By Antonio Machado Staff Writer “Eusexua is a practice. Eusexua is a state of being. Eusexua is the pinnacle of human experience,” singer-songwriter FKA twigs boldly writes at the end of each of the music videos for her newest album. “EUSEXUA” is twigs’ hard-pressed attempt to describe the feeling that occurs in the brain right before an orgasm occurs through her music. As the musician's third studio album, twigs’ artistic and musical vision has been refined, and it's demonstrated in the sonic nuances found in every second of every track. The title track of the record, “Eusexua,” is a sonic description of the definition of the word “eusexua,” which was coined by fusing the words “euphoria” and “sexual.” Throughout the track, twigs glitters at the apex of her range. Transcendent falsettos are engulfed by a heart-thumping beat that refuses to drop, leaving the ears constantly on the edge awaiting satisfaction - satisfaction that is granted as twigs’ otherworldly vocal climaxes in the track's resolution. “Girl Feels Good” dives into the waters of Madonna’s “Ray of Light” with an electronic midtempo bounce. FKA twigs empowers and emphasizes the power of female sexuality as she exclaims, “When a girl feels good, it makes the world go ’round.” “Perfect Stranger” fetishizes a nondescript partner, yearning for the thrill of an anonymous hookup over a pop-garage vocal. The conventional pop track is offset by the intricate techno distortions that decorate it, leaving an unsettling thrill to reflect the nature of the lyrics. Desire is innate when describing the state of “eusexua,” and desire is the purpose of “Drums of Death.” “Craving rabid f**k,” she proclaims over a beat composed of distorted, staggering vocals emulating mechanized drums. Björk’s influence can be heard within the house-influenced dance floor of “Room of Fools,” which dances away all of twigs’ worries and makes space for the quieter, more introspective half of the record. She details her difficulties living inside of her body and sharing that body with a partner on “Sticky.” The track begins as an allusion to a ballad, one that quickly fades as the track is overcome by percussion and twigs’ plethora of electronically infused vocal stacks that emulate her internal turmoil. “Childlike Things” diverges from the rest of the album. Although it may initially feel like a speed bump, the track mixes the European dance pop heard in other tracks of the record with an Eastern pop as twigs details childlike joys - and she’s assisted by North Kardashian West, who briefly raps in Japanese. The chromatic vocals of “Striptease” relay the difficulties twigs faces when trying to share herself with a partner. “I’m stripping my heart ’till my pain disappears,” she cries as she conflates opening up emotionally with having her sternum physically opened. This pain leads to an operatic bridge that is accompanied by a drum and bass evocative of a Jersey beat. “24hr Dog” has twigs expressing a need to submit to a partner who she feels addicted to. A soft howl that follows the chorus creates an intimate and hypnotic ambiance that feeds into the trance twigs is placed under. The final track, “Wanderlust,” feels like a moment of clarity after all the mental turmoil throughout the album. With her autotuned talk-singing verses and melodic chorus, she reminisces on her own desire, recognizing it is limitless but that it should not be her only pursuit in life. “EUSEXUA” cannot be described as a club or dance music album. Instead, it is more aptly described as a sonic representation of the physical sensations experienced at a club. FKA twigs’ artistry is placed bare on display with “EUSEXUA.” The record feels like an amalgamation of all the greatest electronic records in history, combined into an album that, through the usage of twigs’ exceptional ear, creates a soundscape of pure ecstasy. Rating: A There’s an ointment for that