The visually astounding FKA Twigs, a Gloucester born outcast, dancer turned singer has blessed all of us with something evidently unique and aesthetic over the past year. This past month has seen the anticipation timely greeted with a maiden LP release, somewhat lazily or perhaps appropriately entitled LP1; fittingly on Young Turks. The cover speaks volumes itself with Twigs appearing as a young and vulnerable doll-like figure with trademark lips ajar revealing her cute two front teeth.

FKA-TWIGS-LP1
Stunning artwork to LP-1

Every track has you immersed, seduced and sympathetic. The deep harmonies, the psychedelic choral melodies and clicky percussion swim between and under the sexually stimulated content spoken through ‘innocent’ vocals. You’re tantalized when she murmurs “break or seize me… when I trust you we can do it with the lights on” during ‘Lights On’. You’re forcefully bunny-boiled during ‘Two Weeks’,  “You know I’d put you first (I can f*ck you better than her)” .

One of the picks from the LP however seems to contradict the progressively seductive theme. ‘Pendulum’, not only features a very cool muted guitar but also features a suddenly oppressed Twigs. This isn’t the first time that we hear Twigs as the victim of misogyny or loneliness. Thus far we’ve had our tongues hanging out, now in a sudden turn of tables we’re overcome by this sympathetic interest instigated by the uncomfortably familiar story of a ‘Video Girl’ and a innocent inquisition from the victim of sexual objectification. Now she’s needy and heartbroken, her vocals have gone up an octave, maybe that domineering sexual prowess at the start was all a front. We look back at the album cover… The album finale is possibly the most dancey on the LP. This is where Twigs depicts how she ‘Kicks’ back; she touches herself (and that’s not a metaphor).

We look back at the album cover for the final time and consider the taboo of a sweet and innocent girl’s sexuality. With this comes an epiphany. We’re confronted by an artist with a niche wholly centred around this taboo, and hence if maintained, our interest is inevitable. Besides the great instrumentation Twigs also self produced and the fact her voice has drawn comparisons to legend Kate Bush, FKA Twigs clearly touches upon some significant topics on this release.

Whether listening to this to connect, entice or stimulate, the artist deserves all her plaudits. We feel this is one for independent women to somewhat rejoice in and for those misogynist men to think again. Whether male or female our verdict says this one is a must listen.

By Silecta