I think it’s appropriate to entitle my first post, ‘Konichiwa Bitches’, to introduce myself into the world of blogging. Let’s kick-off with an album review….
So I’ve taken to Robyn’s new album like a duck to water. By not letting the album’s minor downfalls hinder my utmost appreciation for this particular artist, I can blast the hits in my car in Edinburgh’s frequent traffic jams without feeling a tad guilty. Or even slightly lame!
Swedish beauty Robyn broke into mainstream pop land with the late 2007 release of her self-titled album. Her international comeback sprung to instant success after she unleashed smash hit ‘Konichiwa Bitches’ to the unsuspecting British public – a move carefully planned and coordinated through the revamp and subsequent re-release of her material.
‘Konichiwa Bitches’ boasts a bold introduction to the tracks which follow. Dauntless lyrics compliment an attitude-fuelled delivery, allowing for a fiery portrayal of Robyn’s no-nonsense, in ya face style. And the odd sexual innuendo never goes amiss…
The release of her third single, ‘Handle Me’, was her first track to make its way onto Radio One’s “A” playlist. It gained number 17 in the UK charts although received a lot of criticism for using the word ‘Nazi’ in the chorus. Despite numerous complaints, this track has been favoured among fans for its self-assured, individualistic lyrics and catchy chorus.
Check out the vid for her hit single, Handle Me.
‘Be Mine!’ graced the Swedish charts at number three in 2005 however managed only to reach number ten in both the UK singles and downloads charts.
‘Should Have Known’ picks up the slack of the previous two somewhat disappointing tracks. It draws similarities to early 90s solo female R&B, just without the astoundingly impressive vocal diversity and charisma. Boasting a melodic uniqueness exclusive only to this particular track, credit is certainly due to Robyn’s genre-spanning ability despite her dropping of the ‘f’ bomb like its going out of fashion.
It seems however that the album grinds to a somewhat irritating end, fuelled only by hurried lyrics spat on top of unnerving piano chords more common to silent films of the 1920s.
The lyrical content of ‘Jack U Off’ serves well only as a shock to fans of this Swedish pop princess who sat respectably on BBC2’s Never Mind the Buzzcocks only a few weeks ago.
Check out Robyn on the show!
Despite knocking the tone of the album down a few pegs, it does leave the listener in a state of pleasant curiosity after cheekily insinuating she’d gladly give a helping hand to boys and girlies alike. The exceptionally suggestive one-liners would leave any avid listener in a state of disbelief that ’the most decorated professional on the streets with a perfect track record since kindergarten’ could even conjure up such vulgarity to be spurt her albeit pint-sized self.
All in all, the album serves well as a hard-hitting, brazen expression of female sexuality. Having independently written only one song on the entire album, it’s slightly surprising that she seems so pleased with its success. ‘With Every Heartbeat’ was Robyn’s first ever number one in a career spanning over twelve years – so why doesn’t Klas Ahlund (Swedish producer behind the majority of her lyrics) leave her the hell alone to get on with writing more groundbreaking chart toppers? Maybe he could stick around to give her a hand with the videos though…
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