Fembot - it's like Fergie got a feature on Janelle Monáe's The ArchAndroid (Suites II and III). It's got all the boasting of Here I Come (like "Ain't nobody rip it like me / F to the E-R-G-I-E" vs. Robyn's "I got a lotta automatic booty applications / Got a C.P.U. maxed out sensation") but picks an instrumental that's more metallic, like on Janelle's Dance or Die, rather than relying heavily on a soul sample.

Dancing on My Own - the scene is Robyn in a club, struggling with the realization that the one she wants is there with someone else. New idea? No; of course not. But after you get past how creepy it is, it's a solid version of a familiar story; and it sounds genuine, which counts for a lot. About that creepy part, though - it reminded me of Clay Aiken's first single, Invisible. While wondering what it would take for a guy to see that he's alive, he thinks, "If I was invisible, then I could just watch you in your room." Robyn finds herself in a similar place: "I'm in the corner, watching you kiss her." So the imagery of Robyn lurking in the corner of a club, watching, is - well - strange. But the underlying sentiment is clear and connects.

Cry When You Get Older - this is the track that keeps the album together, more so even than Dancing. It does that in a couple ways. It makes it really clear that this record is for the "girl in the strobing light" - that she could just sweat it out now and deal with all the reasons why she needs to later. And it stays hopeful (and, admittedly, cliché and safe), daring her to find more to life than what's right in front of her.

Dance Hall Queen - here, Robyn reestablishes rather than just feigns some confidence. The difference is slight, but apparent in how this track's "I got the high heels on / I go out dancing all by my own" is a step past the dancing in a corner watching someone else in Dancing.

Hang with Me - selfishly happy that this made the cut. When I first realized last year that this Robyn was the same Robyn I'd really liked fourteen years ago from Robyn is Here (still in its jewel case sitting just about ten feet from me), I wondered what would change. A lot did. But this reminds me of the a cappella cut of I Wish that made the U.S. edition in 1997.