While tomboyish bombshell Robyn may be etched in stateside memory only for her infectious, radio-friendly '90s pop singles like "Do You Know What It Takes?" and "Show Me Love," this Swedish sensation hasn’t exactly been snoozing in her Stockholm hometown since then. Producing successive hit albums in Sweden over the last decade, including a mature release, My Truth, about her secret abortion— she’s all grown-up and back on the international scene with a fierce new image (save for her trademark platinum blonde bob), chart-topping electro-pop tracks, and contagious catch-phrases like, “Konichiwa, Bitches.”

psychoPEDIA caught up with the self-proclaimed “killingest pop star on the planet,” during her US tour to find out more about starting her own record label, evolving as an artist, and her passion for pop:

Are you really as tough as the image and lyrics in your videos portray?
Of course I am. For me, it’s not about being tough— it’s just about me being myself. If I come across tough, then that’s just who I am.

What’s been the reaction of Japanese people to your song "Konichiwa, Bitches?"
One time I was DJ-ing at a club in Stockholm, and this Japanese guy kept going off about how funny it was. For them, it’s just something new to hear those words together, but the line doesn’t have much to do with Japan. I took it from a sketch with Dave Chappelle.

Know any other handy Japanese phrases?
One of my favorite things is how Japanese people say “pink.” They say “pin-ku.” I use that a lot!

Which was harder: being a teenage pop star, or a mature comeback artist?
They were two different things, but I really enjoyed both. I enjoyed recording my first album— I was really excited about getting the opportunity to start working with music. But of course, I’m a lot happier where I am now as an artist, where I can have that total freedom that my [own] record company [Konichiwa Records] enables me to have. Most of them [the periods] have been just as important. I don’t think I would’ve been able to do what I’m doing [now] without having that experience from ten years ago.

You worked with Britney on the track "Piece of Me," about her battle with the press. Are Swedish pop stars under as much public scrutiny as American ones?
No, not at all. Swedish pop stars are left alone more. I’m from a small country, and we don’t have that kind of cultural obsession with celebrities as bigger countries do. We have the same kind of magazines with celebrities scratching their asses, but it’s not as common or extreme as it is in the UK. It’s very relaxed.

You've volunteered with UNICEF in Africa, so what's your take on other celebrity do-gooders?
It’s great when people want to get involved, but sometimes I wonder if it really makes a difference. Sometimes, it just gets silly when artists are promoting a cause to get attention and promote a picture of themselves that’s supposed to be so good. All people should take responsibility for what’s going on in the world today, and I don’t think celebrities should do it more or less. I’ve always been involved in these kinds of issues, but these days I choose to do it as a private person.

Is there a nostalgia you have for '90s pop?
I have nostalgia for pop music, period. A great melody and a great song is the core of what I do. I think in the beginning of the 90s, there was a revival for more melodious-focused pop music. But there’s good pop music during all times. I grew up in the '80s and '90s, and in the '80s, there were lots of artists like Kate Bush or Cyndi Lauper, The Police, and Prince— all pop artists with great songs that could communicate with people at that time. You can [really] connect with people through those good melodies.

What's the current Swedish music scene?
It’s a small scene, which creates an environment where people have to stay open to other things. We don’t have the luxury to isolate ourselves in a genre, where there are hundreds of people in the same music scene. We’re all doing different things, and sooner or later, you end up working with other great people, no matter what kind of music. You’re able to mix things and get to a place where you’re communicating faster. Mostly, it’s an environment that’s very effective for making pop music.

Why limit your collaborations only to other Swedish artists and producers?
It’s where I’m from, where I grew up, and what I know the most. Sometimes it’s hard to connect on things with people who are from different cultures, because it takes time to get to a place where you’re at the same level or referring to the same things. There are a lot of talented people in Sweden, and I like where the Swedish music scene is at the moment. For me, there’s no reason to change.

With ten years in the industry under your belt, what’s the secret to keep reinventing as an artist?
I don’t feel like I’m reinventing myself. If people look at me as an artist that reinvents myself for every record, that’s fine— but it’s not really where my focus is. I’m just doing what I feel is fun and inspiring. For the people who might not be able to listen to the music I’ve been doing in Sweden, the change might seem big. I feel like I’m [just] making my move towards becoming more and more true to who I am.

In your opinion, what's the best thing to come out of Sweden since Swedish meatballs?
I think our welfare system is pretty good— and socialism.

~Leann Peterson

Fifth photo by Dreadful Dan via Flickr
Sixth photo by Neil365 via Flickr
Seventh photo by Lorne Thomson