The self-proclaimed Fembot has always pushed people’s buttons. Robyn might be best known for bringing raw emotion to the dancefloor, but her pop bangers about desire and despair are often spiked with commentary on social programming: “Plug me in and flip some switches,” she once quipped, posing as a sexed-up cyborg with a bloody, beating heart. So it’s not a shock to find the Swedish star in a lab coat on Dopamine, her first single in seven years. The song rushes with glittering, arpeggiated synths, but Robyn, now 46, holds it at arm’s length. “I know it’s just dopamine, but it feels so real to me / I’m tripping on our chemistry,” she muses, taking notes as her synapses tingle. “Is love more than chemicals?” she seems to be asking. Does it matter if it’s not? But this time the song is no social critique – it’s a whole new philosophy.
Sexistential, Robyn’s ninth album, unravels the fixation on romantic love that fuelled her biggest songs. Gone are the soft edges and pulsing, sensual house of her previous album Honey, and back are the sharp electronic sounds of 2010’s Body Talk through a new lens. With long-term collaborator Klas Åhlund and a few familiar faces (including Metronomy’s Joe Mount and Swedish pop royalty Max Martin), Sexistential reimagines Robyn’s discography without romance as a vehicle. The title track is a sub-three-minute case study in her new mentality. Over minimal, jerking 80s house Robyn raps about hooking up while undergoing IVF as a solo parent: “Fuck a single mom, I’m not judgmental,” she winks, cleaving sex from reproduction and nuclear family. Its counterpart is Blow My Mind, a revamp of her billowy 2002 single made psychedelic, faster, sharper – no longer a textbook love song, but a song about loving her young son.
