Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor\u2019s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.FKA Twigs\u2019s new album opens with the throb of a beat in a nightclub. That was the place where she first conceived of the project, dancing to techno during downtime in Prague while shooting her role in superhero movie The Crow. Alas for Twigs, the film took the wrong bird\u2019s name. A box office flop on its release last year, The Crow turned out to be a turkey.What about Eusexua\u2019s unusual title? It\u2019s a term coined by the singer that puts one in mind of Thomas More\u2019s Utopia, except with less clothing and fewer inhibitions, or perhaps an EU initiative to spice up the comity of European nations. Twigs (real name Tahliah Barnett) uses it to describe a rapturous state of being, a euphoric attunement between body, mind and cosmos. In her words, it\u2019s the eureka moment \u201cwhen you get a really good idea\u201d, or \u201cthe moment before orgasm\u201d.This idiosyncratic concept chimes with its creator\u2019s career. Since releasing her debut album LP1 in 2014, Twigs has made a rarefied space for herself in which music acts as a binding agent between dance, high fashion, film and visual art. When all these elements join together successfully, the results bear comparison with exalted auteurs such as Bj\u00f6rk. But when the synthesis doesn\u2019t work, Twigs risks lapsing into empty stylisation.Eusexua opens strongly with its title track, a sleekly psychedelic dance anthem with pulsating energy and fluttering high vocals about enlightenment. The imprint of Madonna\u2019s Kabbalah-infused Ray of Light is clearly discernible on \u201cGirl Feels Good\u201d, a delightful electronic pop mantra that gurgles and swooshes as though produced by William Orbit.\u00a0The album\u2019s actual producers are Twigs and collaborators drawn from experimental music, clubbing and mainstream pop (one of them, Marius de Vries, worked with Orbit on Ray of Light). \u201cPerfect Stranger\u201d cruises smoothly through the story of a one-night stand in the manner of The Weeknd. At the other extreme, \u201cSticky\u201d is an introspective ballad about vulnerability with intricate vocal layering and a disruptive coda with crashing beats and bass.\u00a0Twigs sings expressively, from airy murmuring to operatic trills. But Eusexua loses its way in its latter stages. \u201cChildlike Things\u201d is a cartoonishly cutesy J-pop-influenced affair with gaucheries about having \u201csupersonic powers that are polyphonic\u201d. \u201cStriptease\u201d aims for ecstasy but ends up as a snooze. The album struggles to sustain the heights that it reaches earlier on.\u2605\u2605\u2605\u2606\u2606\u2018Eusexua\u2019 is released by Young<\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor\u2019s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.FKA Twigs\u2019s new album opens with the throb of a beat in a nightclub. That was the place where she first conceived of the project, dancing<\/p>\n","protected":false},"author":1,"featured_media":178850,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-178849","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/178849","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=178849"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/178849\/revisions"}],"predecessor-version":[{"id":178851,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/178849\/revisions\/178851"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/178850"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=178849"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=178849"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=178849"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}