Steeped in angst and effective in it’s stark use of contrast, it’s an immediately engaging piece of work that deserves your attention. You can check it out below:

The video was shot on Praia de Almagreira beach in Portugal and directed by the prolific French music video director Yoann Lemoine (Katy Perry – “Teenage Dream“, Lana Del Rey – “Born to Die“, Harry Styles – “Sign of the Times”). Speaking with NME recently Lemoine said “Twigs approached me with a beautiful treatment for “killer” that she had written about her personal story. It felt empowering and vulnerable at the same time. I said yes instantly when she asked me to direct it. It was the perfect opportunity to portray her in a way that we have not seen before, raw and intimate“. Going on he explained “The video is about the poison and the fuel that personal trauma is in art. How our experience forces us to create and how sometimes it is only inhibition and violence“.

The overall feeling stirred by the video is a powerful one, with a climactic scene that sees Twigs watch on helpless as she and her lover, now wearing a demonic mask, make love in a hellish landscape. It’s an interesting take on someones facade slipping the more you become engrossed in them, with the mask seeming to represent her partners true identity, it can be seen as a twist on the well trodden Scooby-Doo reveal that we’re all used to. It’s a vulnerable and nightmarish take on trauma and the dangerously hypnotic nature of love, with Twigs representing herself as honestly as ever.

Elsewhere FKA twigs has released a handful of music videos recently for tracks from her 2022 mixtape Caprisongs, including “Papi Bones,” “Honda,” and “Oh My Love”.

In a candid and forthcoming interview with GQ, Barnett revealed how close she came to losing her home after having to cancel all of her upcoming shows whilst not being able to claim the Governments small business loans “I came really close, and it made me pay attention and learn a lot about things that I never really paid attention to before, because I’ve always been on the go“. She had a lot of people to pay in her team, and continued doing so despite said losses, but as time went by and her balance ran lower, it became increasingly hard to find a solution in a world turned upside down by the pandemic.

With the ban on live music taking out a huge chunk of her earnings, she felt the pinch of agreements she had signed up to earlier in her career when she was less aware of the small prints repercussions. Learning from it all now, it’s served as a sharp wake up call to the singer who is now placing more emphasis on her business practice and personal sovereignty in an industry that often seeks to take it away.

Speaking with GQ‘s Briana Younger in a typically thoughtful and open manner, she said “It has been intimidating for me being a young woman running a business because I felt like I didn’t deserve to understand everything. I felt like I didn’t deserve to understand the contracts – or even, sometimes now, when you do a song, there’s royalties, publishing, there’s points, there’s who gets paid first”. 

Now she feels like she’s matured and gained enough experience of the industry to deserve a seat at the table and be at the helm of the decision making of her business “I’m learning, and I want to make my own mistakes. I don’t want other people to make mistakes and then me not understand what’s happened… I think it’s important for specifically young women in a creative industry to have the confidence to understand their business and have the confidence to understand their worth and have the confidence to want more for themselves”.

You can check out FKA Twigs latest single “Killer” here: