Jepsen gets more adventurous on the album's second half, teaming with Sia to bring newfound drama to "Making the Most of the Night" and with Rostam Batmanglij and Tegan and Sara on "Warm Blood," one of E-MO-TION's most contemporary-sounding tracks. The slap bass and crystalline synths on "All That" turn it into a seemingly long-lost slow jam, while Rechtshaid's unabashedly glossy production on "When I Needed You" reflects how big an impact his work with HAIM had on the 2010s pop landscape. A-list songwriters and producers including Sia, Devonté Hynes, Ariel Rechtshaid, Shellback, and Greg Kurstin help her focus Kiss' effervescence into a cohesive sound that is somehow even more '80s-influenced.
For every head-over-heels declaration like "Run Away with Me," there's a song such as "I Really Like You," a smaller-scale outburst where Jepsen acknowledges "this isn't love." This sophistication extends to the music where Kiss suggested several potential directions, E-MO-TION presents a more unified front. If Kiss was the sound of first love and first heartbreak, then E-MO-TION captures how heady the ups and downs of crushes can be the third or fourth time around. While nothing here is as instantly striking as "Call Me Maybe," the album gives the impulsive sweetness of her big hit some perspective. After taking time to regroup, Jepsen returns with E-MO-TION, another set of songs that are better than the average Top 40 hit. Her breakthrough single "Call Me Maybe" wasn't just big - it was one of 2012's definitive songs, with a presence so massive that it overshadowed just how good Kiss, the album that housed it, was.
Carly Rae Jepsen was nearly a victim of her own success.
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