TIME Magazineのインスタグラム(time) - 10月26日 23時00分

@robynkonichiwa is unlike most pop stars. She’s a singer, songwriter and producer who has spent the past two decades being quietly peerless. Her last album, 2010’s Body Talk, served as a blueprint for the sound of mainstream music in the decade that followed: from @カーリー・レイ・ジェプセン’s “Call Me Maybe” to @テイラー・スウィフト’s 1989, you can hear Robyn’s influence—bright synths, perfectly symmetrical choruses and more than a whiff of melancholy. After the global success of Body Talk, which earned her two Grammy nominations and legions of new fans, instead of capitalizing on all that momentum, Robyn went dark. “I needed to take time off when I made this music, and I did–­because I was in a life crisis,” she tells TIME. She was depressed after going through a breakup with longtime boyfriend Max Vitali (they have since reunited), and grieving the death of her close friend and collaborator Christian Falk. She began going to therapy and she gave herself time to feel everything. She started to find a groove again in the physicality of the music she was making, in the way beats made her body rock back and forth. “The only way I could make music was to start making it in a way that made me feel better,” she says. Her new music wasn’t as crisp and mathematical as the clean pop songs that earned her such a devoted following. These songs felt different to her: more personal and more visceral. “It became all about pleasure,” she says. After a nearly decade-long hiatus, the Swedish pop icon returns with a new album, Honey, which drops on Oct. 26. It takes a couple of listens to begin to understand the album, but once it clicks into place, it’s as satisfying as anything she’s ever released. The title track, which might be Robyn’s masterpiece, is layered and psychedelic, like a Balearic dance party—more tactile than sonic. “I spent more time on that song than I did on any other piece of music in my whole life,” she says. “You know when you have those experiences that are fundamentally changing, or spiritual, almost? I wanted to make sure the song explained that. I wanted it to be more than mood. I wanted it to be a physical feeling.” Read more on TIME.com. Photograph by @hejishin

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