2014 studio album by FKA Twigs
LP1 is the debut studio album by English singer-songwriter
FKA Twigs , released on 6 August 2014 by
Young Turks . Production for the album is handled by FKA Twigs herself, alongside
Emile Haynie ,
Arca , Cy An,
Devonté Hynes ,
Clams Casino ,
Paul Epworth ,
Sampha and Tic.
Upon release, LP1 received widespread critical acclaim, and placed high on several year-end critics' lists. The album spawned three singles: "
Two Weeks ", "
Pendulum " and "Video Girl". The album was nominated for the 2014
Mercury Prize and the award for
Best Recording Package at the
2015 Grammy Awards .
FKA Twigs (then known simply as Twigs) self-released her debut extended play,
EP1 , on
Bandcamp on 4 December 2012.
[1] Music videos were filmed for each of the four tracks and released on her
YouTube channel.
[2]
[3] On 6 August 2013,
The Guardian profiled FKA Twigs for their "New Band of the Day" feature, describing her as "[t]he UK's best example to date of ethereal, twisted
R&B ."
[4]
FKA Twigs's second extended play,
EP2 , was released through the
Young Turks record label on 17 September 2013.
[5] It was produced by FKA Twigs and
Arca .
[6] In December 2013, she was nominated for the
BBC Sound of 2014 , and was chosen by
Spotify for their Spotlight on 2014 list.
[7]
[8] FKA Twigs was featured on
Billboard ' s 14 Artists to Watch in 2014.
[9]
On LP1 , Twigs expands her
avant-pop landscape, yielding "boundaries-pushing"
pop music .
[10]
[11] It also dons a large
electronic component. Indeed,
Entertainment Weekly felt that without Twigs' voice, it would be a work of
avant-garde electronics.
[12]
[13] It is seen for its "
glitchy futuristic" take on R&B, casting the genre in "thrilling hyper-real hues".
[14]
[15]
Stereogum saw Twigs' music as "fluid"
experimental R&B , while
Q saw it as an "uncanny" fusion of
indie R&B with "nervy"
trip hop .
[16]
[17]
Lyrically, LP1 deals with themes of
sex ,
[18]
sexual relations and intimacy.
[19]
The lead single from LP1 , "
Two Weeks ", was released on 24 June 2014 as a
digital download and on 29 July 2014 as a
12-inch single , the latter featuring the song "
Pendulum " as a B-side.
[20]
[21] The music video was directed by
Nabil Elderkin and premiered on 24 June 2014.
[22] "Pendulum" was released digitally as the album's second single on 30 July 2014.
[23] The self-directed music video for the song premiered on 14 January 2015 and depicts FKA Twigs tied up with her own hair.
[24]
"Video Girl", a track inspired by Twigs' experiences following her appearance in
Jessie J 's "
Price Tag " music video,
[25] was sent to
contemporary hit radio in the United Kingdom on 13 October 2014 as the album's third and final single.
[26] The accompanying music video was directed by
Kahlil Joseph and premiered on 29 October 2014. The black-and-white video sees FKA Twigs dancing for a prisoner on death row, and features a cameo appearance from rapper
Travis Scott .
[27]
[28]
LP1 received widespread acclaim from music critics. At
Metacritic , which assigns a
normalised rating out of 100 to reviews from mainstream publications, the album received an
average score of 86, based on 38 reviews, indicating "universal acclaim".
[30] Miles Raymer of Entertainment Weekly stated, "A singular kind of diva who asserts herself subtly, twigs sings in a near whisper that often threatens to blend in with the instruments behind it. But she exerts enough of a magnetic pull to lure listeners into some challenging territory".
[13] Christopher Hooton of
The Independent wrote that "while sultry, drug-addled R&B is an increasingly crowded genre, Twigs takes a hammer to the kind that
The Weeknd made famous and plays in the rubble." Hooton continued, "FKA Twigs emerges the high priestess of R&B's latest corruption, and the world will kneel at the altar."
[33] Kyle Fowle of
The A.V. Club commended FKA Twigs for "manag[ing] to craft a cohesive aesthetic that draws on modern R&B and electronic while also remaining inventive", concluding, "Few debuts possess such control and ambition all in one; LP1 is the rare album that manages to sound both lived in and completely futuristic."
[12]
AllMusic 's Heather Phares noted the album contains "a lusher sound that's more accessible, and more overtly R&B, than FKA Twigs' earlier work but maintains its ethereal sensuality", adding that "FKA Twigs' music was already so fully realized that LP 1 can't really be called Barnett coming into her own; rather, her music has been tended to since the 'Water Me' days, and now it's flourishing."
[31]
Jonathan Zwickel of
Spin described the album as "unconventional stuff, drug-like, elemental and extraterrestrial" and opined, "In its menacing incandescence, LP1 sounds like nothing else in the world right now."
[10]
Pitchfork ' s
Philip Sherburne praised LP1 as a "huge album" and a "monumental debut", while writing that "FKA twigs is not a masterful lyricist, at least not yet; some of her couplets feel clunky, like she's grasping in the dark for rhymes and coming up with the objects closest to hand [...] But when she zeroes in on the essence of a thing, she hits hard."
[34]
Alexis Petridis of The Guardian viewed the album as "a singular piece of work in an overcrowded market", and expressed that it "has its flaws [...] but you leave it convinced that FKA Twigs is an artist possessed of a genuinely strong and unique vision, one that doesn't need bolstering with an aura of mystique."
[32] Hazel Sheffield of
NME commented that the album "impresses with its futuristic vision of R&B" and remarked that FKA Twigs's "pervading sense of control and commitment to her art proves that Twigs is set on building the sound of the future all by herself."
[14] Felicity Martin of
Clash stated, "Fragile, heavenly and utterly compelling; this debut paves the way for boundaries-pushing pop. This is music that shatters you with a single tap."
[11] Q praised the music as an "uncanny" hybrid variously recalling "indie R&B... and nervy trip hop".
[16]
Rolling Stone ' s Julianne Escobedo Shepherd found the album to be "far more substantial" than FKA Twigs's two previously released EPs, adding that her "
deconstructed shards of
U.K. grime and
garage land heavier, while
elegiac vocals soften the songs without blunting their edge."
[35]
On 19 August 2014, LP1 was included at number 87 on Pitchfork ' s list of The 100 Best Albums of the Decade So Far.
[36] The album was shortlisted for the 2014
Mercury Prize .
[37] It was also nominated for
Best Recording Package at the
57th Annual Grammy Awards .
[38] In late 2014, LP1 was voted the fifth best record of 2014 in the
Pazz & Jop , an annual poll of American critics published by
The Village Voice .
[39]
LP1 debuted at number 16 on the
UK Albums Chart , selling 4,051 copies in its first week.
[80] In the United States, the album debuted at number 30 on the
Billboard 200 with first-week sales of 10,370 copies.
[81] As of August 2015, the album had sold 77,000 copies in the United States.
[82]
Title Writer(s) Producer(s) 1. "Preface" FKA Twigs 1:46 2. "Lights On" Arca 4:24 3. "
Two Weeks " 4:07 4. "Hours" 4:35 5. "
Pendulum " 4:58 6. "Video Girl" 3:47 7. "Numbers" 3:43 8. "Closer" 3:45 9. "Give Up" 4:17 10. "Kicks" 5:24 Total length: 40:46
Japanese edition bonus tracks
[83] (
EP1 ) Title Writer(s) Producer(s) 11. "Weak Spot" FKA Twigs 3:43 12. "Ache" FKA Twigs 5:00 13. "Breathe" FKA Twigs 4:16 14. "Hide" FKA Twigs 2:59
Limited deluxe edition bonus 7-inch vinyl
[84] Title Writer(s) Producer(s) 1. "One Time" 4:16
^[a] signifies an additional producer
Credits adapted from the liner notes of LP1 .
[85]
FKA Twigs – vocals (all tracks) ; instruments (track 1) ; string arrangements, bass arrangement (track 2) ; additional drums (tracks 2, 6) ;
Tempest (tracks 3, 7) ; drums (tracks 5, 8, 10) ; keyboards (track 5) ; bass (track 7) ; synths (track 10)
Lucki Eck$ – demon voice (track 1)
Arca – additional vocals (track 2) ; additional programming (tracks 3, 4) ; synth (track 3) ; instruments (track 4) ; additional sounds, programming (track 9)
Andrew Aged – guitar (track 2)
Tic – guitar (tracks 2, 8) ; additional drums (track 2) ; drums (track 8)
Daniel Aged – upright bass (track 2) ; additional keyboards (track 10)
Emile Haynie – instruments, drums (tracks 3, 9) ; synths,
Mellotron , additional drums (track 4)
Devonté Hynes – guitar (track 4)
Paul Epworth – drums, guitar, keyboards, piano (track 5)
Cy An – keyboards, additional drum edits (track 5) ; additional programming (track 6) ; piano (tracks 6, 10) ; drums (tracks 8, 10) ; synths (track 10)
LJ Howe – bass guitar (track 6)
Sampha – drums, synths, piano (track 7)
FKA Twigs – production (tracks 1, 5, 7, 8, 10) ; additional production (tracks 3, 6)
Joseph Hartwell Jones – vocal recording (tracks 2, 3, 9, 10) ; additional vocal recording (track 4) ; engineering (track 5) ; additional engineering (track 6)
Arca – production (tracks 2, 4) ; additional production (track 9)
Emile Haynie – production, recording (tracks 3, 4, 6, 9)
Devonté Hynes – production (track 4)
Clams Casino – production (track 4)
Paul Epworth – production (track 5)
Sampha – production (track 7)
Cy An – additional production (tracks 8, 10)
Tic – additional production (track 8)
David Wrench – mixing
John Davis – mastering at
Metropolis Mastering (London)
Jesse Kanda – imagery
FKA Twigs – design
Phil Lee – design
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