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News about FKA TWIGS's new album


tomsches

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Magdalene, which she’s currently gearing up to release via Young Turks this fall. Fans who attended her mindblowing theatre tour of the same name this summer will already be familiar with the record’s vulnerability.

Work began on Magdalene, which she produced predominantly with Nicolas Jaar, alongside other contributors, three years ago. It came to fruition between London, New York and Los Angeles, where she indulged in a period of solitude, taking to wearing long medieval dresses and wandering around by herself. “I was in a sad place, mentally,” she says, “and I didn’t want to come out of it. I don’t have many friends there, and wasn’t communicating with my friends or family here. I just went and locked myself off.”

“The record is about every lover that I’ve ever had, and every lover that I’m going to have,” she says. Musically, she describes it as “just when you think it’s really fragile and about to fall apart, there’s an absolute defiance and strength in a way that my work’s never had before”. If previously, Twigs was seen as something otherworldly, now she’s right there in front of us, pouring her heart out. “It’s really fragile. I made it at a time when I was in recovery – physically and emotionally – and I think that comes through.” The intense vulnerability of the record contrasts with just how precise and superhuman her talent is.

Album opener "1000 Eyes" sets the tone for the record; a choral a capella bringing about the threat of change, the end of a relationship. ‘It’s gonna be cold with all those eyes,’ her distressed falsetto preempts over and over. A static bass builds up into a drone, while the vocal grows as disjointed as Twigs felt at the time of writing. "Holy Terrain", featuring Future, will undoubtedly receive the most attention. A dark, sexy, witchy trap tune, it’s a new direction for Twigs. After getting hold of Future’s number, she did what any of us would do and casually dropped him a text.

"Sad Day" is like if Opus III’s 1992 dance hit "It’s A Fine Day" ran into Kate Bush on a hillside. “I find it neurotic,” Twigs says of the vocal hook. “It’s all on the same note, it’s creepy. It’s asking, in the monotony of your life, would you take a chance on someone for something bigger? Would you take a risk on love and possibly being hurt again?” There are more glitchy Kate Bush vibes on " Mary Magdalene", which opens with a warped piano solo and moves onto reflections on female power.

One of her favourites to perform, "Home With You", touches on demanding attention; “It’s about relationships. People are just quite needy, aren’t they?” she says. “It’s so fun and beautiful to sing. Those big strings at the end – it’s like flying with your voice!” " Mirrored Heart" is a tear-soaked piano ballad, full of pain and conflict. “Oh, it’s so sad, isn’t it?” Twigs asks. “Usually I’m a mess when I sing it. I cry every time. It’s actually really nice crying on stage. I always know it’s coming.” hen there's "Daybed", which feels reflective, accepting and calm. “When I wrote it,” Twigs says, “I knew that the whole of my life was about to fall apart. 

https://i-d.vice.com/en_uk/article/zmjny4/fka-twigs-interview-magdalene-new-album?fbclid=IwAR0kM_oPFfvSQ9fJO_OSFHeyRI9FA_xF-6QO-DvhHUBICMUehrtK1oy70Us

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Ryusei

Her description of the album sounds amazing and Cellophane is gorgeous so this album can't come soon enough :giveup:  

Musery
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geopang

I saw her Magdalene theater tour earlier this year and I was blown away. She’s a brilliant artist and the songs were godly. Super excited for this!

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You bitches better buy this masterpiece and help her get what she deserves :excited:

What if tomorrow I see you again? Should I say that I used to love you?
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