Depending on your vantage, Robyn’s self-titled (and independently released) CD was either one of the best discs of 2005, 2006 or 2007—and maybe it’ll even be one of the best of this year, too. Indeed, the album originally dropped a whopping three years ago, in Robyn’s native Sweden, and has been waiting for the right U.S. distributor ever since. In the meantime, Robyn’s become the belle of the blogs, proof that the pop machine can still make room for more DIY-minded artists, and her recent club blitzkrieg across America was met with nothing but praise as well.

It’s only now that Robyn is finally getting its (legal) American release, and it’s a testament to the singer’s instincts and independence that the disc hasn’t aged a bit. That says a lot, considering the average top 40 piffle can’t make it a few weeks before fading, but the average top 40 piffle isn’t nearly as sharp as icy electro confections like “Konichiwa Bitches” (with its hilarious, over-the-top boasting—“I’ll hammer your toe_/_Like a pediatrician_/_Saw you in half_/_Like I’m a magician” goes one bit of swaggering goofiness), “Crash and Burn Girl” or “Who’s That Girl” (the latter produced by the Knife). But Robyn’s got heart, too, as demonstrated by the warmer “Handle Me,” “Eclipse,” and, in particular, “Be Mine” and the Kleerup collaboration “With Every Heartbeat.”

In advance of her proper stateside debut, Robyn crossed creative paths with Britney Spears and Snoop Dogg, but Robyn shows Robyn need stand on the shoulders of no one. She’s the real deal, a 21st-century pop diva who does things her own way and dares you to hate her for it.

Robyn plays Park West May 7, 2008.