In the eight years that have passed between Honey (2018) and the release of Sexistential (2026), Robyn’s personal life has changed radically. A single mother by choice, and unwilling to give up her sensuality (and sexuality), this duality becomes a manifesto in the lyrics of her new album.
The artist, always surrounded by exceptional collaborators, renews her commitment with Klas Åhlund — who co-wrote the album — Joseph Mount (Metronomy), and Max Martin — the greatest pop music producer, see here — delivering nine songs that sublimate what Robyn represents for synth-pop and electro-pop: a divinity.
On the one hand, there is experimentation and oppressive atmospheres in the vein of The Knife, as heard in the opening track, “Really Real,” and in the title track, pure abrasive club music that would fit perfectly on Charli xcx‘s brat (2024). The latter exemplifies her relationship with sexuality and motherhood, weaving together references to dating apps, fetishes, and her crush on Adam Driver (or was it Adam Sandler?).
On the other hand, there are the adrenaline shots of luminous songs like “Dopamine,” a manual on how to craft the perfect intro, the perfect verse, the perfect chorus, and the perfect bridge — all within the same song. A piece to be framed and hung in the Olympus of pop music. In other instant hits such as “Sucker For Love” and “Talk To Me,” the Swedish artist reminds us why major stars of younger generations like Lorde, Harry Styles, Carly Rae Jepsen, and Charli herself revere her.
Robyn, the owner of a singular, powerful, and feminist career — and who has been healing broken hearts on the dance floor since 2010 with “Dancing On My Own” (crying while dancing and dancing while crying) — continues to lead the way for the generations to come: how to remain authentic and relevant after 30 years in the business.