After an eight-year hiatus, Robyn has released her ninth album, Sexistential. The album arrives as contemporary dance-pop continues to be influenced by her work, with artists like Charli xcx building on her lessons of emotional directness and club music that blends intellect and feeling.
A Unique Synthesis
Sexistential is described not as a nostalgic return, but as a demonstration of Robyn’s enduring ability to combine pleasure, vulnerability and pop structure in a way that remains hard to replicate. The album was created with longtime collaborator Klas Åhlund, and also features work with Max Martin, their first collaboration since 2010’s “Time Machine.”
The album’s opener, “Really Real,” is characterized by a “French Touch” sound with rubbery bass and guitar squeals, and lyrics detailing the moment a relationship ends. “Dopamine” echoes Robyn’s 2010 hit “Dancing on My Own,” recasting romantic intensity as both chemical and cosmic.
“Blow My Mind” features Auto-tuned vocals and lyrics that are both raunchy and sweet, with lines like “Ravish me, tear into my flesh / button down my shirt / go on, create a mess.” The title track, “Sexistential,” finds Robyn rapping about one-night stands although undergoing IVF and “scrolling on my feed while breastfeeding.”
While not every track is equally strong, with “Sucker for Love” feeling comparatively undercooked, the album is consistently elevated by Robyn’s distinctive voice. Sexistential is ultimately presented as a recalibration, a statement of freedom in an industry that often polices female desire.
Frequently Asked Questions
What is the name of Robyn’s new album?
The name of Robyn’s new album is Sexistential.
Who collaborated with Robyn on this album?
Robyn collaborated with Klas Åhlund and Max Martin on Sexistential.
Where did Robyn first perform the title track, “Sexistential”?
Robyn first performed “Sexistential” on Stephen Colbert’s “The Late Show.”
Given Robyn’s willingness to challenge conventions and explore complex themes, what impact might Sexistential have on the future of pop music?
