‘EUSEXUA Afterglow’ is a Glow-Down

When floating around an infinite, spacey soundscape, one might come across the jumble of sluggish club songs that is FKA twigs’ “EUSEXUA Afterglow.”

Originally conceived as a deluxe version of her Czech-club-infused “EUSEXUA,” released in January, “EUSEXUA Afterglow” was reworked into an 11-track sequel album released Nov. 14. Even more confusingly, twigs also reissued the original “EUSEXUA” the same day, removing songs from the tracklist and adding an entirely unique set of songs in their place.

With its chaotic and mystery-laden release, “Afterglow” must have a grand musical statement to deliver or stand toe to toe with the original — right?

To its credit, “Afterglow” contains some of twigs’ extra eccentric and confounding lyricism, but that doesn’t mean anything if you can’t hear any of it. The album’s greatest sin is the overly atmospheric and spacey beats overwhelming her thin vocals.

Even then, mind-numbing — at times tedious — choruses plague the tracklist, such as on lead single “Cheap Hotel.” The repetitive vocal sample fades into an even more monotonous verse from twigs, oversaturated in copious amounts of autotune and reverb. Her well-known vocal quality, subtle yet emotive, is replaced with what can only be described as loading screen fodder.

twigs’ versatile vocal delivery and emotional timbre were hallmarks of her earlier work — such as “MAGDALENE” — but for the most part, they’re lost on “Afterglow.”

The vocals on “Slushy” don’t leave their mark, only creeping in and fading out of the digital beat. Its replayability is as enticing as a melted Slurpee.

“Piece of Me” shares several similar shortcomings, especially with its laborious, drawn-out vocal phrases. Some interesting synthwork turns the sleep-inducing track into a drowsy one, yet it quickly disappears. The only thing holding the track within the album is a fraying, overly atmospheric, spacey string.

Many of the album’s captivating ideas similarly come into play in the last 30 seconds of the song, unable to become fully developed due to abrupt ends, such on the forgettable “Love Crimes” and “Lost All My Friends.” 

The former’s vocals feel buried six feet under hazy production while the latter’s lyrics sum up a majority of the album’s tracks.

“I don’t even remember who you are,” twigs sings, echoing the sentiment of the audience.

In theory, an extension of “EUSEXUA” should be exciting, but in practice, “Afterglow” sounds more like a Tate McRae fan’s interpretation of experimental music. 

The closing “Stereo Boy” is an unchanging, sonic hodgepodge that feels like it’s trying to be experimental just for the sake of sounding different, rather than trying to make a substantive statement. twigs barely sings on the track, instead delivering an uninteresting spoken word over a groan-like drone and shooting laser beams.

On many of the songs, twigs tries to be salacious, but no eroticism can be conveyed when the voice delivering those words sounds like one of the Chipettes.

Even though the majority of “Touch A Girl” is filled with dirty talk, her insanely processed vocals move so slowly, no payoff can even form. Chopped-up vocal samples spicing up the track are discarded to maintain the sluggish atmosphere of the album.

Seemingly the only song where sexuality seems properly implemented is “HARD,” where twigs implores her lover to have rough sex with her, backed up with an energetic, pulsating beat matching the sensual words being said.

Unfortunately, even worse than forgettable lines are cringeworthy ones, like those on fan-favorite “Sushi.” 

“Would you be surprised to know that my karaoke song is ‘Gasolina’?” twigs sings with full legitimacy. “I said it, ‘Esto te gusta.’”

Its pitched-up vocals singing an incessant chorus over a dark beat are no different than an edgy house mix playing in a TJMaxx. “Sushi” gets even worse when it transforms into a quasi-trap track, with twigs’ hushed raps struggling to keep up with the beat behind them.

While “Predictable Girl” is afflicted by the same indiscernibility from robotic vocals as its counterparts — a shame, given its unique, overlooked, groan-filled beat — its chorus encapsulates the overarching sentiment of the entire record. The track’s sheer repetitiveness through strict adherence to the easily tired sound is its ultimate downfall.

“Predictable girl, you took it too far / You made up a world, then got fucked in the ass,” twigs sings.

It’s not that twigs has to make some seminal statement in all the music she releases. She’s proved on “EUSEXUA” she could make fun, mindless party tracks — like “Childlike Things” — but “Afterglow” lacks a backbone, which is probably why she’s able to contort herself in the album’s promotional artwork. 

Fortunately, “Wild And Alone” is a highlight on the record, with twigs teaming up with PinkPantheress for an ephemeral, Jersey club track. Both Brits swap verses on the fast-paced, bouncy tempo that actually sounds like it should play on the dancefloor. 

For a majority of “EUSEXUA Afterglow,” twigs sounds asleep at the wheel, with overly dazed out beats and even more hushed vocals taking control. If “EUSEXUA” was self-described as the “moment before an orgasm: pure nothingness but also pure focus,” then “Afterglow” is the forgettable, regret-filled walk of shame home.

“EUSEXUA Afterglow” is available to stream everywhere.