You can't talk about FKA twigs' music without talking about everything else. In the age of social media and creative directors, Tahliah Barnett's multimedia presence is one of pop music's most cohesive, most unconventional and, in the ultimate sense,proves this more than ever. The project, thematically rooted in the sacred and profane, is a performance that extends far beyond the music. To bring it to life, Barnett learned to pole dance and sword fight. She tap-danced on tour. She shot her most alien and otherworldly music videos. She filmed stunning acoustic versions surrounded by classical art. Her fashion, too, all linked back to the project. For months we saw visuals of her in baroque gowns and court jester-inspired couture. In the video for " Cellophane ," she donned crystal stilettos that scraped like knives across the floor.The dancing, costumes and sheer size of the project echo the workaholic hustle of a Gaga or Beyoncé. But the reality of twigs' music is much more experimental, closer to a Kate Bush or Björk. This mix of star power has in turn attracted some of electronic music's boldest contemporaries to work on. Nicolas Jaar, Skrillex and Daniel Lopatin (AKA Oneohtrix Point Never) are listed as co-producers. Arca and Hudson Mohawke are in the credits, too. Together, they've arrived at a genre-defying mix of classical and electronic music. It's also one of the most modern and polished records in recent memory.At the center of it all is twigs' vulnerable soprano. She focuses on one topic: heartbreak. Despite the music's grand and theatrical presentation, herein lies its simple pop pleasure.is a universal breakup album, done artfully. On top of gorgeous instrumental flourishes and hushed electronic parts, twigs pores over her lost love and the questions that arise out of it—a guilty pleasure the heartbroken, whether they be pop stars or everyday people, can't help but obsess over. Long after these lovers are gone,wears its scars beautifully. It's music to keep close to the heart.Listen: Apple Music