FKA twigs has never been more famous, but she’s taking it in stride: “I think that being famous is funny,” she announces on her new song “Wild and Alone.” For an artist who has reopened her wounds on heart-pummelling songs like “cellophane,” this is a rather breezy approach to fame. Over vocal samples typical of Jersey club— suspended as if in zero gravity, ghostly and uncanny—she recruits pop’s foremost comedian, PinkPantheress, for a more light-hearted take on the themes she’s often explored throughout her career, of crafting selfhood and warding off loneliness amid the clamor of fame.

But this year’s rise was not without its minor controversies. After the release of February’s stellar, now Grammy-nominated EUSEXUA, there was her rescheduled North American tour due to her production team not obtaining the correct visa. Then, twigs faced further consternation for a defensive statement she posted on Discord, decrying the “parasocial nightmare” of her fandom’s response to the postponed shows. Then, in April, a snippet of her live keynote conversation for Resident Advisor went viral, in which she asked: “Where are the thinkers?” Her impromptu question wasn’t the most well thought-out one (as many online pointed out, the thinkers are broke and tired!), but the proliferation of bad-faith takes it spawned did go some way to proving her point.

It was in the midst of all this chaos that we got her most chaotic album rollout ever. The deluxe edition of EUSEXUA morphed into a full second album named Afterglow, which was announced onstage at Lowlands festival in August. Three months later, on the day of Afterglow’s release, twigs simultaneously shared a new, updated version of the original record (both are available on streaming services, confusingly, under the name EUSEXUA—the new one with an altered cover that distorts twigs’ eyes and ears). The updated version of EUSEXUA not only contains four new songs—and a remix of the spiky ballad “Striptease” with added Eartheater—but removes original songs, and peppers the new ones throughout the tracklist. It’s not quite a deluxe album, or a remix album, but a sort of reimagined shadow version of the original record.

Now that we’re all on the same page: Described as a loose concept album about the aftermath of a night out, Afterfglow supposedly follows directly on from EUSEXUA’s dancefloor highs, and sometimes surpasses them: twigs’ delicate, murmured melodies are contrasted with a battering four-on-the-floor rhythm on the opening track “Love Crimes,” while “HARD” and “Predictable Girl,” both assisted by German beatmaker Mechatok, combine R&B sensibility with skittering, hallucinogenic production and sumptuous bass.

But much of the tracklist sounds more spiritually aligned with the point of the afters at which the person who has taken the most ketamine gets hold of the aux cord. Most absorbing of the sleepier numbers is the Two Shell-assisted “Cheap Hotel,” which marries chipmunkified twigs vocals with deep, skull-crunching dub. But the paler “Slushy” and “Touch A Girl” waft by like secondhand smoke, leaving little lasting impression. “Lost All My Friends” quite literally narrates the point of the night at which you’ve lost all your mates in the club – somehow diluting that panicky, wild-eyed experience into an ambient, Enya-esque meditation.

The new version of EUSEXUA also cuts a moodier, more introspective figure beside the original record. This is due in large part to axing two of the album’s best songs, “Girl Feels Good” and “Perfect Stranger,” both crowd-pleasing bangers indebted to Madonna and UK garage. Subbed in instead are “Perfectly,” a meditation on fame and perfectionism, on which twigs’ vocal shines like gossamer over the metallic hammer of a techno beat, and “The Dare,” which recalls the tear-streaked R&B slow jams of UK girl group All Saints. Some of the swaps are more disappointing: the Kate Bush-esque “Lonely But Exciting Road” is a poor replacement for the operatic drum’n’bass epiphany that originally closed out the record with “Wanderlust.”

Of all the 15 new songs released across EUSEXUA and EUSEXUA Afterglow, the most thrilling is “Sushi,” where twigs is her most joyful, continuing her long history of engaging with NYC ballroom culture. The song is pure, unbridled id: like a yassified take on Craig David’s “7 Days” (“Sushi on Monday/Dancing on Tuesday/ Karaoke Wednesday/I wanna take you out”), twigs lists all the dates she wants to take her lover on, with all the inner-child energy that the original EUSEXUA channelled into the less compelling “Childlike Things” featuring North West.

The images invoked on “Sushi”—twigs cruising on her bike, cinnamon bun in hand, on the way to karaoke to sing Daddy Yankee’s “Gasolina”—are very EUSEXUA. That is to say, it’s in-the-moment, pleasure-seeking, and free. The multiple versions of the record reflect the spontaneous, overexcited abundance of an artist in this kind of flow state. Not to mention, it mirrors the chameleonic nature of dance music itself, where edits and re-edits float around DJ mixes, eluding pop music’s demand for a definitive “real” version. While the two new records don’t match up to the original’s mastery, scattered throughout both are glimmering moments of this carefree abandon and commitment to the bit. It’s clear that twigs has never had quite so much fun.