Caprisongs [Mixtape]

The album is not only one that fans will cherish for years to come, but it will surely be the record that draws a whole new generation of fans into her deeply personal, and always captivating, world.

The diversity of styles on CAPRISONGS would likely end up a disjointed mess in any other hands, but with twigs (and her stacked team) on hand, it all sews together brilliantly. It bounces back and forth from outwardly confident to more stately anthems of self-love, and even songs that might seem throwaway in isolation are key in sequence.

Sitting somewhere between say Beyoncé’s auteur-like use of collaborators on ‘Lemonade’ and how Grimes’ ‘Art Angels’ saw the contrary Canadian flex shimmering, glossy pop nous, ‘Caprisongs’ has twigs throwing out hooks left, right and centre.

If MAGDALENE was an encapsulation of FKA twigs’ internal storm, CAPRISONGS is the sunrise after the fact, brilliant and vibrant as ever.

The way Barnett shares tracks and experiences on Caprisongs makes it a more diffuse listening experience than her past releases, but it also brings a galvanizing openness to her music -- and suggests pain doesn't have to be her only muse.

"pamplemousse" and "which way" serve as the purest evidence of the freedom achieved on this mixtape. These experimental sketches are delightful in their rejection of seriousness.

Caprisongs collates a set of more ephemeral pop tunes in which twigs broadcasts selfhood 17 ways, finding unexpected common sonic ground with artists such as Grimes, Charli XCX and Self Esteem.

After pouring her darkest moments into ‘Magdalene’, this varied and playful mixtape represents a moment of release, though it remains to be seen whether Barnett will head further into this direction, or enter a new album era recharged.

CAPRISONGS is light on its feet and more accessible than her tricksier electronic work but, whether she's delivering dancehall, hip-house, afrobeat or drill, almost all of these are songs which could only have twigs' name on them – take the glitchy, snatched vocals on 'ride the dragon' or the elegiac harp at the end of 'lightbeamers', mixed among the sub-bass and the hi-hats. CAPRISONGS is a testament to twigs' voice.

Caprisongs is her most buoyant, she doesn’t sacrifice her creative nonconformity or intimacy. She strikes a careful balance, akin to perfecting an arabesque on a razor blade, as she revels in production that’s carefree, cathartic, and completely life-giving.

Given time and careful attention, CAPRISONGS unfurls to reveal the richest and catchiest melodies twigs has written so far. Its mystique melts into you.

In a discography saturated with ambient anthems and frenetic energy, CAPRISONGS brilliantly brandishes the talent of an artist constantly looking for her next high.

Caprisongs is the sound of twigs in the driver’s seat as she traverses her own curiosities and instincts; there is no man looming over the music, no weighty public narrative dictating its terrain. It is intrepid and light, the image of a woman attuned to planetary alignments but casting her own fate.

Small blemishes aside, CAPRISONGS is cool, calm, composed, and immediately apparent.

As emotionally sharp as ever, and as easily vulnerable but with some fierce love in her corner, this is the sound of twigs really loving what she does and putting herself at its core.

Whilst it’s nice to hear a change of pace for twigs (and to, on occasion, genuinely hear her laugh), there’s not as much focus on experimentation and expression, which could disappoint some exacting fans.

CAPRISONGS might not be as immediately arresting as twigs’ previous work, but it shouldn’t have to be. ... Instead, it acts as her stepping stone towards recentering herself — and that journey alone should be applauded.