The Singles Jukebox

Is it, though? Is it?

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[5.75]

Katherine St Asaph: FKA Twigs follows up the excellent M3LL155X by turning time back to ballad o’clock, when I always find her too studied.
[4]

Leonel Manzanares de la Rosa: FKA Twigs’ strength lies in her warped vision of R&B, aided by a lavish sonic architecture. Here, she takes a turn for the conventional, avoiding the exuberant in favor of the austere, with her voice taking center stage in this expression of fragility. We don’t get to hear her signature atmospherics until the last minute, which is sad because we’re not really here for the heartfelt but the weird. And she’s her most formidable when doing both at the same time.
[6]

Alfred Soto: She’s gotten attention disproportionate to her okay voice and perfunctory tunes, and Chairlift is working this plush synthesized quasi-R&B to greater effect. Quivering with emotion, FKA Twigs gives a performance of uncomfortable self-consciousness, like watching mirror moves.
[4]

Brad Shoup: Most of the song is eerily Sam Smithian, but she trounces him in the upper register. But the purgatory synths start asserting themselves, until they’re detonated by guitar contrails. Definitely ace for driving with a thousand-yard stare.
[7]

Claire Biddles: Twigs’ whispered professions of sexual experience remind me of David Bowie’s claim of there having “been many others” on the similarly religious-sounding “Can You Hear Me.” Instead of a boast, her claims to be “loved to my limit” are reassuring. I waited and waited for the synths to open up, for a beat, anything, but the drawn-out anticipation is much, much more seductive.
[7]

Sonia Yang: Beautiful vocals as always, but the song plods along without any clear direction. The last minute’s wind up is a treat, but it drags heavily before then.
[5]

Ian Mathers: I may find I’ve underrated this — Twigs’ songs tend to be growers for me — but for much of “Good to Love” the production just feels a bit more one-dimensional and… obvious, maybe? than I expect from her songs. Things do pick up a bit near the end and I wonder if I’m nonplussed by the fact that, at least on the surface, the lyrics are also more straightforward, or just lacking the cerebral chill I expect from her last album and EP. Not that there isn’t genuine emotion in there too, just that usually it feels like there’s more layers.
[6]

Ramzi Awn: In typical FKA Twigs form, there is nothing wrong with “Good to Love.” On the contrary, it’s pretty perfect. But the same thing that makes Twigs so impressive is what makes her so difficult to put in heavy rotation. It isn’t that the artist’s studiedly progressive bent lacks ingenuity, but “Good to Love” doesn’t necessarily signify an original point of view either. 
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