In 1997, RCA Sweden and legendary writer-producer Max Martin unleashed cute 18-year old popster Robyn on the world, sending flares up international charts with the R&B-tinged ‘(Do You Know) What It Takes’ and ‘Show Me Love’. The rest of the world was left to wonder once again how—from Abba to Roxette and The Cardigans—many a Swede has been able to tap in effortlessly to the North American pop sensibility. Further, she was a nordic girl with a measure of genuine soul in her voice. After a few more minor hits in Europe, Robyn disappeared from the world stage as quickly as she had arrived.

Self-Packaged Pop Heroine Robyn

Fast forward a decade.

Word of mouth began rippling through the English-speaking world: undefeated by her major-label crash-and-burn, she’d quietly and intelligently risen from the flames. Taking the reigns both creatively and businesswise, she’d honed her songwriting craft with some hot producers and tested a new electro-pop direction locally with singles like ‘Dream On’. After necessary alterations, a deftly conceived full-length album—titled, simply, Robyn—followed on her newly christened Konichiwa Records. (The album also kicked off with the braggadocio rap ‘Konichiwa, Bitches’ — it’s Japanese slang for ‘Good Day’.)

A further revised version of the album arrived internationally and was supported with exhaustive touring. In concert she gives 110%, with heaps of cover songs along with her extensive canon of self-penned work. Her choice of covers shows a wide appreciation of other artists’ work: ‘Buffalo Stance’ by Neneh Cherry, ‘Try Sleeping With A Broken Heart’ by Alicia Keys and ‘Hyperballad’ by Bjork. Why all the YouTube links in this post? Because each one is worth it.

What’s special here is not that she’s come with great material, or that she put in the grunt work to rebuild the value of her brand from the ground up. It’s that she has the rare gift of self-awareness as an artist; the intelligence with which she’s packaged and marketed herself.

This year was the best example of it yet. After a couple years of radio silence, late 2009’s stunning collaboration with Röyksopp, ‘The Girl And The Robot’, primed us for a well conceived three-part ambush in 2010. Rather than releasing an album, she presented three shorter EPs. Distilled, the contents of Body Talk, Parts 1-3 would make a solid longplay album. But in an era when digitally downloaded music makes the number of songs on a release irrelevant, by conceiving a flexible new model like this she’s found a way to keep the excitement going all year long. Installments arrived in June and September. The final disc is slated for November 22.

Musically, the Robyn formula is smart. By giving us 1 part emotionally-level dance fun (‘Handle Me’, ‘Dancehall Queen’, ‘We Dance To The Beat’) and 1 part pseudo-gangsta attitude (‘Curriculum Vitae’, ‘Don’t Fucking Tell Me What To Do’, ‘Fembot’) upfront, we’re ready to go the distance with her as her heart bleeds through the remaining third of the material. And this is the material that really sticks: ‘With Every Heartbeat‘, ‘Be Mine‘, ‘Dancing On My Own’, ‘Hang With Me’, ‘Indestructible’.

Cleverly, the first two EPs also contained acoustic ‘preview’ versions of the lead-off single planned for the next EP, guaranteeing a boost of familiarity when the single versions of ‘Hang With Me’ and ‘Indestructible’ arrived with a Giorgio Moroder-esque thud.

What’s also striking is that Robyn, the artist and the businesslady, seems to have captured a demographic few else realized was there for the taking: the 30-something ex-raver that still craves rap and club music but wants something personal, melodic…clever.