In a time where artists seem to have nothing of value to say and instead flood our ears with songs about having “that yummy yum”, it is refreshing and welcoming to have an artist like FKA– Twigs be so vulnerable and expressive of her love and pain in her new album, “Magdalene”.

Breaking a four year silence in the music scene for her fans; FKA Twigs new album brings a new sound, depth and fragility not heard in her previous music.

She is not enough for him, but she is enough for herself.

Twigs had a lot going on personally in 2017, her incredibly public relationship with vampire Robert Pattinson; ended following their engagement (they were engaged in 2015). While dealing with her failed engagement, Twigs had surgery to remove painful fibroid growths from her uterus.

She is not the same person she was in her 2014 album “LP1”. She has been broken and lost some of her ferociousness that brought her to fame in the music industry. The song “Cellophane” is the most strikingly different from her previous work, with her begging to be loved, instead of demanding your attention.

The album is emotionally driven and swiftly explains the state of mind Twigs is in towards herself and towards love. She seamlessly moves from beautiful operatic soprano to an aggressive almost painful to hear undramatic alto, but it works! You can truly feel her pain and as the album flows from one song to the next you get to listen to her learn to cope and experience how she got back up.

There is also an exploration of sexuality referencing the album title (Mary) “Magdalene”. At first glance the choice of idolizing Magdalene seems like a boring overused choice for an artist like Twigs to use, but with songs like “Holy Terrain”, a more orthodoxed track in which she accompanies Atlanta rapper Future amongst trap beats (“my fruits are for taking/ And your fingers are stained”),  you quickly understand that the prostitute from the New Testimate is the perfect figure head to represent the album.

Although each song is beautiful in its own right; the album is a little confused on pacing “Cellophane”, which carries the heart and soul of the album. It feels thrown in at the end instead of being placed in the center position; where it belongs. The album hiccups again with the placement of “Mary Magdalene”, the title song of the album, not being put in the first slot.  Instead it is misplaced in the very middle of the album. These are obvious nitpicks of an album that is next to perfect.

Sex is pain, love is pain, Twigs was in pain and she got through it; now enjoy one of the most breathtaking albums to be released in modern time.