• Record Label: Atlantic
  • Release Date: Nov 14, 2025
Metascore
76

Generally favorable reviews - based on 10 Critic Reviews

Critic score distribution:
  1. Positive: 8 out of 10
  2. Negative: 0 out of 10
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  1. Nov 21, 2025
    80
    FKA twigs may have already made 2025 her own with Eusexua, but Eusexua Afterglow is far from an afterthought.
  2. 80
    ‘Afterglow’ might be ‘Eusexua’ offcuts, but FKA Twigs’ B-sides are so good they can outrank entire discographies. Does it live up to the lofty marketing of its predecessor? Perhaps not. But it still proves that Twigs is one of the most prolific and original alt-pop icons of our times.
  3. Nov 14, 2025
    80
    It may lack the pop-accented immediacy of ‘EUSEXUA’ tracks like ‘Perfect Stranger’ and ‘Room of Fools’, but there’s a surfeit of transcendent dance music on offer here, deftly undercut with a sensual, inventive, hi-definition approach that is always gesturing towards the future.
  4. Nov 14, 2025
    80
    Where EUSEXUA is immaculate in its design, EUSEXUA Afterglow is the glorious unravelling. It’s hedonistic and messy, somehow both more lithe and more maximalist than its predecessor.
  5. Nov 13, 2025
    80
    Afterglow’s 11 songs bleed into each other, linking each one to a loose narrative through line that extends from Euseuxa, but it’s twigs’s psyche that emerges as the album’s fulcrum.
  6. Nov 17, 2025
    74
    While the two new records don't match up to the original’s mastery, scattered throughout both are glimmering moments of this carefree abandon and commitment to the bit. It's clear that twigs has never had quite so much fun.
  7. Dec 1, 2025
    72
    Overall, it is an exciting era for FKA Twigs fans, as she continues her winning streak.
  8. Nov 13, 2025
    70
    Admittedly, there’s nothing here as sticky as EUSEXUA’s “Sticky,” let alone “Childlike Things,” “Room of Fools” or “Drums of Death.” Afterglow is strongest when the beats are sickest, which is roughly midway through, when things peak with the tag-team of “Predictable Girl” and “Sushi,” a head rush of junglist bass growls and breakbeat abstracts.

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