FKA Twigs is a name that I’ve heard floating around for a while and the cover of her first album LP1, released 2014, dominated indie instagram and tumblr. Now after noticing the buzzing excitement for her latest album MAGDALENE, released late 2019, I wanted to begin to understand what makes Tahliah Barnett so enchanting.
After seeing the music video for ‘cellophane’ where Barnett provides an emotional award-nominated performance, I became interested in learning more about her latest project. I would argue that knowing only ‘cellophane’ sets you up for a false impression for the LP. I was expecting the rest of the songs to have that same melancholy enchantment but what comes before this closing track is a whirlwind of strong vocals and impressive production that comes before.
MAGDALENE arrives at a time where FKA Twigs has publicly dealt with a break up from actor Robert Pattinson and undergoing surgery to remove fibriod growths from her uterus. Knowing this backdrop and the mindset that Twigs must have been in, MAGDALENE comes fueled by pain and recovery. The LP begins with ‘thousand eyes,’ an anxious ballad surrounding the price of being in the public eye. The image of waking ‘a thousand eyes’ is daunting, and Twigs heightens this through the growing thump of bass and lyrical repetition that works as an evoking chant to drift us off into the next track. Next is ‘home with you,’ exploring the fragile balance between looking after yourself and being there for your loved ones. Barnett morphs her voice into short breaths of raspy tones that echo over. The first track to mention Mary Magdalene who would “never have let her loved ones down”, Magdalene being quite a polarising figure in religious history; sometimes known as being a prostitute and then a celebrate nun or passive helpmeet. Barnett explains that Magdalene represents just one of the many women in history expected to provide so much ’emotional labour’ to everyone. Through the whispers of the verses, we come to a Kate Bush-esque vocal pitch that makes the track feel like we are experiencing two different points of view. The track even seems to reference Bush with, “I’d be running down the hill.” closing on that modern struggle of constantly questioning how people are feeling around you.
Next is the most sonically impressive on the album, ‘sad day’, where heavy synth beats repeat throughout to help build up emotion. There’s no denying that Barnett’s vocal manipulation really adds to the overall feel of this track. It’s quite easy to link her lyrics to her breakup where she stated to NME (about heartbreak): ” I never thought that my body could stop working to the point that I couldn’t express myself physically in the ways that I have always loved and found so much solace in.” Yet, the lyrics are never pointing the blame on someone else, Barnett openly confesses to the areas that she fails in, “You’re running, I tried to make it work before, You’re running, I made you sad before.” I enjoy the experimentation in ‘sad day’ it’s one of my favourites from this album.
‘Holy Terrain’ is a surprising entry on the LP, featuring rapper Future (the only feature on the album) the production is chaotic on this track, making you feel swept up in a storm. I’m not sure if I like the rapper feature, it doesn’t seem like something required. Next is the self-titled track ‘mary magdalene’ beginning with wind chimes and delving into that religious and historical influence of women detailing “a woman’s time to embrace, she must put herself first.”
Pitchfork, who rated this LP a 9.4, applaud the “virility and self-preservation” of ‘fallen alien’ where Barnett shows her feisty fighting side through haunting production and frictive vocals. A definite highlight on this album for its explosion into high pitched chorus making me feel like I’m heading into a battle. The tempo lessens dramatically on ‘mirrored heart’ where Barnett slurs through the words over a drunken beat. Yet, the volume is continually extending and retracting like waves crashing a shoreline; it’s really great to experience through waves.
As we approach the end of the LP, a melancholy tone sets in and the confidence that have dripped it way through a lot of the album is bled dry. ‘mirrored heart’ repeats the lyrics “and for the lovers who found a mirrored hear, they just remind me I’m without you.” Transitioning into the floaty light of ‘daybed’ where Barnett lists her surroundings and emotions to reflect the loss she feels for her partner. A bleak description of a lonely day spent watching daytime TV and desperately trying to feel something.
As we know, ‘cellophane’ closes this album, a ballad of cries and sorrowful piano. There’s a reason why everyone still discusses this track, Barnett stretches her vocals to a Björk-like symphony. We are then abruptly cut off, and the record goes silent, leaving us with emptiness and reflection on this sonic journey which I believe is purposeful. Barnett has mimicked a desperate feeling of holding onto a memory/feeling that has passed, “all wrapped in cellophane.”
I must admit there were moments of confusion when visiting this album the first time. The album confused me, and I couldn’t entirely invest all my energy into it. However, once I stopped being lazy and distracted, I could really feel how powerful FKA Twigs presence is in the music industry. There’s no denying a true appreciation for her sound and visuals. We know to be grateful that Barnett has allowed us into this open diary of vulnerability.
saharamelts 