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Music has gradually become subservient to the artist’s vocalizations, while the thematic coherence of those vocalizations takes second place to the dripping power of emotion and scale centred around the enunciation of each and every syllable. Hints of the style’s emergence into the mainstream have been there for years: the growing focus on increasingly abstract and experimental vocalizations the growing irrelevance of tune and rhythm.
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Shifting public tastes are an important part of the story here, and heavily implicated in the success of twigs’ music. Sounds have changed perhaps - to the finely honed art of sonic dissonance twigs brings a uniquely R&B angle - but more striking is that tastes have changed too. What startles is not so much the unexpected success of her sound, as its remarkable similarity to the artists on those late 20th century cassettes, now long forgotten if indeed they were ever known in the first place. Like any movement, the undercurrents and undertones were there for years her success is partly twigs’ own talent and artistic courage, but also the product of a listening public whose tastes have finally evolved to handle the sonic dissonances that experimental and noise musicians have been playing with for decades. The success of FKA twigs purports to have caught the music industry off guard, but it’s not rightly as surprising as one might think. The experimental music of that era would rarely even make it onto late-night college radio today it receives over a million YouTube hits in a week. It’s an interesting statement on musical evolution that today’s mainstream pop often sounds identical to the experimental noise bands on those cassettes I used to order in junior high, out of photocopied mail-order catalogues from obscure European labels.