The (often mock) vulnerability of her prior work is largely gone even when she implores her lover, “ Dress me up, I’m your doll,” her voice radiates pure power. She wreaks havoc all over “In Time,” the only non-Boots-produced track, busting a triple-time flow on the chorus and spitting “ You’ve got a goddamn nerve” with a level of venom we haven’t heard from the usually calm and collected twigs. On opener “Figure 8,” she busts some high notes that are purposeful but consciously showy. Her voice sounds louder, clearer, more confident. It’s up to her to provide the hooks, and she does, in bulk, with simple, catchy exhortations like “ Let me live,” “ I’m your doll” and “ mothercreep, mothercreep, mothercreep.” Twigs stalks the spaces between those sounds, often singing over near-silence before a barrage of effects comes hurtling back in. He fills the sonic playing field with digital effects, blasts of harsh noise – pretty much everything except chords and melodies. Arca’s productions had enough melodic heft to scan as “pop ” Boots has no interest in pop at all. M3LL155X finds her usual co-producer Arca replaced by Beyoncé collaborator Boots. (This is the first FKA twigs release with a “proper” title.) What’s different about M3LL155X is that all her familiar hallmarks are taken to the extreme. These descriptors all apply to her breakthrough EP2 and last year’s full-length LP1. The British provocateur’s new EP finds her exploring sexual power dynamics over warped R&B and pop productions, all wrapped in uncanny-valley album art. M3LL155X doesn’t teach us anything new about FKA twigs.
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