Disco de Robyn: “Robyn [Bonus Track]”

If you like anything along the lines of Madonna, Britney, Kylie Minogue, or Fergie, then this is right up your alley, because Robyn Carlsson combines the sonic blend of differing styles of pop and has turned out a gem of an album that is beyond being worth the extra few bucks to buy this import. This is just brilliant, with catchy rap-like sing alongs of the track "Konichiwa B***ches" and "Cobrastyle" to the string-laden uptempo pop of "Be Mine!" and the dance number "With Every Heartbeat" which is brilliant 80's style dance pop that could have come right off of Cyndi Lauper's "She's So Unusual" album. Previously I was impressed with the sound of Sweetbox, but this blows that away. I had once thought the futuristic beats of Timbaland and Danjahands were unique, but this blows that away. I was once under the impression that, as pop music goes, no new ground would ever be broken. I was wrong. This is the female dance-pop equivalent to Michael Jackson's Thriller, it is that good. All the sarcastic, sardonic jeers that I have made in past reviews about the bland, pretentious, hyped-up releases of today's lame pop stars must have been answered from above, because this album is as close to a miracle that I have heard in quite some time. Where as once I was blind, now I see....I see Robyn making a huge comeback worldwide in 2008.

It had been a while since I'd heard from Robyn (ROBYN IS HERE was a favorite album of mine in the 90's), so when I snagged the original import almost a year and a half ago, I about died and went to heaven.

As stunning as BACK TO BLACK from Amy Winehouse, if not more original. Props to both artists for writing their own material (for the most part).

This is a STELLLAARR return to the scene for Robyn, who surprisingly took a turn on background vocals for the once-reigning princess, Britney Spears, on "Piece Of Me" - it was produced by some of Robyn's Swedish buddies.

BUY THIS ALBUM if you are a fan of envelope pushing, yet widely accessible pop music that will live on as a testament to what can be done without consulting Timbaland, The Neptunes, Rodney Jerkins, Max Martin, The Matrix, or John Shanks.

I just don't get why Sweden's Robyn isn't a global superstar - sure, she scored a few teen-pop singles in the U.S. back in the 90s (Show Me Love), but since then, she's released several amazing full-length albums that have been discouragingly NOT even released in the U.S. by her own label - WTF?! Actually I do know why her label let her down in America: she's simply TOO GOOD and takes too many RISKS with her image/content - is that a bad thing? Hell 2 the no! But it's a harder sell for lazy suits who only care about the dollar. Anyway, this new one shows Robyn shedding her pop image and going into a more introspective yet multi-faceted vein, shifting gears from electro-rap (Kinichiwa Bitches, anyone?) to soulful yet quirky R&B (Should Have Known, Handle Me, Be Mine), and a few tracks that are just plain odd, and all the better for it. Bottom line: the quality of the songs here are just TOO GOOD to get mainstream play and might be a hard sell for the label - that explains why they never even gave her a real shot in the U.S. Too bad, because Robyn is the real deal and so much more talented and inspired than most of her peers. Check out her "Rakamonie" EP as well, which includes a nice cover of "LIST OF DEMANDS" w/ co-lead vocals by Rilo Kiley's Jenny Wilson, her own take on Teddybear's "COBRASTYLE" and even a raw "live" remake of PRINCE's "JACK U OFF" - now that girl's got some balls!

Let's be frank here. Pop's been having a rough time the past few years. Not many fresh faces, and those who remain from the big boom round the turn of the decade are starting to look a bit silly if not completely washed up.

What a shock it was to find, years after she vanished from our shores, an artist like Robyn still lingering in her homeland, still releasing compelling and successful albums. Now I was never a fan of Robyn when she was releasing in North America. I found "Show Me Love" annoying and "(Do You Know) What It Takes" was alright...the first 835 times they played it on the radio. It grew a bit annoying after that. So imagine my surprise to find the quality of this record would allow to completely change my opinion of the songs, nevermind of the artist in question. Robyn is, quite simply, a far more significant artist than she's ever been given proper credit for. A highly underrated artist of our time.

I've seen a reviewer here and there do the typical generalization and say that Robyn had no hand in this record beyond singing what "her people" told her. Here's the first great difference between this album and most other pop records over the past few years. Robyn is the main writer for these songs, and has been the main writer of a good majority of her discography. It is far too easy to assume that a pop singer is completely incapable of writing his/her own songs. It's a common error of one who's unfamiliar with pop music in general and those are generally dismissive of pop music.

No, Robyn writes her own music, and this record has been released by her own record company, which she owns and operates, and does a beautiful job on this record.

Radically different in sound and in image from "Don't Stop The Music", Robyn has opted on this album to go for a grittier, more cartoonish "street" persona. Of course, it's not meant to be a true-to-life account of life of a girl in ghetto. This girl's been a successful singer since she was 15, she's had no time for that.

This risk has paid off immensely, drawing in inspiration not only from hip-hop, but also from sunny pop, indie, and electronica; co-opting them into a somehow cohesive package of songs that while they might all hail from different regions of popular music, are brought together in a way that's extremely harmonious, and irresistable.

The album opener is a rather odd affair, striking you as an intro more to an arrogant American rapper's album than to a pop album. But it works, even if it does strike you as a little...well...unusual.

The album immediately kicks into high gear. "Who's That Girl?" with its hard-hitting beats and electronic bassline are nearly mesmerizing. The fusion of 80s synth with the heavy beats of later 80s artists like Janet Jackson is irresistible, and the song's strong, catchy hook is enough to sell the song.

The heavy beats continue with a shift downtempo with the far more modern "Handle Me". Definitely inspired by more modern minimalist R&B and Hip-Hop records, this song takes the current sound and makes a more layered package from it. With lower strings, guitars and harmony thrown in with lyrics that take you back to the days not-so-long-ago when women could actually come across as dominant and independant on their records (i'm looking at you, Destiny's Child. Cater 2 U indeed.)

Robotboy is probably the only song on the album that seems out of place. Despite a strong melody line, it seems more suited to a British singer-songwriter than to Robyn. Despite it's underpinnings, it continues the trend of electronics fused with live string instrumentation. Very fitting, but probably one of the weaker songs on the album.

And then we come to what probably is the best pop single released in about 3 years. "Be Mine!" is surprisingly melancholy and reflective in its subject matter, contrasting surprisingly well with its upbeat and springy music. I find the contrast seems to bring it to another level. Not often lately have I heard pop singers actually take on normal, relatable subject matters, like romance, sadness and loss. You know. LIFE.

Bionic Woman / Crash & Burn Girl is quite good. Again sticking with the electronics/live instrument theme. This time with a slick Chic-esque sensibility to it. The slick minimalist electro-disco tune is slick, yet frantic. It's all about contrast with this album, and this song's another example of this.

The next track is an interlude I cannot pronounce. This leads into the EXCELLENT Konichiwa Bitches. Talk about going to the old school (ok, yes. That sounded very dorky. So sue me.) This track is so tongue-in-cheek and fun you'll quickly realize what's missing from hip-hop today. Too much bling, too little energy. Of course this isn't serious. More of a tribute to hip-hop of years past. Excellent track, one of my favourite tracks on the album.

The tempo drops rather suddenly on "Bum Like You". This track is such a twist from the rest of the album in a way. Not electronic whatsoever, this track is a bit of an indie-lite ballad that retains some of the "ghetto" imagery prevalent throughout the album not musically, but via the subject matter, which concerns a girl nurturing a man in and out of jail and being a general vagrant.

Tempo remains low on "Eclipse", a very soft ballad, that's extremely beautiful with a tragic edge to it. Highly emotional and extremely engaging despite the minimal instrumentation.

"Should Have Known" is actually a track from "Don't Stop The Music" that has been remixed and re-recorded for the new album. Another sparse track, Should Have Known isn't extremely exciting, but is somehow rather soulful track, with a strong hook and simple but compelling lyrics. The mix from this album is actually quite a bit better than the mix found on Don't Stop The Music. Less unneccesarily busy, more mellow, but just as resonant.

As the album closer, Anytime You Like is quite a mellow end to a great album. It seems the best track follow up the equally sparse, but far more frustrated-sounding Should Have Known. This track is not quite up to the standard of most of the album. However, it does feature a rather nifty title hook, distributed all throughout the track. I also like end of the song, as the song develops into a very pleading, almost pained performance where you're not quite sure what's happening, but it can't possibly be good.

As well, the build-up throughout the album is a very effective dramatic tool that never quite builds up to the point of being superfluous.

All in all, Robyn's self-titled fourth album is DEFINITELY worth the money, no matter what the cost. I truly wish Robyn would release the album worldwide. I believe it would flip the image of pop music around the world onto its head. But from the sounds of things, Robyn's plan to release the album in the UK have fallen through. It's a shame as this could probably resuccitate the dying pop market in that country. An excellent album of this calibre is just what the world needs right now. Quite a tour de force.

Robyn has been doing her thing for years overseas. I didn't even know until i decided to search for music by her and i came up with this cd along with some others. That i do plan on buying in the future. I enjoyed this one from start to finish, but i will leave a word of advice. Its a cd that is strong in all parts especially the language from now and then. Again i enjoyed each song on the cd, the bonus track 15 "Jack Off" sounds like an ode to Prince. Yes it is exactly what you think and her wanting to help someone with it if need be.

For most it would come trying to be something but Robyn handles it in a way thats fun to hear yet kind of exciting at the same time. While its not my favorite track on here. Its different and minus a couple of slower songs "Robyn" is an uptempo pop filled party that all should invite themselves to join.

Robyn, keep doing your thing. Folks are enjoying your music all around the world.