Swedish pop singer Robyn first arrived on the North American scene way back in the days of Britney and boy bands. In the era of the Backstreet Boys, she was a rising star. When she was lined up as the support act for the 1997 Backstreet Boys tour, she suffered exhaustion and returned to Sweden for recovery.

Along with her recovery, Robyn discovered herself and began making strides to make the music she wanted to make. By 2004, after another album release in Europe, Robyn ended her relationship with BMG Sweden. By early 2005, she started her own record label, Konichiwa Records, and paired with various electro-pop acts and rock bands. With her own label in place to represent her artistic freedom and to liberate her from the demands of other labels, Robyn was finally here.

Robyn was released in April of 2005 in Sweden and became her first number one album in that nation. By working with The Knife and Teddybears, Robyn solidified her change in direction and put out an outstanding pop record all at once. The album is incredible from start to finish and will finally be released in the United States on April 28, 2008.

Robyn starts off citing her credentials with “Curriculum Vitae,” a hysterical album intro if there ever was one. The voice on the track claims she’s a “world record holder with a high score of two gazillion in Tetris/Two-time recipient of the Nobel Prize for super foxiest female ever/and war time consigliore to the Cosa Nostra.” Immediately I sit up.

This is some dope shit.

Heading into “Konichiwa Bitches,” Robyn could have simply dropped the ball on a lame attempt at spitting rhymes. Instead, she’s masterful and the lyrics are insane. Take this portion into evidence as exhibit A: “Don't even get me started on my bada-boom-boom/One left, one right that’s how I organize 'em/You know I fill my cups don't need to supersize em'/Right now you probably thinking how she get in them jeans/Well I'm gifted all natural and burstin’ the seams.” Ouch.

Robyn sets up the style early and never skimps on the sass, delivering a punked-out pop record that works with the best of them. “Bum Like You” features a bubblegum-esque chorus, sure, but the lyrics and tight production are anything but Britney. “Be Mine!” is obstinately catchy and features one of the bounciest melodies in recent memory.
Other tracks, like “Crash and Burn Girl” and “Cobrastyle,” are electro-pop at its best.

“You’re a selfish narcissistic psycho freaking bootlicking Nazi creep and you can’t handle me,” Robyn tells us on the girl-power ballad “Handle Me.” Even when Robyn ventures into formulaic territory, she retains her attitude and never backs down. “Eclipse” is an enormously touching and effortless piano-driven ballad.

“Who’s That Girl,” said to be a rejected song by her former label, is one of the album’s highlights and The Knife’s production is dazzling here. Robyn bounces through the track like a mini-Madonna, never backing down from her unyielding pursuit of pleasure and never allowing things to get too ordinary. Her attention to detail and her affinity for doing things her own way drive this excellent album.

Robyn will be one of the best albums to be released in the United States in 2008, no question about it. With an irresistible personality, tight production, and songs that beg the repeat button, it’s a spectacular album and a nice surprise. Robyn's the future of pop and we had better take notice or she’ll kick our asses.