The album next takes a sharp left turn on the title track, “Honey,” about a woman feeling some kind of way about her sexuality . The lyrics aren’t double entendres, they’re more like impressionist works hinting at desire (“At the heart of some kind of flower / Stuck in glitter, strands of saliva / Won't you get me right where the hurt is?”). The gorgeous, esoteric lyrics are laid on top of a driving beat, but the music that is more 5 a.m. at the club than primetime — it’s a long seduction influenced by Massive Attack and Black Box. Robyn lets that groove float loosely into “Between the Lines,” a samba-influenced beat with house music roots that would be so comfortable nestled under some Crystal Waters vocals. From there we shift into “Beach2k20,” a palette cleanser. It’s more modern, aesthetically and lyrically, with a tropical beat and spoken words from Robyn that lure you in (“Come thru, it’ll be cool”). It’s long at nearly 5 minutes and 30 seconds but you’ll luxuriate in every second. The album ends with “Ever Again,” a track that could slide right into a John Hughes teen movie from the ‘80s if not for Robyn’s distinctive vocals. Though the lyrics are a hard-hearted take about how Robyn doesn’t plan to feel love ever again, the beat entices you to dance and, frankly, feel happy. This is a specialty of hers; crooning “that shit got so lame” but making you feel empowered and free as you sing along.