Earlier than FKA Twigs may focus on her upcoming album, “Afterglow,” she wanted a matcha.
The British singer-songwriter had first answered a Zoom name from the backseat of a dimly lit automobile in New York, the place she confessed to working on “2% personality.” She defined that she had flown in that morning from London and had spent the day selling her upcoming film, “The Carpenter’s Son,” a biblical horror co-starring Nicolas Cage.
Fortunately, only some minutes into the interview, the singer born Tahliah Debrett Barnett noticed a well-known matcha spot arising on her route. In a split-second resolution, she runs into the cafe, looking forward to a caffeine increase, and orders every thing matcha she may get her fingers on — a sizzling lavender matcha latte, a matcha comfortable serve and matcha-flavored pudding.
“Oh, we’re gonna be buzzing,” stated Twigs, who laughs a bit about how she hasn’t eaten a lot that day and determined to completely eat matcha desserts. After making it again to the automobile and indulging in a couple of sips, she declares, “It feels like I have my personality back. That was quite an authentic experience.”
With a revived glint in her eyes, she was able to debrief “Afterglow,” the sudden continuation of her third studio album, “Eusexua.” The 37-year-old singer launched “Eusexua” in January as each the namesake of her file and a time period she coined to explain a transcendent state of being.
Now, lower than a 12 months later and set to be launched the identical day as “The Carpenter’s Son,” her newest album is supposed to “beautifully unravel” the questions of humanity she presents on “Eusexua.”
From the beginning, she says, she knew that “Eusexua” was one thing greater than a singular album — equating it to an period. Impressed by Prague’s underground rave tradition, the file itself is centered round life’s purest experiences. Over tattered drum and bass patterns, retro-futuristic crescendos and ephemeral melodies, Twigs makes an attempt to bottle the best way dance music makes her really feel. Lyrically, she embraces a childlike surprise, shares her vulnerabilities and indulges in candy nothings — all with the intention of capturing what it means to be an individual.
The place “Eusexua” is “the bird’s eye view of the human experience,” Twigs says, “Afterglow” is supposed to seize humanity by means of a extra direct lens, the place emotions are unfiltered and instantaneous. Altering this viewpoint was one thing that got here to her with ease.
“Sometimes when you’re creating something, it feels like you’re rubbing against something or you’re pushing something uphill. But with this project, it didn’t feel like that. It was flowing naturally,” stated Twigs.
Most of “Afterglow” was made post-“Eusexua” from the consolation of her dwelling studio in Hackney, London. Regardless of “Eusexua’s” profitable launch, she couldn’t shake the sensation of nonetheless having extra to offer.
“I can’t explain it. Sometimes you put out an album, and then it feels like you need to stop for a while,” stated Twigs. “But with ‘Eusexua,’ it felt like it was still growing. The message was still spreading, and people still wanted a deeper understanding of what it was.”
For over a decade, Twigs has been recognized to cushion her albums with a couple of years between every launch. Her debut, “LP1,” launched in 2014, was adopted by “Magdalene” in 2019 and “Eusexua” in 2025. She additionally launched a mixtape, referred to as “Caprisongs,” in 2022. On every undertaking, she bears a brand new aspect to herself, typically diving headfirst into the depths of her identification, love life and womanhood. Uncovering uncooked feelings, like loss, lust and jealousy, she’s capable of seize their complexities by means of erratic rhythms, unorthodox mechanics and a trance-like ambiance.
FKA Twigs performs at Camp Flog Gnaw in November 2019.
(Allen J. Schaben / Los Angeles Instances)
Earlier than changing into a musician, she discovered success at an early age as knowledgeable dancer. In her late teenagers and early 20s, she appeared as a dancer in music movies for artists like Ed Sheeran, Jessie J and Kylie Minogue. To at the present time, she depends on dancing and bodily motion as a necessary a part of how she understands music.
“When you dance, it’s really good to know the rules and the fundamentals, like with ballet. But once you know ballet, then you can mess it up and let go. You can dance with more freedom,” stated Twigs, in between bites of her matcha pudding. “That’s kind of what ‘Afterglow’ is. It’s ‘Eusexua,’ but it’s wild, sensual and irresistible. It’s meant to quench a thirst.”
Since she’d laid out the groundwork together with her earlier launch, she approached its follow-up with a carefree sense of freedom. The 11-track album is supposed to be an idea album of kinds, detailing the aftermath of an evening out. From the sensation of contemporary air after leaving a sweaty dance ground to the drunken temptations of texting an ex-lover and the inevitable rush of not wanting the evening to finish, Twigs proves she has the “afters” right down to a system.
Leaning right into a barely much less alien soundscape than the one heard on “Eusexua,” the singer indulges in a masterful type of digital edging — by no means going the predictable route. On songs like “Slushy” and “Predictable Girl,” she intertwines a menagerie of robotic, spacey sirens with tinges of Jersey membership beats and ’90s-influenced R&B chords. Whereas on equally hypnotic tracks like “Cheap Hotel” and “Sushi,” she instructions the heavily-layered soundscape with an intoxicating sense of recklessness.
“Sometimes I go out to reset my brain a little bit. Obviously, I love what I do so much. I love being an artist. But sometimes, it just gets unnecessarily stressful,” explains Twigs, who touches on the problems of fame with the monitor “Wild and Alone,” alongside fellow British pop music innovator PinkPantheress.
“So when I go out, it makes me put everything into perspective and realize what’s really important in my life, who I want to be and who I want to be around.”
Powered by these realizations, she’ll proceed to lose herself in foggy nightclub dance flooring, plenty of sweaty our bodies and blinding strobe lights. However she says, relating to making artwork, there’s one factor she’ll by no means lose sight of.
The one factor that may have an effect on her inventive output, she says, is “whether you’re telling the truth or not, and how honest you’re being.”
