EUSEXUA Afterglow
Admittedly, it took a second to grasp that EUSEXUA Afterglow was not indeed the deluxe edition of the Grammy-nominated album (though FKA Twigs did also release such a thing), but rather a sequel to it. But come to think of it, it is only fitting that a career-defining album like EUSEXUA - built on not merely songs but a concept - would merit a comedown album. EUSEXUA, which came out in January of this year, is a stunning sonic diary of Twigs’ out-of-body experiences alike (and is reviewed in Forever Favorites). Rooted in the dance scene of Prague, where Twigs was living while writing, EUSEXUA was experimental while remaining EDM at its core, thus explaining its nomination for Best Dance/Electronic Album of the year. While it ultimately was not awarded, EUSEXUA remains one of the best albums of the year in our hearts.
EUSEXUA Afterglow, then, is the more somber, sexy sister record that expands on Twigs’ experimentation while tapping into new feelings and sounds not previously explored on EUSEXUA. The IDM epilogue blends more R&B than its pop predecessor, leaving us feeling sultry and grounded whereas the original album left us either buzzed or sobbing. In this way, Afterglow is reminiscent of Twigs’ earlier works such as LP-1 and MAGDALENE at many points.
Whereas EUSEXUA felt more like transcending the human experience (Twigs literally defines the word as “you're not human anymore, you're just a feeling”), Afterglow taps into a more corporal, human side of the artist. In Lost All My Friends, in particular, she tells the stories of her humanhood as if looking back on her mortal life: “When I was on earth, I was spinning; Lost all my friends in the club; Then I lost my mind in the car.” Whether it is the honest “Oh, sorry I fucked up” adlib of Predictable Girl or her in-depth exploration of sex and sexuality, Afterglow is a thorough recap of earthly endeavors. While this casual, accessible songwriting leaves the record feeling certainly less polished or concise than the original, it is impressive considering Twigs wrote the entire record in just six weeks. This is also what makes Afterglow feel easier to listen to. As good as it is, EUSEXUA is intentionally heavy and can feel demanding to listen to in its entirety. Afterglow, on the other hand, feels lighter and flowier - and dare I say more feminine? EUSEXUA felt gender-neutral - an experience anyone could have. Afterglow feels like a uniquely feminine exploration of desire, anger, and queerness.
This conversational spirit is likewise what leads to occasional lyrical slip-up on Twigs’ part: “Got me so locked in, need a crowbar” or “I’m the kind of girl that is so physically free.” Still, for the most part (per usual) Twigs is a graceful writer on Afterglow. Slushy flaunts serenity and simplicity: “The perfect home, a sweet goodbye; A lover's eyes, oh; A honeycomb, a bowl of rice; A shoulder to rest upon” and “I'ma create some harmony; And paint my world with my mind.” HARD is deliciously catchy with its rap-like hook: “Wet thighs, I'm ecstatic, chemistry was automatic; Don’t touch, there's no rush; I gotta know something about you; Just tell me, would you do it hard?” Stereo Boy is, too, a track that cuts straight to the heart: “I heard the static in your heart and fell apart; 'Cause you're just a stereo boy; Stereo boy; I changed the station, but my pain, it still remained; 'Cause you're just a stereo boy.” With fluent songwriting, Afterglow tackles countless angles of humanity, very much in-line with the lyrical rawness that Twigs is known for.
Unfortunately - but rather naturally - Afterglow is both less coherent and climactic than EUSEXUA. In this way, the record tells less of a story than its predecessor. It simply does not take the listener on a journey in the same way. However, Afterglow still boasts a number of sonically pleasurable moments and intricacies. In particular, the alluring gloom of Love Crimes and Touch A Girl introduces a new moodiness to the EUSEXUA experience. Meanwhile, Stereo Boy serves electroclash while Cheap Hotel and Sushi (an incredible track and by far the best on the record) are embedded with old-school samples. What we are left with is a sonic playground that straddles everything from garage to funk.
Between her sticky lyricsm and hot-and-heavy instrumentals that blur from one into another, I can’t help but think of Resident' Advisor’s colorful summary: “Mostly, the vibe is horny. If EUSEXUA was a dark room DJ set tweaked within an inch of perfection, Afterglow is the YouTube queue you throw together before diving into bed with the babe you brought home.” Afterglow feels within reach because it is centered around largely corporal, human experiences. Even the album title comes from that post mattress-workout glow (mentioned in Touch A Girl). Ultimately, while fun and experimental, Afterglow can feel sonically repetitive at times, leaving us with a vision that does not extend as far as that of its predecessor.
