FKA twigs (literally, "Formerly Known As Twigs") may just be the coolest, most mysterious "it" girl of this year. And after her "Water Me" video had piqued our curiosity in 2013, the music lovers want to know more. Lucky for us, the Jessie J's former backing dancer has just released the music video for "Two Weeks," the first single from Tahliah Barnett's upcoming first full-length, "LP1," due out on August 12. The song is a sighing, soaring bit of electronic pop with her breathy falsetto and magnetic presence, and its lush slow-motion video matches the song's regal, ethereal beauty.
“Two Weeks” a beguilingly straight-laced cut of silken R&B, is a commanding blast of raw sexual power. It captures everything that her unapologetically sexual music is about. "My thighs are apart for when you're ready to breathe in," she declares on the compelling, ecstatically filthy "Two Weeks." This is a song purely about lust, sex, and ecstasy delivered with the subtlety of a dime-store romance novel and it's enough to make you melt. Thankfully, "Two Weeks" is a new age sex jam that even luddites like us can comprehend. Filthy as sin and wholly aware of its own pomposity, it's a bawdy taster of FKA twigs' upcoming "LP1," and she is set to reign over the changing attitudes toward sex.
Of course, this isn't the first time Tahliah Barnett has luxuriated in the realm of carnal pleasures. "Water Me," "Papa Pacify" and "Weak Spot" are all pretty much concerned with doing the nasty, and by that we do mean the nasty. FKA twigs isn't much concerned with love. Lust and vulnerability are her songwriting vices, and on "Two Weeks" she exploits them with slow percussive intent. Falsetto sighs are rolled on top of rasping snare fills in extravagantly brash fashion so that you can't help but gurn along.
And FKA twigs' new video for "Two Weeks," directed by Nabil, is the same way, starting off with a simple focus on the British singer and then panning out to see that she is an empress looking over other small, little twigs dancing beneath her. As we see FKA twigs herself takes a seat on a throne to star as a Hindu goddess who can shoot water from the tip of her finger. The intensely choreographed video mirrors the disjointed otherworldliness of the track itself. The audience is not meant to feel bad for her, but rather be intimidated. It reminded me of certain Björk videos from the Vespertine era: an era of self-actualization through sexual experimentation.
“Two Weeks” a beguilingly straight-laced cut of silken R&B, is a commanding blast of raw sexual power. It captures everything that her unapologetically sexual music is about. "My thighs are apart for when you're ready to breathe in," she declares on the compelling, ecstatically filthy "Two Weeks." This is a song purely about lust, sex, and ecstasy delivered with the subtlety of a dime-store romance novel and it's enough to make you melt. Thankfully, "Two Weeks" is a new age sex jam that even luddites like us can comprehend. Filthy as sin and wholly aware of its own pomposity, it's a bawdy taster of FKA twigs' upcoming "LP1," and she is set to reign over the changing attitudes toward sex.
Of course, this isn't the first time Tahliah Barnett has luxuriated in the realm of carnal pleasures. "Water Me," "Papa Pacify" and "Weak Spot" are all pretty much concerned with doing the nasty, and by that we do mean the nasty. FKA twigs isn't much concerned with love. Lust and vulnerability are her songwriting vices, and on "Two Weeks" she exploits them with slow percussive intent. Falsetto sighs are rolled on top of rasping snare fills in extravagantly brash fashion so that you can't help but gurn along.
And FKA twigs' new video for "Two Weeks," directed by Nabil, is the same way, starting off with a simple focus on the British singer and then panning out to see that she is an empress looking over other small, little twigs dancing beneath her. As we see FKA twigs herself takes a seat on a throne to star as a Hindu goddess who can shoot water from the tip of her finger. The intensely choreographed video mirrors the disjointed otherworldliness of the track itself. The audience is not meant to feel bad for her, but rather be intimidated. It reminded me of certain Björk videos from the Vespertine era: an era of self-actualization through sexual experimentation.
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