Control · Fall 2026Page 69 of 100.THE REVIEW
A large crowd fills a warehouse venue facing a brightly lit stage under steel roof trusses.
A packed crowd faces a lit stage beneath a steel roof. Eusexua is a record about that ecstatic moment, the self dissolving into the room.The photograph is by Isabella Mendes on Pexels.

Review

The euphoria is real, but too many hands are on the controls.

Eusexua, FKA twigs’s first album since 2019, is a record about the ecstasy of the dance floor that sometimes forgets to trust its own strangeness.

Written by CONTROL

This article runs 418 words and takes about two minutes to read.

7out of 10
Album
Eusexua
By
FKA twigs
From
Young / Atlantic Records, 2025

FKA twigs found the idea for Eusexua in Prague, where she had gone to film The Crow and ended up in the city’s techno clubs and warehouse raves. The title is her own coinage. In a 2024 interview with British Vogue she described it as a euphoria so complete that you nearly transcend your body, and the album, released in January 2025 on Young and Atlantic, is her attempt to write that feeling down.

It is her first album since Magdalene in 2019, a record about heartbreak and recovery that many listeners still consider her best. Eusexua faces outward where Magdalene faced inward. The title track and “Drums of Death,” made with the producer Koreless, are the clearest statements of intent. They are pulsing and spacious, built for bodies in a dark room and for one voice floating above them.

She has been careful to say that the album carries the spirit of techno without being a techno record, and the distinction matters. What she takes from the club is not a genre but a permission: the idea that losing yourself can be a form of clarity rather than escape. At its best the music makes that argument without words.

Silhouetted concertgoers raise their hands toward a stage filled with smoke and light.
Raised hands rise from a crowd into stage smoke. FKA twigs chases the euphoria of the dance floor, though too many collaborators sometimes smooth over her strangeness.The photograph is by Aleksandar Pasaric on Pexels.
A crowd of young people dances with raised arms under sweeping stage light beams.
Dancers raise their arms as beams of light cut across a hall. The album is at its best when it trusts its own oddness rather than the sheen of the club.The photograph is by Daniel Nouri on Pexels.

A crowded booth

The trouble lies in the credits. Koreless is joined by a long roster of producers that includes Stuart Price, Stargate, Jeff Bhasker and Marius de Vries, and the album sometimes sounds like a committee trying to agree on what a rave is. “Girl Feels Good” and “Perfect Stranger” lean toward sleek pop and away from the oddness that has always been twigs’s real subject. They are good songs that could belong to several other artists, which was rarely true of her earlier work.

The cameo by North West on “Childlike Things” is charming for a minute and distracting after that. The album is strongest when it strips back to her voice and a pulse, and weakest when it tries to cover every base at once. Her voice, breathy and exact, remains a remarkable instrument even when the production crowds it.

Awards voters liked the record more than we did, and it won the Grammy for Best Dance/Electronic Album. The prize is fair as a reward for ambition. It is less convincing as a judgment on the whole, which has a great EP buried inside a good album.

The verdict: Eusexua is worth hearing for its peaks, which are as thrilling as anything twigs has made. Build your own shorter version and play that one loud.