FKA twigs’ “MAGDALENE” released 5 years ago to showcase a mixture of obscure sounds and gripping testimony.
FKA twigs’ “MAGDALENE” released 5 years ago to showcase a mixture of obscure sounds and gripping testimony.
London-based FKA twigs’ biblically-inspired project turned 5-years-old Nov. 8. An amalgamation of different genres, styles and themes, “MAGDALENE” is a bold statement on twigs’ personal life.
At the end of a decade characterized by in-your-face pop music and internet culture’s prominence, FKA twigs released the humble, yet conquering “MAGDALENE.”
Drawing from art pop, avante-garde R&B, trip-hop and opera genres, twigs assembled an eclectic team of producers including Michael Uzowuru, Skrillex, Jack Antonoff and twigs herself for her triumphant second studio album.
“MAGDALENE” was largely inspired by twigs’ breakup with ex-fiance Robert Pattinson and the subsequent fallout. Throughout their three-year relationship, twigs endured a flood of racist remarks and threats from Pattinson’s fanbase.
“He was their white Prince Charming, and I think they considered that he should definitely be with someone white and blonde and not me,” twigs said in an interview with BBC Radio 4.
Opening with layered breathy vocals, “thousand eyes” is a blunt commentary on how artists face constant scrutiny under the public eye. Despite being under near-constant surveillance, the attention only isolates her more.
Released as a single, “home with you” features a distorted, mechanical voice. The chorus crescendos into an eruption of angelic singing and soaring celloes.
“I didn’t know that you were lonely / If you’d have just told me, I’d be running down the hills to you,” twigs sings.
“sad day” describes a desperate attempt to salvage a dying relationship. Muffled snap-like sounds give the track restrained urgency. All instrumentation ceases during the bridge, allowing twigs to fantasize about an idealized lover before returning to a sonically chaotic reality.
Rapper Future sounds at home on the trap-infused “holy terrain,” the album’s sole feature. twigs pleads for a man who’ll stay with her unconditionally and not leave after a hookup. Future compares his own relationship to that of Adam and Eve, explicitly referencing the Garden of Eden — the titular holy terrain.
“Water the garden, play with snakes in Balmain,” Future raps. “We die, we die together, the prophecy complete.”
The album takes its name from Mary Magdalene, a biblical figure and follower of Jesus. twigs explores the relationship between the disciple’s false categorization as a prostitute — and social ostracization — with the experience of what it means to be a female artist today.
The track “mary magdalene” is an ode to both herself and all women who have felt disenfranchised. Much of the production is left restrained, allowing for twigs’ combative and authoritative lyrics to describe the feelings, experiences and sexuality of women alone.
On “fallen alien,” a sample of a church choir is transformed into an extraterrestrial army, singing as if they’re experiencing the Rapture. Distant, screeching violins pair with twigs’ theatrical vocal delivery adding an off-kilter nature to the song. The chaotic outro is layered with glitchy synths, chopped samples and sporadic laser beam blasts.
A stark contrast, the lulling “mirrored heart” reflects on twigs’ perfect lover — one who, like a mirror, is a reflection of herself.
“It’s all for the gain / It’s all for the lovers tryna fuck away the pain,” twigs sings.
Synths and wails radiate at the song’s peak, enhancing twigs’ yearning for her “mirrored heart.”
The droning “daybed” laments twigs’ loneliness, though she finds comfort in her comatose state. Despondent laughs, squeals and whispers sound in the background, culminating in a euphoric explosion.
The closing track and lead single “cellophane” is an explicit expression of her relationship with Pattinson. Simple piano instrumentation allows for twigs’ whisper-esque soprano vocals to shine. Shushes dance around her voice, emphasizing the fragility of the track.
The song climaxes in an amalgamation of dissonant noises where twigs compares their relationship to being wrapped in cellophane — seemingly protected by the outside world but completely transparent. She repeatedly questions why Pattison did nothing to stop the barrage of racist comments and hate aimed at her while they were together.
“Why won’t you do it for me? / When all I do is for you?” twigs sings.
On “MAGDALENE,” twigs isn’t afraid to embrace muted fragility and crushing maximalism. Containing just nine tracks, “MAGDALENE” is packed with emotional — at times confrontational — lyrics, genre-bending production and sexually and feminist-charged themes.
“MAGDALENE” is available to stream on all major platforms.
RePlay is a recurring music review column.
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