About the Artist She is Robyn. The most killingest pop star on the planet. A pint-sized atom bomb dosed to the hilt on electric and dispensing wisdom in three-minute modernist pop bulletins on the post-adolescent condition. `Robyn' is also a collection of ultra-concise pop moments - that rarest of things, a classic pop album. It's a sad-eyed, super-strong battery of nuclear-powered pop that, along with her arresting voice, are her lethal weapons. Robin Miriam Carlsson was born in Stockholm in 1979. She spent the first seven years of her life touring with her director father and actress mother in their Constructivist-inspired theatre company. At the age of 14 she was discovered by Swedish pop singer Meja when singing a sad, self-written song about her parents' divorce in a school workshop and was immediately signed to BMG. A debut album of R&B-influenced pop in 1995 saw her paired with future Britney-hitwrangler Max Martin, and the global success of the sweet, soulful single `Show Me Love' in 1997 cemented Robyn as an bonified pop star. Shellshocked by the lack of artistic control offered by her label, however, Robyn migrated to a sister company for her third album, but felt disillusioned by their attempt to ship her to America to be shoehorned into the pre-fabricated boy-toy template that was depressingly omnipotent in 2002. "I think the third record I made was a big compromise," she says. "I felt like it wasn't fun anymore. Once you make the record and you give it to the record company, it's not your record anymore! And I hated that situation. "I was going backwards. I wasn't doing what I wanted to." In 2003, Robyn returned home, defeated, to Stockholm. Upon returning, she stumbled across a new CD by a mysterious local brother-sister duo. The CD, titled `Deep Cuts', was a passionate, hallucinatory reading of pop music carved from geometric blocks of pure texture. Karin Dreijer Andersson and Olof Dreijer called themselves The Knife, and with `Deep Cuts' they had sketched a blueprint for a kind of abstract future pop. "I was amazed by it," gasps Robyn. "I thought it was the best thing I'd heard in years. I just felt like wow this is really what I've always been looking for - and not only was it good, it was Swedish." Energised by the potential atom-splitting that could occur if she harnessed her own piercingly honest pop to The Knife's uncompromising, peculiarly Swedish energy source, Robyn approached Karin and Olof to work on a potential single. The result was `Who's That Girl' - unquestionably one of the freshest pop moments of the past five years. Injecting herself into the very heart of The Knife's towering, architectural synthpop - a shifting, interlocking grid of color and beats, hard enough to break your fists on - Robyn emptied all of her frustration, insecurity and desperation. The lyrics, specifically, railed against her contractual purgatory, but `Who's That Girl's loaded despair resonates powerfully with anyone - any girl left beaten by the capriciousness of gender or image politics. In the song, Robyn soars. Her anger is rocket fuel for the titanium-strong music which encases her, projects her, makes her indestructible. Although Robyn had always written songs, this stark piece of brutalist pop should be considered The First Robyn Song. Unbelievably, her label hated it. "They just thought it was weird," sighs Robyn. "They just didn't understand it. I guess they didn't consider it to be pop music, which I think is crazy. It's TOTALLY pop music! Modern, inventive music - that's what pop music should try to be." Exasperated to the point of resignation, Robyn looked to how her new comrades Karin and Olof self-financed and released their work. In a completely unprecedented move for a mainstream pop artist, Robyn bought herself off her label. "So then I was free but I was not really happy to go back and sign with a major label again. It was totally illogical. Why would I do that? I felt like either I quit making music or I start my own record company." Six months later, Robyn was CEO and founder of Konichiwa Records. In her back pocket she had `Who's That Girl', the opening song for a new album that would be her story. She also had a new sidekick. Klas Åhlund is the main man behind Teddybears, Stockholm's amazing bricolage pop group who have variously been fronted by Annie and Neneh Cherry, Iggy Pop and Mad Cobra. "I'd never thought we were gonna work together, cos what Teddybears do is... boy music." Robyn giggles. "I didn't think he could embrace a girl perspective." Nevertheless, the first thing Klas brought to the Konichiwa table was the basic frame for a song depicting intense unrequited love, that Robyn would color in with every kind of craving. In `Be Mine!,' every word that Robyn sings - `It's a good thing tears never show in the pouring rain/As if a good thing ever can make up for all the pain' - sounds like it's being crumpled up and clutched to her chest. In the bridge, the `song' just falls clean away, leaving a spoken word Polaroid that chews at your heart: "I saw you at the station. You had your arm around whatsername. She had on that scarf I gave you, and you got down to tie her laces. You looked happy - and that's great. I just miss you, that's all." "I wanted to feel like I was 15 or 16 again, and big emotions were REALLY BIG. Y'know, if you were in love you were IN LOVE and if you were heartbroken you were HEARTBROKEN! "Cos that's what people want music to be for them," explains Robyn. "I know I do when I listen to music." The sparse production to `Be Mine!' makes its simplicity all the more brutal. Just strings that slice in, all gasps and sighs, and a flutter of drum machine that emulates a racing pulse. "I still wanted to write pop music," affirms Robyn. "I wanted it to be simple, I wanted it to be sparse, and I wanted it to be hard." Robyn may now be the kickingest label CEO around, but she was out on a limb here. A lifetime's earnings had been ploughed into a dream. The conflict of liberation and anxiety about the project, as well as galvanizing Robyn, seemed to polarize her character. One half of `Robyn' is all hip-thrusting-fuck-you-cool, but in the gentle suite of ballads that wind everything down there is a smaller, sadder Robyn. "I'm a Gemini maybe that's what it is!" she exclaims. "Because I am this very outgoing person people think that I'm always sure what I'm gonna do, which I'm not! I always question myself! The perfect example is `Konichiwa Bitches'. That song was made because I was so scared! I was like ARGH what am I DOING? I had to like bang my chest and go RAR! I'm the shit! I'm the best girl in the world!" `Konichiwa Bitches' is Robyn's signature tune. Over pixellated hip-pop beats, Robyn unloads like a manga Missy Elliott. Its biggest inspiration was Bugs Bunny, and the way he'd totally front on Yosemite Sam with big-ass ACME boxing gloves. Robyn describes it as "a concentrate of attitude. It's like a baby ninja! Like really dangerous but really small and cute! It's like a child with a huge machine gun." It kicks your face. It's Robyn. What `Robyn' really represents is the story of one ass-kicking little blonde woman who blasted through the industry b.s. and made a startling, profound, honest pop music all of her own. It is music with one message - Be your own star.
A**N
One of the most uniquely amazing albums I've ever heard; EVER...
One of the greatest albums, not just of the past year or decade but of forever, Robyn's self-titled album is just delicious. When I was a pre-teen I remember loving Robyn's debut album `Robyn is Here', and then she disappeared. Now I consider her debut album a solid yet uninspiring pop album, so when I heard that she finally dropped another album here in the states (she has been releasing music overseas for years) I wasn't sure what to expect. Let's just say that absence has really made my heart grow fonder and fonder; that and the fact that she has reinvented herself in the most masterful of ways.`Robyn' is a brilliant collection of hot tempered, spit-fire magic that escalates with infectious goodness from open to close.I'm just going to get the `poor' out of the way right now and say that I don't like `With Every Heartbeat' and `Should Have Known'. I just find them forgettable and `less than' when compared to the rest of the album. Now that I've said that, I will continue the rest of this review with heap upon heap of endless praise.I want to start by saying that the album's opening `Curriculum Vitae' is perfect.As far as pop goes, the closest you get here to her 90's glory days is the infectious and beautifully dated `Be Mine!'. It has a memorable spunkiness to it, and it is catchy as all get out. `Dream On' also has a 90's vibe to me. It also stands out to me as one of those songs that doesn't really sound like anything else she's done. It has a chant worthy anthem quality to it.One thing that Robyn doesn't lack anywhere on this album is style.The opening track `Konichiwa (I won't even attempt to type the second word)' just oozes with that very thing; style. It is a brilliant opening track because it defines this artist. She is all over the place with clever wit, bone crushing techno pop beats and silky vocals. She has a really underrated voice to be honest. It has a nice texture to it that she deserves to called out for. Her use of sensual lyrics (almost crude at times) gives her an edge, but she never comes off as vulgar. She has chic sophistication to her content. `Cobrastyle' explodes with everything I just mentioned ("remember when you dig a hole it's two you gon' dig"). It may even be the best track on the album, and if not it is certainly up there.I love the club worthy fabulousness of this entire album.For me there are two songs that stand out as Robyn's newfound definition of pop music. `Handle Me' and `Who's That Girl' are definitely the most accessible, radio ready tracks. `Handle Me' has a great catchy quality to it that really simmers with repeat worthiness. Robyn's voice is also a standout here. The remix version at the end of the album is even better here, completely fusing her techno adoration with her commercial offering. `Who's That Girl' reminds me of a jazzed up version of something off of `Robyn is Here'. I gobble it up, seriously. There is a sweetness to her vocals that I just really adore here.`Crash and Burn Girl' is just SO MUCH FUN. I love the background vocal beats and the way she just flows right through the track without skipping a beat or losing her breath. It's a marvelous example of what she stands for as an artist. `Bum Like You' has a dark edge that just croons with sensuality. I love the way she completely gives herself away to the song, and the subject matter. It's a cheeky song when you listen to it; like the anti-scrubs.LOVE IT.`Robotboy' took a while to grow on me. It is different, but I totally commend her for that. It is also a nice segue to her softer tracks. It has a catchiness to it, but it also has a very youthful vibe that reminds me of something almost too young, like children's music.Hmmmm.`Eclipse' is gorgeous. You may not expect it (I didn't) but it really takes you somewhere. There is an otherworldliness to it (I love that she kept a techno, space vibe to this even though it is such a soft and tender track). Her voice is magnificent here, so vulnerable and sharp. `Anytime You Like' has an Asian inspired musical arrangement, and there is a slinky vibe that just elevates the track. It's stellar, really.The album is just the definition of the word COMPLETE. There is so much here, yet it all feels necessary and comfortable for Robyn. There are numerous standouts (Cobrastyle, Bum Like You, Crash and Burn Girl, Eclipse) but to be honest, the whole album is a standout. If you want something that just works on all sorts of levels, reeks of originality and just blows the competition away then this is the album you NEED TO OWN!
Y**I
Such a great album
Love this album. I've been a fan of Robyn's music since her debut (Robyn is here). Since then she has grown as an artist and it has been a wonderful thing. My favorite songs from this album are: With every heartbeat, Be mine, Bum like you, and should have known.
N**.
Robyn is so underrated in the States!
This is my fave album from her. I love her! It's like she makes music specifically for me. I'm Jamaican whose grown up in America, so I've been exposed to, and love plenty of R&B, Dancehall, and Pop. Robyn properly blends that all together. I don't know why she's not more famous. She's awesome.
D**N
lovely bundle of songs
i really like robyn and i think this is one of her best cd's. a lot of variety, mostly stuff you can dance to- both fast and slow. love the beat in all the songs.
D**E
robyn robyn robyn
Awesomeness...Just luv this b...ch..She's the bomb..Have all of her discs and each is as good as the other
B**N
Surprised
Loved most songs on the album, very surprised. The lyrics could use some work but the beat is fresh and different
P**E
Five Stars
Loved this cd. In really good condition.
S**N
Hit or Miss
I bought this based on a reviewer's recommendation. About half of the album is disposable, but the rest of the album is pretty good. "Crash and Burn Girl" and "With Every Hearbeat" are pure ear candy, electronica-pop goodness - with all the nutritional value of a pop tart. "Cobrastyle" (Robyn's cover of a Mad Cobra track) is an absurdist romp that keeps getting better every time that I hear it. Cobrastyle is like a great work of abstract art, I have no idea what the hell is going on in it, but I don't care. Clearly English wasn't the first language of the songwriters, but along with the great minimalist approach and its WTF lyrics it somehow works. Its a funky rap song sang by a blonde Swedish girl...that just writes itself.However, I can't even remember another song on the album worth noting. I keep the album for the aforementioned tracks only. (but then those tracks are that good)
L**F
Came in good shape
CD was in good shape and came in two days
A**A
Surprised!
I bought this album on the strength of hearing the acoustic version of one of the tracks, as promo soundtrack for a television 'crime season'. I then listened to the version as recorded on the album, and thought it equally as 'catchy. The album all in all is quite good, though in my opinion, I thought that the particular track - 'With every heartbeat' should have been a bit longer'. I actually liked most of the songs on this album, which is a surprise to say the least, seeing as I am a rock and heavy metal fan!
