I love Robyn. I’ve loved her ever since her epic track Konichiwa Bitches. That track is off the hook.
And then Body Talk Pt. 1 came out and the highly anticipated album opened with the pumper Don’t Fucking Tell Me What To Do. It was like what M.I.A was trying to do with The Message, but with about 600 less tracks added in production.
And that was the killer about Body Talk Pt. 1 – it was so sparse compared to her self-titled outing way back in 2005 (can you believe it was that long ago??!!). It was like M.I.A went more overwhelming in production and got caned for it, while Robyn smartly pared back and gained a zillion more fans.
Although on a side note I must admit I was a bit perplexed by TMN declaring she was a ‘Breaking Artist’ this year. WTF? She had already released 4 albums, had two top ten US singles waaaay back in ’96 and ’97, 3 top tens in the UK including one #1 AND started her own label. Yeah, totes breaking. But back on track…..
Fembot was like Cobrastyle pulled violently into the now, Dancehall Queen is a lush fusion of calypso and dance (not enough of it really) and None Of Dem was pure futuristic day-glo wrapped in a beats only track.
Sure there were a few super commercial Euro-trash club tracks (namely Dancing On My Own and Cry When You Get Older) but hey, she’s Swedish after all, she’s just writing for her key market. Could’ve done without the last two tracks, but hey we get it – you have a great voice.
Body Talk Pt. 2 opens with something altogether underwhelming. Really Robyn? Fat synths? ‘Hey little star don’t be afraid’? Is this your entry for the next Eurovision Song Contest? Hmmm…
Include Me Out gives me significantly more hope that she can deliver after all. Right on message, with interesting beats, accent shrills, good vocals, typical Robyn. Although it does tend toward the 90s aesthetic, but that’s ok with me.
Hang With Me brings us back to that pesky Euro synth riff that we’ve heard oh too many times before paired with a relatively boring vocal. Next…. Love Kills. Wow, I feel like I’m back at a school rave (and not in a good way). Scary.
We Dance To The Beat gives me hope again, and although it’s also a little 90s, it’s in the most amazing way possible. Love the good 90s shit. Robot Robyn back on form with a good solid beat behind her.
Genius ensues in the form of Criminal Intent – clearly the best track on the album. Dragging, lazy vocals are propped up with a siren motif and driving bass and we are reminded of what Robyn can do with a synth and her drippingly cool lyrics.
I almost don’t want to listen to the next track U Should Know Better in case it ruins my vibe, especially when it says it features Snoop. I love Snoop, but lately he’s been making da money not da tracks. But it’s a solid driving track with the appropriately punctuated use of fuck and a rolling old school Snoop vocal. Loving it – play this to your ex as you roll by in your Bentley and a finger up.
Indestructible does what no Robyn track should do – introduce violins. Bah.
In conclusion play it from We Dance To The Beat to U Should Know Better and delete the rest. Or just listen to Pt. 1 again.