top of her game
Ever since we had the honour of playing a modest part in introducing Twigs with an early whitelabel pressing of her prodigious debut EP in 2012, it has been deeply rewarding to witness her come to occupy a special place in the popular imagination as a triple threat dancer, singer, actor and all-round modern pop pioneer and cultural icon. She says her 3rd studio album ‘Eusexua’ - a portmanteau of “euphoria” and “sex” - is named for the “sensation of being so euphoric” that one could “transcend human form”, and in that sense kinda reminds us of Coil’s reflections on the nature of early rave experiences with ecstasy as like having sex with oneself (not quite onanism; something else), but sans any explicit nod to gobbling garys. The result is a grown up definition of poptimism that balances its more frivolous aspects with finessed songwriting that edges on Kate Bush’s operatics as much as Orbital’s sort of arena/field-scale fireworks and SOPHIE’s queered hyerspop futurism, and all brims with a finely tempered, heart-in-mouth quality that pushes the right buttons dead on.
From the opening blood pump palpitations of a filtered rave hoof and trance siren glyde that feels like arriving at the club in its title piece, thru the lilting come-down grunge strums and soft touch breaks of ‘Wanderlust’, Twigs embodies the sylph-like spirit of what were once termed fluffy ravers, rather than the froth-at-mouth hardcore type. She epitomises how OG rave and its ‘90s commercialised form of “dance” music has transcended its scuzzier roots to become a runway score found in a permo state of nostalgia for rebel utopianism that feels more elusive with successive gens. She hears dance and its trip hop offshoots as the younger siblings of synth-pop in The Beach OST-esque ‘Girl Feels Good’, and it’s not hard to hear the electronic filigree of Koreless inflecting ‘Perfect Stranger’, which is also enhanced by Norse pop gods Stargate (Rihanna, Mariah, Atomic Kitten), whilst Koreless really gets at it on the glitching big beat banger ‘Drums of Death’. As yet we’re not privy to production credits for the rest, but can confirm the surging electro-house canter of ‘Room of Fools’ is a standout, like Kate Bush meets SOPHIE, and ‘Childlike Things’ feels like Basement Jaxx gone J-pop, whilst she saves a bit of signature, UK-style mutant R&B balladeering for ’24hr Dog’.
Gatefold single LP on limited edition clear Milky vinyl with exclusive gatefold image, includes 6x6” logo sticker, lyrics booklet and poster
Out of Stock
Boomkat Product Review:
Twigs commences her horny rave-pop era with an ode to ‘90s euphoria and rave subcultures produced by herself with Koreless, Two Shell, Eartheater, Stargate, and Ojivolta - plus flipping’ Sasha! - to mark 13 years at the top of her game
Ever since we had the honour of playing a modest part in introducing Twigs with an early whitelabel pressing of her prodigious debut EP in 2012, it has been deeply rewarding to witness her come to occupy a special place in the popular imagination as a triple threat dancer, singer, actor and all-round modern pop pioneer and cultural icon. She says her 3rd studio album ‘Eusexua’ - a portmanteau of “euphoria” and “sex” - is named for the “sensation of being so euphoric” that one could “transcend human form”, and in that sense kinda reminds us of Coil’s reflections on the nature of early rave experiences with ecstasy as like having sex with oneself (not quite onanism; something else), but sans any explicit nod to gobbling garys. The result is a grown up definition of poptimism that balances its more frivolous aspects with finessed songwriting that edges on Kate Bush’s operatics as much as Orbital’s sort of arena/field-scale fireworks and SOPHIE’s queered hyerspop futurism, and all brims with a finely tempered, heart-in-mouth quality that pushes the right buttons dead on.
From the opening blood pump palpitations of a filtered rave hoof and trance siren glyde that feels like arriving at the club in its title piece, thru the lilting come-down grunge strums and soft touch breaks of ‘Wanderlust’, Twigs embodies the sylph-like spirit of what were once termed fluffy ravers, rather than the froth-at-mouth hardcore type. She epitomises how OG rave and its ‘90s commercialised form of “dance” music has transcended its scuzzier roots to become a runway score found in a permo state of nostalgia for rebel utopianism that feels more elusive with successive gens. She hears dance and its trip hop offshoots as the younger siblings of synth-pop in The Beach OST-esque ‘Girl Feels Good’, and it’s not hard to hear the electronic filigree of Koreless inflecting ‘Perfect Stranger’, which is also enhanced by Norse pop gods Stargate (Rihanna, Mariah, Atomic Kitten), whilst Koreless really gets at it on the glitching big beat banger ‘Drums of Death’. As yet we’re not privy to production credits for the rest, but can confirm the surging electro-house canter of ‘Room of Fools’ is a standout, like Kate Bush meets SOPHIE, and ‘Childlike Things’ feels like Basement Jaxx gone J-pop, whilst she saves a bit of signature, UK-style mutant R&B balladeering for ’24hr Dog’.
Back in stock. Gatefold single LP, clear vinyl, including a 6x6” logo sticker, lyrics booklet and poster
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
Twigs commences her horny rave-pop era with an ode to ‘90s euphoria and rave subcultures produced by herself with Koreless, Two Shell, Eartheater, Stargate, and Ojivolta - plus flipping’ Sasha! - to mark 13 years at the top of her game
Ever since we had the honour of playing a modest part in introducing Twigs with an early whitelabel pressing of her prodigious debut EP in 2012, it has been deeply rewarding to witness her come to occupy a special place in the popular imagination as a triple threat dancer, singer, actor and all-round modern pop pioneer and cultural icon. She says her 3rd studio album ‘Eusexua’ - a portmanteau of “euphoria” and “sex” - is named for the “sensation of being so euphoric” that one could “transcend human form”, and in that sense kinda reminds us of Coil’s reflections on the nature of early rave experiences with ecstasy as like having sex with oneself (not quite onanism; something else), but sans any explicit nod to gobbling garys. The result is a grown up definition of poptimism that balances its more frivolous aspects with finessed songwriting that edges on Kate Bush’s operatics as much as Orbital’s sort of arena/field-scale fireworks and SOPHIE’s queered hyerspop futurism, and all brims with a finely tempered, heart-in-mouth quality that pushes the right buttons dead on.
From the opening blood pump palpitations of a filtered rave hoof and trance siren glyde that feels like arriving at the club in its title piece, thru the lilting come-down grunge strums and soft touch breaks of ‘Wanderlust’, Twigs embodies the sylph-like spirit of what were once termed fluffy ravers, rather than the froth-at-mouth hardcore type. She epitomises how OG rave and its ‘90s commercialised form of “dance” music has transcended its scuzzier roots to become a runway score found in a permo state of nostalgia for rebel utopianism that feels more elusive with successive gens. She hears dance and its trip hop offshoots as the younger siblings of synth-pop in The Beach OST-esque ‘Girl Feels Good’, and it’s not hard to hear the electronic filigree of Koreless inflecting ‘Perfect Stranger’, which is also enhanced by Norse pop gods Stargate (Rihanna, Mariah, Atomic Kitten), whilst Koreless really gets at it on the glitching big beat banger ‘Drums of Death’. As yet we’re not privy to production credits for the rest, but can confirm the surging electro-house canter of ‘Room of Fools’ is a standout, like Kate Bush meets SOPHIE, and ‘Childlike Things’ feels like Basement Jaxx gone J-pop, whilst she saves a bit of signature, UK-style mutant R&B balladeering for ’24hr Dog’.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
Twigs commences her horny rave-pop era with an ode to ‘90s euphoria and rave subcultures produced by herself with Koreless, Two Shell, Eartheater, Stargate, and Ojivolta - plus flipping’ Sasha! - to mark 13 years at the top of her game
Ever since we had the honour of playing a modest part in introducing Twigs with an early whitelabel pressing of her prodigious debut EP in 2012, it has been deeply rewarding to witness her come to occupy a special place in the popular imagination as a triple threat dancer, singer, actor and all-round modern pop pioneer and cultural icon. She says her 3rd studio album ‘Eusexua’ - a portmanteau of “euphoria” and “sex” - is named for the “sensation of being so euphoric” that one could “transcend human form”, and in that sense kinda reminds us of Coil’s reflections on the nature of early rave experiences with ecstasy as like having sex with oneself (not quite onanism; something else), but sans any explicit nod to gobbling garys. The result is a grown up definition of poptimism that balances its more frivolous aspects with finessed songwriting that edges on Kate Bush’s operatics as much as Orbital’s sort of arena/field-scale fireworks and SOPHIE’s queered hyerspop futurism, and all brims with a finely tempered, heart-in-mouth quality that pushes the right buttons dead on.
From the opening blood pump palpitations of a filtered rave hoof and trance siren glyde that feels like arriving at the club in its title piece, thru the lilting come-down grunge strums and soft touch breaks of ‘Wanderlust’, Twigs embodies the sylph-like spirit of what were once termed fluffy ravers, rather than the froth-at-mouth hardcore type. She epitomises how OG rave and its ‘90s commercialised form of “dance” music has transcended its scuzzier roots to become a runway score found in a permo state of nostalgia for rebel utopianism that feels more elusive with successive gens. She hears dance and its trip hop offshoots as the younger siblings of synth-pop in The Beach OST-esque ‘Girl Feels Good’, and it’s not hard to hear the electronic filigree of Koreless inflecting ‘Perfect Stranger’, which is also enhanced by Norse pop gods Stargate (Rihanna, Mariah, Atomic Kitten), whilst Koreless really gets at it on the glitching big beat banger ‘Drums of Death’. As yet we’re not privy to production credits for the rest, but can confirm the surging electro-house canter of ‘Room of Fools’ is a standout, like Kate Bush meets SOPHIE, and ‘Childlike Things’ feels like Basement Jaxx gone J-pop, whilst she saves a bit of signature, UK-style mutant R&B balladeering for ’24hr Dog’.
Clear cassette in jewel case package
Out of Stock
Boomkat Product Review:
Twigs commences her horny rave-pop era with an ode to ‘90s euphoria and rave subcultures produced by herself with Koreless, Two Shell, Eartheater, Stargate, and Ojivolta - plus flipping’ Sasha! - to mark 13 years at the top of her game
Ever since we had the honour of playing a modest part in introducing Twigs with an early whitelabel pressing of her prodigious debut EP in 2012, it has been deeply rewarding to witness her come to occupy a special place in the popular imagination as a triple threat dancer, singer, actor and all-round modern pop pioneer and cultural icon. She says her 3rd studio album ‘Eusexua’ - a portmanteau of “euphoria” and “sex” - is named for the “sensation of being so euphoric” that one could “transcend human form”, and in that sense kinda reminds us of Coil’s reflections on the nature of early rave experiences with ecstasy as like having sex with oneself (not quite onanism; something else), but sans any explicit nod to gobbling garys. The result is a grown up definition of poptimism that balances its more frivolous aspects with finessed songwriting that edges on Kate Bush’s operatics as much as Orbital’s sort of arena/field-scale fireworks and SOPHIE’s queered hyerspop futurism, and all brims with a finely tempered, heart-in-mouth quality that pushes the right buttons dead on.
From the opening blood pump palpitations of a filtered rave hoof and trance siren glyde that feels like arriving at the club in its title piece, thru the lilting come-down grunge strums and soft touch breaks of ‘Wanderlust’, Twigs embodies the sylph-like spirit of what were once termed fluffy ravers, rather than the froth-at-mouth hardcore type. She epitomises how OG rave and its ‘90s commercialised form of “dance” music has transcended its scuzzier roots to become a runway score found in a permo state of nostalgia for rebel utopianism that feels more elusive with successive gens. She hears dance and its trip hop offshoots as the younger siblings of synth-pop in The Beach OST-esque ‘Girl Feels Good’, and it’s not hard to hear the electronic filigree of Koreless inflecting ‘Perfect Stranger’, which is also enhanced by Norse pop gods Stargate (Rihanna, Mariah, Atomic Kitten), whilst Koreless really gets at it on the glitching big beat banger ‘Drums of Death’. As yet we’re not privy to production credits for the rest, but can confirm the surging electro-house canter of ‘Room of Fools’ is a standout, like Kate Bush meets SOPHIE, and ‘Childlike Things’ feels like Basement Jaxx gone J-pop, whilst she saves a bit of signature, UK-style mutant R&B balladeering for ’24hr Dog’.
More from FKA twigs:
-
FKA twigs Perfect Stranger Young Electronic- MP3
- FLAC
- WAV
-
FKA twigs Eusexua (Single) Young Electronic
- MP3
- FLAC
- WAV
-
FKA twigs CAPRISONGS Young Electronic
- MP3
- FLAC
- WAV
- Colour LP
- LP (Black Vinyl)
- CD
-
FKA twigs killer Young Electronic
- MP3
- FLAC
- WAV
-
FKA twigs M3LL155X Young Electronic
- MP3
- FLAC
- WAV
- 12" (Black Vinyl)
More from Young:
-
Mechatok Virus Freestyle Young Electronic
- MP3
- FLAC
- WAV
-
ILLUM SPHERE Birthday / H808er Young Electronic
- MP3
- FLAC
- WAV
-
Two Shell Oops… Young Electronic
- MP3
- FLAC
- WAV
-
John Glacier Like A Ribbon Young Electronic
- MP3
- FLAC
- WAV
- LP (Black Vinyl)
- CD (Compact Disc)
-
John Glacier Angel's Trumpet Young Beats / Hip Hop
- MP3
- FLAC
- WAV
People who bought this also bought:
-
Charanjit Singh Ten Ragas To A Disco Beat Bombay Connection Electronic
- MP3
- FLAC
-
FKA twigs LP1 Young Electronic
- MP3
- FLAC
- WAV
- LP
- CD
-
FKA twigs Good to Love Young Electronic
- MP3
- FLAC
- WAV
-
FKA twigs EP1 Young Electronic
- MP3
- FLAC
- WAV
- 12" (Black Vinyl)
-
FKA twigs MAGDALENE Young Electronic
- MP3
- FLAC
- WAV
- LP (Black Vinyl)
- Colour LP
- CD
-
Daniel Avery Ultra Truth Phantasy Sound / Phantasy Sound / [PIAS] Electronic
- MP3
- FLAC
- WAV
- Colour 2LP
- CD
- Cassette
-
FREE MP3 WITH VINYLMichael J.Blood x Rat Heart Nite Mode Vol.1 BodyTronixxx Electronic
- MP3
- FLAC
- WAV
- Colour 2LP
-
Sega Bodega Dennis ambient tweets Electronic
- MP3
- FLAC
- WAV
- Colour LP
- LP (Black Vinyl)
-
Mermaid Chunky slif slaf slof DFA Records Electronic
- MP3
- FLAC
- WAV
- LP (Black Vinyl)
-
FREE MP3 WITH VINYLNídia & Valentina Estradas LATENCY Electronic
- MP3
- FLAC
- WAV
- LP (Black Vinyl)