The Liberating Ecstasy of FKA Twigs’s “Eusexua”

By Nick Johal

‘Do you feel alone? Well you’re not alone.’ British musician FKA Twigs’ comforting sentiment is omnipresent in the title track for her highly-anticipated third album Eusexua, co-produced by Eartheater and Koreless. In the album and track alike, Twigs channels the feeling of ecstatic liberation she experienced during a techno rave in Prague. However, one of my techno-head friends didn’t quite feel the track when it released.  He wanted ‘a bigger drop, more pulp.’ But for me, that misses the point. “Eusexua” is more than that, more than just a drop. It is a philosophy.

FKA Twigs, "Eusexua".

FKA Twigs, Eusexua

You’re dancing in a busy, hot club as the blood flows around your body. You begin to sweat as the music lulls you into a comfortable rhythm. Your head falls in tune with the surrounding sound, as your thoughts float away alongside the techno legato. Your eyes close to enhance this euphoric sensation, that is itching to be experienced by your other senses. Yet, you still see the flashing lights behind your eyelids whilst the music swells in your ears. That raver with a nice smile, who you have been exchanging looks with all night, manages to find themselves closer to you in this sweaty crowd. The music’s pulse guides your faces to be close together as the deep bass penetrates your ear, making you yearn for more. Their hands feel you as you feel their warm breath on your lips whilst your goosebumps rise and the rhythm continues to permeate your body. The tension of a kiss is imminent. This adrenaline fuelled tension is Eusexua. The rhythmic beating of the heart is Eusexua. 

Eusexua is a practice built on liberation. It is to do as you feel without the looming constraint of earthly things upon the human body such as time passing. Twigs purposely emphasises the importance of the body in Eusexua. Music transforms your body into a vessel of pleasure that simultaneously channels that ecstatic experience into something physically gratifying like raving skin-to-skin with others or making out with a great kisser. That unique, sexual intimacy can be felt within the titular song itself.

Eusexua, for me, isn’t the culmination of pleasure. Rather, it is “culminating”’ before it reaches its peak. That bubbling and anticipation before the climax is what makes Eusexua such a fascinating exploration. The French philosopher Gilles Deleuze describes how nonfinite gerund verbs like culminating are ‘verbs [with] limitless becomings’. This ideology can be applied to Eusexua – etymologically meaning ‘good sex’ in Latin – as the practice focuses on the physical experience of soul touching art. It feels like unimpeded pleasure that is constantly reinventing itself over and over again, because it’s an unlimited euphoria, always culminating and becoming more. In the case of Eusexua, this feeling is catalysed with the pulsating beat of techno music and how raves act as an accessible disconnection from the qualms of human life, because they allow the body and mind to focus on the pursuit of pleasure via the transcendence of an open soundscape.

The single “Drums of Death” further encapsulates the stimulating, techno beat that hypnotises the raver’s body and mind. Twig’s glitched vocals and stunted beat transforms as she seductively speaks over its increasing volume and hypnotically encourages ‘body talk’ and allowing yourself to ‘fuck who you want’ before the sudden ‘drop’ and shift. The heart of this song captures the innate feeling of wanting to be free and ‘serve cunt.’

This emancipating sentiment extends to the beginning of the “Eusexua” music video, which takes place in a monotonous office filled with fluorescent lights and that transforms into a liminal space, becoming an intimate yet chaotic space of expression. The transition of “office siren” Twigs into herself begins with the shedding of her clothes, thus revealing the most vulnerable yet free self, evoking that familiar feeling of taking your top off during a rave and letting your bare skin breathe . This ‘drop’ is reinforced by the way in which Twigs and the dancers contort their bodies to show how Eusexua allows the supersession of the ordinary, and frees oneself by creating a space that permits self exploration within the comfort of techno music. 

Twigs wishes to create an unapologetic, queer playground with Eusexua, and wants her music to create a safe space of expression within the rave scene. Raving is a unique practice, especially for queer people because, to quote João Florêncio, ‘[it acts as] a relief from the pressure of everyday life.’ It is an unchained self-expression that strives in reaching the true heights of sensuality.

For me, the feeling of Eusexua culminates in the last few seconds of the video, where Twigs sings and lingers on the word Eusexua, as it becomes discordant. Yet, this discordance becomes dulcet as it is complemented with a sound that is almost reminiscent of the ethereal theme of the Playstation 2 menu booting up. I felt the transcendence in that moment as the music fizzled and faded out. It felt warm (and even nostalgic) but made me want more, as I felt as if I was on the ‘edge of something great’ (as sung by Twigs). This same sentiment can be seen within the last few seconds of the Eusexua music video, as it comes to a grinding halt as the camera is focussed on Twigs’ face before she gets up out of her office seat and walks off, as if she wishes to break free from the constraints placed upon her and focus on her own hedonism. It is something that is so innate to us, and what the practice of Eusexua wishes to unleash and reinvigorate.

– – –

GAY45 is committed to publishing a diversity of journalism, prose, and poetry. We’d like to hear what you think about this or any of our articles. And here’s our email if you want to send a letter: [email protected].

– – –

When we learn of a mistake, we acknowledge it with a correction. If you spot an error, please let us know.

– – –

Listen to our podcast ‘Gen Clash: Queer Perspectives on Current Affairs’ on your favourite podcast platform. 

– – –

TODAY IS NOT AN EASY DAY

Queer press and books are forced into silence. Donald Trump is the president-elect of the USA. Europe is dominated by far-right political movements.

But we have something powerful on our side. We’ve got you. You make us strong.
GAY45 is funded by readers. Our editors decide what we publish—no one else.

Donate as much as you can. Every 5€ is a way to help the community, the independent press and fight against silence.

GAY45 is Europe’s leading queer magazine of culture, politics and ideas. Because of you.
Donate to support our Queer Journalism Campus and GAY45 now.

We appreciate it. Thanks for reading.

Author

  • Nick Johal is a budding writer currently teaching English in Orléans, France. He is passionate about exploring the depths of music, gaming, and pop culture via his writing. (You can find them on Twitter/X at @BessieInTessie).

    View all posts

SMART. QUEER SMART.

Follow on Feedly

Log in with your credentials

Forgot your details?

Click to listen highlighted text!