Aug 12, 2014"LP1" is one monumental debut in Pop music, the poster child [reminiscence] of the Björk's- Aaliyah's and Portishead's delivers with a more"LP1" is one monumental debut in Pop music, the poster child [reminiscence] of the Björk's- Aaliyah's and Portishead's delivers with a more complete experience than ever!
"I love another, and thus I hate myself" are the on-going words for the opener "Preface". Words directly brought out from a poem by Sir Thomas Wyatt, and formally based upon, conceptually that is the placement of this album over some experimental and soul[ed] production and lyrics.
From heavenly beginnings, the deeper the cuts plays on the more pattering, heavy and haunting the music goes.
The visually Queen of the Damned, ancient Egyptian inspired leading single of off the LP, "Two Weeks", (and this years most refreshing tune) features her most breathy, melodic, straightforward realm but also capturing a catchy and interesting both sonically- vocally performance of what contemporary Pop/R&B on the radio been missing. A power ballad, though rawer and more vivid than others with it's desperate "Pull out of the incisor, give me two weeks/You won’t recognize her/Mouth open you're high; Motherf**ker, get your mouth open you know you’re mine; I can f*ck you better than her" all sung in a hypnotizing and soulsucking sensual falsetto ontop of extravagantly- dazzling and bombastic instrumentals.
The minimalistic touch and climaxes of previous work continues a way on here, tracks like the 'not so present now', heartbreaking, lonely and the polishing verse-to-verse melody of fellow UK artist Rita Ora's "R.I.P", "Pendulum" whom for every chorus that serves builds up to more epic. With guitar riffs that beatifully stretches, pianos who add drama and wash of synthesizers circled around the starts already atmosphere but looses up from every second that is of spac[e]ious feel when the intense get harder for the minute that displays and as the titel itself, it feels like death nearby your throat with the many instruments and futuristic cards being thrown at.
FKA twigs varies though on her characters than what was on her EP's, she has a control of not being too one dimensional as in when Psalm like sung "Closer" comes by. And not to just drop by out of nowhere, it feels natural and organic, slightly cuter and less out there at your face despite the lyrics. The high pitched vocals that inconsistently shows through the song is a sweet put from the darker steam that is on the album, Vampire Weekend-esque as had on their last year album with the track "Ya Hey".
"Is she the girl from the video/Stop, stop lying to me" sings twigs in a higher register, that yeah could play on -acts- not necessarily, but if we are being rather specific it talks about her career being the girl in the music videos as a dancer for artists like Jessie J. The track is "Video Girl", a track with one of this years most infectious yet simple choruses with it's "You lie and you lie and you lie" it is a track that seems to be self questionable a little bit, but more so a dialogue discussing her career before taking music seriously.
The production on the album is handled by twigs herself and the frequent collaborator from "EP2" and Yeezus producer Arca, involved on board is also Paul Epworth who was behind Adele's "21" (Grammy winning album and singles), Emile Haynie who is responsible for Kanye West's "Runaway", the multi-talented Sampha and Dev Hynes (whom I assume had his hands on the guitarrs). Musically it is cohesive, extremely so managing juggling 808s, electronic and it's scraping (knife hitting) beats. Successfully having a sound, a memorable touch all through and so is the lyrics and delivery.
The experimentation with genres, so to say a Beyonce, The Weeknd to Trip-hop, UK electronic- and Alternative music is a blend on here, making it an experience to broader audiences for many to enjoy and find pieces from. It may not be perfect, but the emotion from it is the winning point.
This is a testament, FKA twigs is pushing [boundaries] a step in music, evoking influences of classics and modern artists and making this into a platform, a new and fresh sound for others to catch on to.
"LP1" is one of the most wonderful, heartbreaking and creative releases tackling lust, fantasy, realism of love, identity and self independence.
"Just like you/I just touch myself".… Expand
Dec 28, 2014FKA Twigs with LP1 is more than music, is art. The power of a woman that has your sexuality secure, pure and naturally. In this album feelingsFKA Twigs with LP1 is more than music, is art. The power of a woman that has your sexuality secure, pure and naturally. In this album feelings are mixed with sensuality, pure feelings and pure sensyality. It's baically genious.… Expand
Aug 13, 2014FKA Twigs hit me so hard with this album, ''Lights On'', ''Two Weeks'', ''Pendulum'', ''Video Girl'' and ''Kicks'' are the highlights. IsFKA Twigs hit me so hard with this album, ''Lights On'', ''Two Weeks'', ''Pendulum'', ''Video Girl'' and ''Kicks'' are the highlights. Is Cleary one of the best debuts in a long time and the best album of the year!… Expand
Aug 13, 2014A very great sounding album with great tracks, lyrics and singing. This is so far, the best album of the year. All the tracks on the album areA very great sounding album with great tracks, lyrics and singing. This is so far, the best album of the year. All the tracks on the album are really good.… Expand
Aug 21, 2014Impressions:
First time: Strange, challenging, involving.
Second time: Beautiful, detailed, descend production. Third time: Awesome,Impressions:
First time: Strange, challenging, involving.
Second time: Beautiful, detailed, descend production.
Third time: Awesome, heartfelt, fanciful production.
Fourth time: Even better than the third time, oh well...
Fifth time: A memorable love story lasting on for quite a while...… Expand
Nov 13, 2014Even if it came out merely months ago, FKA twigs' debut LP1 has become one of the most deliciously darkest and most sensual albums of theEven if it came out merely months ago, FKA twigs' debut LP1 has become one of the most deliciously darkest and most sensual albums of the decade without ever feeling forced or even slightly insincere.
Though her songwriting hasn't quite matched the artistic brilliance of her visual art, her sex-as-a-metaphor lyricism, beautifully controlled vocals and sensual tone are one of LP1's most embracive—and yet at times, uncomfortable—qualities. Especially in comparison to her contemporaries in the art, most recently Lady Gaga and Beyoncé—Lady Gaga's 2013 singles "G.U.Y." and "Do What U Want" were half-smart and though Beyoncé's latest critically acclaimed self-titled LP uses sex to accompany its many self-empowerment themes, it came off as less calculated.
Not since Björk's 2001 masterpiece Vespertine has an album made sexual themes so personal, lyrically, musically, and sonically. "Lights Out" discusses trust ("When I trust you, we can do it with the lights off"), "Two Weeks" discusses desire ("Pull out the incicor, give me two weeks, you won't recognize her"), and "Video Girl" discusses one's own indenial that the protagonist's partner could be cheating on her with... well, herself ("Is she the girls from the video?"). Or it could be, I'm not completely sure.
LP1 is an electronic landscape of all sorts of sounds, such as the pitter-pattering drums on "Pendulum"—best remembered on last year's "Water Me", a highlight from her previous release, EP2—and even more frequently, her vocals make up for a majority of the sound effects throughout, whether they're chopped up, pitched up and down, or drowned in reverb. If LP1 had any notable flaws, it's that twigs' already soft vocals often feels overwhelmed or threatened by the production.… Expand
Jan 1, 2015The ethereal, dream-like soundscapes Barnett creates are no doubt enchanting, and the album kicks off with a bang. Overall, however, LP1 is aThe ethereal, dream-like soundscapes Barnett creates are no doubt enchanting, and the album kicks off with a bang. Overall, however, LP1 is a tiresome listen, the endless drivel of whispering falsettos and orgasmic vocal flurries making this the most sugar-coated, sexed-up and overly masturbatory R&B record this year. Which is a shame considering how talented Barnett can be when she's at her best.… Expand
Published: December 2, 2014Over the next month, we'll be collecting year-end top 10 album lists from over 130 music critics, publications, record stores, and other sources. Find individual lists and this year's cumulative rankings inside.
|Physical Graffiti [Remastered] - Led Zeppelin|
|To Pimp A Butterfly - Kendrick Lamar|
|Black Messiah - D'Angelo|
|The Smithsonian Folkways Collection [Box Set] - Lead Belly|
|Bouquets from a Cloudy Sky: The Complete Pretty Things Collection [Box Set] - The Pretty Things|
|Carrie & Lowell - Sufjan Stevens|
|No Cities to Love - Sleater-Kinney|
|G Stands For Go-Betweens, Vol. 1 [Box Set] - The Go-Betweens|
|Apex Predator - Easy Meat - Napalm Death|
|Hand.Cannot.Erase. - Steven Wilson|
|The Fade in Time - Sam Lee|
|The Mindsweep - Enter Shikari|
|Sometimes I Sit And Think, And Sometimes I Just Sit - Courtney Barnett|
|Choose Your Weapon - Hiatus Kaiyote|
|Complicated Game - James McMurtry|
|In Colour - Jamie xx|
|Ten Love Songs - Susanne Sundfør|
|Vulnicura - Björk|
|Mono - The Mavericks|
|I Love You, Honeybear - Father John Misty|