Twigs stalks the spaces between those sounds, often singing over near-silence before a barrage of effects comes hurtling back in. He fills the sonic playing field with digital effects, blasts of harsh noise – pretty much everything except chords and melodies. Arca’s productions had enough melodic heft to scan as “pop ” Boots has no interest in pop at all. M3LL155X finds her usual co-producer Arca replaced by Beyoncé collaborator Boots. (This is the first FKA twigs release with a “proper” title.) What’s different about M3LL155X is that all her familiar hallmarks are taken to the extreme. These descriptors all apply to her breakthrough EP2 and last year’s full-length LP1. The British provocateur’s new EP finds her exploring sexual power dynamics over warped R&B and pop productions, all wrapped in uncanny-valley album art.

The final sequence features a phalanx of dancers, as Twigs sings, “Why wait all week to hear gods talk, when you’ve got a front row to the stars?” – an empowering attitude that confirms the primacy of personal action over the empty twitter of an infantilising celebrity culture.M3LL155X doesn’t teach us anything new about FKA twigs. The artwork really coheres through the final three tracks, “In Time”, “Mothercreep” and “Glass & Patron”, in which a faux-pregnant twigs herself gives birth, with breaking waters represented by multi-hued paints pouring down her legs, before she appears to pull multi-coloured ribbons from her vagina.

The next sequence is “I’m Your Doll”, in which a 3D CGI Twigs, a sex-doll Twigs and the real Twigs switch confusingly around while a gazing male struggles to impose his desire on her/them. It opens with the stalking, industrial synth pulse and skittering electro-percussive splashes of “Figure 8” – a vogueing reference, here personified by septuagenarian avant-garde fashion icon Michele Lamy, whose copiously bejewelled presence slowly hoves into view.

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