Its warm, bass-led 80s pop tones and sweetly pretty tune carry a lyric about surviving by shutting oneself down emotionally.
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The closest the album comes to raising a smile is closer Ever Again, a track covered in the fingerprints of collaborator Joseph Mount of Metronomy. The vocal continues imploring away on the following track, Send to Robyn Immediately, on which the backing brilliantly shifts into the unmistakable riff of Lil Louis’s late-80s house hit French Kiss, its heavy-breathing eroticism replaced by anguished pleading. Somewhere in the distance there’s the muffled sound of an audience cheering: it’s as if they’ve been shut out. On Baby Forgive Me, her vocal is haunted by a sinister, off-key electronic shadow. Her vocals are cut adrift amid drones that bend out of tune a beat that could have come from an old 80s freestyle track keeps failing and falling silent, and there’s a curious, lonely sound somewhere between the twang of an electric guitar and an industrial clank. “There’s no resolution,” Robyn sings on Human Being, and she could be describing the music around her. It sets the tone for an album which is never stingy with tunes, but on which the themes of heartbreak and despondency seem to have seeped into the songs’ sonic fabric. The overall effect is to add a sense of desperation to the come-hither lyrics: you get the feeling that whoever it’s aimed at has decided they aren’t interested, and the song’s protagonist knows it. The bassline chatters away restlessly, the synth sounds corrode into noise, and it never resolves into the huge chorus you expect. The track is ostensibly languid and sexy, but under the surface it prickles with unease. If you want a more geographically adjacent comparison, a modern equivalent of the songs on which Abba picked apart their failing relationships in painful detail. “No, you’re not going to get what you need,” begins Honey’s title track, heralding the arrival of what seems to be Scandipop’s equivalent of Blood on the Tracks. Calum Scott’s cover gormlessly sandblasted away the original’s emotional complexity – a very realistic mix of despair, steely determination and euphoria – in favour of mournful bloke-at-a-piano emoting.īut the fans who joined the hashtag campaign #releasehoney in the hope that Robyn was about to come charging back in to the charts – and show pop’s more basic practitioners how it’s done with an unequivocal banger to match Dancing on My Own – were to be disappointed. In 2016, her album Body Talk’s biggest single, Dancing On My Own, returned to the charts, albeit in a version that unwittingly demonstrated the gulf between what its author does and pop’s more basic practitioners. A recent Guardian profile listed a range of hits that bore her influence in recent years: songs by Ariana Grande, Lorde, Taylor Swift and Rihanna. And besides, she’s pulled off the curious trick of seeming present in pop even while absent. Her last album opened with a track called Don’t Fucking Tell Me What to Do.
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This, naturally, is not considered best practice in pop music, a world where attention spans are short and memories shorter still: stay away too long, and on your return you’ll find some young pretender parked in the space you thought was reserved for you.īut Robyn established some time ago that the normal rules do not apply to her.
#ROBYN DANCING ON MY OWN SYNTHS SERIES#
Robyn, 39, has still performed periodically since her last album and wrote a song last year for the final season of the HBO series "Girls.I t is eight years since Robyn last released an album. DecemSeptemTed Miller 0 Comments 2010, Atlantic, Body Talk, Body Talk Pt. going inside instead of outside," she said. Dancing On My Own: Robyn’s Body Talk Turns 10 Despite some assembly required, the singer’s 2010 LP remains a pop masterpiece. "And I think it came also from just shutting down for a while and hearing myself.
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"I feel like what's different about it, maybe, is that there is this sensuality and a softness to it that maybe wasn't there before in the same way," she said.
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Speaking to BBC Radio 1, Robyn said that she had finished recording her latest album and expected it to be released in 2018. Robyn, who goes only by her first name, said that she spent much of the time since her last album, 2010's "Body Talk," traveling, going to a therapist and, in line with her song, dancing by herself. Robyn emerged in the early 1990s in Sweden as a child star and soon developed a niche cultural status rare to such seemingly mainstream pop singers, with her hits such as "Dancing On My Own" and "Show Me Love" in steady rotation at gay clubs and the singer preferring to work with underground DJs rather than major producers.