FKA Twigs returns with “Cellophane,” plus a redux review of LP1

FKA Twigs is finally back. Her first new single in three years since 2016’s “Good to Love,” “Cellophane” dropped yesterday morning at 11:30 am. The singer announced the single and upcoming tour dates on Tuesday, after sending the cover art to some of her supporters. A music video followed shortly after, featuring an ethereal Twigs pole dancing on a gold stage. The video is a stunning visual accompaniment to the song, with FKA Twigs showcasing her incredible dancing ability and the amazing production quality that all her music videos share. You can watch and listen to “Cellophane” below.

In honor of the new song and in anticipation of her upcoming album, here is a review of FKA Twigs’ awesome 2014 debut full-length, LP1.  

LP1:  An experimental, erotic trap-pop look into relationships and love

Singer FKA Twigs burst onto the music scene in 2014 with her sensational debut album, LP1. The album delves into sexuality, love, loss, and self-hatred under a backdrop of experimental trap-pop production. Fractured, glitchy beats and electronic buzzing contrasts beautifully with Twigs’ silky smooth, resonant whisper. “Preface” reveals the theme of the album, as Twigs’ otherworldly voice chants “I love another, and thus I hate myself.”

At the center of the album lies two central concepts – Twigs’ feelings of inferiority and insecurity and the struggles she endures through her relationship with a lover. “Lights On” explores sexual norms and the intimate trust required for making love with the lights on, exposed and vulnerable. “Two Weeks” describes the high of both being in love and in orgasmic bliss, as Twigs attempts to seduce someone with her sexual energy and confidence. “Hours” captures the intense euphoria brought by being in love, while “Pendulum” swings to the lows of a relationship fraught with insecurity and jealousy.

On every song, Twigs’ singing makes the listener feel almost uncomfortable, as if they had seen a private, erotic, and intimate image not meant for their eyes. “Video Girl” and “Numbers” depersonalizes Twigs to someone she cannot be sure of, both in her identity and value as a person. She questions her lover, asking “was I just a number to you?” – a doubt born from her own self-hatred.

“Closer” and “Give Up” serve as a turning point, as Twigs’ resolves to preserve her relationship, through the low points and fights. Despite her efforts, the relationship collapses – and Twigs experiences an epiphany. In “Kicks”, Twigs realizes the importance of loving herself. This bears double meaning, in that she loves herself both physically through masturbation, and mentally through a sense of self love and forgiveness. As her self-critical identity melts away, Twigs knows she can thrive without a lover.

Fantastic lyrically, artistically, and musically – Twigs is filling out her own sonic space, and imbuing it with an enormous amount of vulnerability and talent.  

Article by Everett Williams