FKA Twigs – Two Weeks

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There’s usually three ways that a sexually explicit song can go when it is written and performed done by a female artist;

  1. Tacky – “Bad Babysitter” by Princess Superstar
  2. I am female with a body therefore I am subservient to males – I’m A Slave 4 U” by Britney Spears
  3. I am a woman, recognise that you have nothing on this – “Two Weeks” by FKA Twigs

“Two Weeks” is a rampant storm that is raw, encompassing, emotional and intuitive to the often-confusing landscape of female sexuality. FKA Twigs nails it in what is the latest bombshell from her short but constantly improving trip-hop/future-pop catalogue.

Picking up a quicker pace and much more conventional song format than her previous releases such as “Papi Pacify” and ” Water Me“, Twigs has released a song that sits before, during and after a weekend altering your serotonin levels.

“Two Weeks” is a track that goes through all the motions (I see you, I want you, this isn’t really me talking, I love you, who the hell is that?, I wish I hated you, you are perfect, le sigh) whereas her previous releases seem to fit in at 6AM on a Sunday morning when you climb into bed after a night out and then on Tuesday when you find yourself staring at the wall before crying over the shitty batch of 2-minute noodles that you managed to make yourself.

The track starts off with an introduction that uses augmented vocal loops to set the beat of the song where we are led toward Twigs’ soft voice. Her voice is one that floats effortlessly between head and falsetto as she sings about the sexual gratification that comes from leading someone on and then, the longing and jealousy that occurs when they get over you and they get on with someone else.

Twigs takes ownership of her sexuality through her lyrical enunciation particularly when she gasps between the words “Got your mouth open” which builds a climax that flings us suddenly into the chorus. This is when shit gets hella intense.

Multi-layered synths fill out a building and drilling chord progression in the chorus that seems to fall short as the cadence ends on Twigs’ airy and light voice. This is seemingly the intention as the building of chords continues whilst Twigs’ asserts “Pull out the incisor, give me two weeks you won’t recognise her”.

It is here that we are confronted with a three-part harmony/army overlay as Twigs pushes “her” onto us.

The sonic overlay that comes from this reminds us of all the power that a woman can muster in herself when faced against another that stands in the way of love.

This is a notion that is further reiterated in the second verse when Twigs sings “I can fuck you better than her” (a bit obvious please).

And so, “Two Weeks” continues on as a song that you just can’t ignore. We are led to the bridge (which is essentially a high-pitched trigger on repeat) as Twigs’ finally admits to the transition from lust to reality but, not before she hits us with her reasoning which she cleverly crafts into a vocal melody line that smashes over the top of the chorus instrumental.

I know there are still five and a half months left of 2014 in which I will hear a lot of new and great tunes. Despite this, “Two Weeks” will go down as the best track of 2014 and once you listen to that masterful electronic composition, you’ll realise how.

So, go out, get your hump on and tell them FKA Twigs sent you.

THE BREAKDOWN

Hometown:  London
Upcoming release: LP1 (due out 8 August, 2014)
Sounds Like:  Portishead, Banks, Kelela
Say What?  Before she based herself as a musician, Twigs was a professional dancer and scored a spot as a back-up dancer in Jessie J’s video “Do It Like A Dude”.  Check out the video.

Paws and pineapples, Cat

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