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2015 studio album by Carly Rae Jepsen

Emotion
Carly Rae Jepsen - Emotion.png

Standard edition encompass, deluxe edition embrace shows "Eastward•MO•TION" in pink, rather than blueish and besides features blue lines, rather than pink.
Studio anthology by

Carly Rae Jepsen
Released June 24, 2015 (2015-06-24)
Recorded Mid-2014 – Early 2015
Studio

Various

  • Wolf Cousins Studios
  • P.S. Studio
  • Kinglet Studios; (Stockholm
  • Sweden)
  • Heavy Dunt Studios (Burbank)
  • No Excuses Studio (Santa Monica)
  • Conway Recording Studios
  • Templebase Studios
  • United Recording
  • Paramount Studios
  • The Record Institute; (Hollywood)
  • Echo Studio
  • MXM Studios
  • Venice Way Studios
  • Rocket Carousel Studios; (Los Angeles)
  • Lounge Studios; (New York Urban center)
  • Kustom Deluxe Studio (Nashville)
  • Monarch Studios (Vancouver)
Genre
  • Pop[1]
  • dance-pop[2]
  • synth-pop[3]
  • disco[4]
Length 44:02
Label
  • 604
  • School Male child
  • Interscope
Producer
  • Ariel Rechtshaid
  • Ben Romans
  • Carl Falk
  • Christopher J Baran
  • Dan Nigro
  • Dev Hynes
  • Greg Kurstin
  • Greg Wells
  • The Loftier Street
  • Jeff Halatrax
  • Kyle Shearer
  • LULOU
  • Mattman & Robin
  • Peter Svensson
  • Rami Yacoub
  • Rostam Batmanglij
  • Shellback
  • Stint
  • Stargate
  • Wouter Janssen
  • Zachary Gray
Carly Rae Jepsen chronology
Kiss: The Remix
(2013) 		Emotion
(2015) 		Emotion Remixed +
(2016)
Singles from Emotion
  1. "I Actually Like You"
    Released: March 2, 2015
  2. "Run Away with Me"
    Released: July 17, 2015
  3. "Your Type"
    Released: November 9, 2015

Emotion (stylized as E•MO•TION ) is the 3rd studio album by Canadian vocalist and songwriter Carly Rae Jepsen. Information technology was released on June 24, 2015, in Japan and on August 21, 2015, worldwide through 604, School Boy, and Interscope Records.[5] [half dozen] [seven] [8] Looking to transition from the bubblegum popular-oriented nature of her second studio album, Buss (2012), Jepsen plant inspiration in 1980s music and alternative styles. She enlisted a team of mainstream and indie collaborators, including Sia, Mattman & Robin, Dev Hynes, Ariel Rechtshaid, Rostam Batmanglij, Greg Kurstin, and Peter Svensson of the Cardigans, culminating in a largely synth-pop-centric effort.

Emotion received by and large favorable reviews from contemporary music critics, who praised its pop escapism, but were divided over its lyrical content. The album underperformed worldwide, debuting at number sixteen on the Billboard 200 with sixteen,153 units. All the same, in Jepsen's home land, it became her tertiary superlative ten, peaking at number eight in Canada with 2,600 copies. The anthology fared improve in Nihon, debuting at number eight with 12,189 concrete copies sold and subsequently existence certified Gold by the Recording Industry Association of Japan (RIAJ) for shipments exceeding 100,000 copies. Emotion has sold 220,000 copies worldwide and amassed 700 million Spotify streams.

The album was preceded by the release of its lead single, "I Actually Like You", which reached superlative five in several territories including the United kingdom and Nihon. It was followed by "Run Abroad with Me" and "Your Blazon", the one-time of which found renewed interest as an internet meme. Jepsen embarked on the Gimmie Beloved Bout in support of the album in November 2015, with a second leg commencing in Feb 2016. In April 2016, she toured Canada in back up of the album as the opening human action for Hedley on their Hello Earth Bout.

In lieu of commercial success, Emotion reinvigorated Jepsen'due south career as an "indie darling" , garnering her a cult following.[9] [ten] [11] [12] The album was shortlisted for the 2016 Polaris Music Prize. A companion EP entitled Emotion: Side B (2016) was released on its offset anniversary and features viii songs that were cutting from the original projection.[13] [xiv]

Background [edit]

Post-obit the sudden worldwide success of "Call Me Maybe" in 2012, Jepsen institute that the song had become "[this] huge, ginormous thing that actually overshadowed the rest of our project" and further singles issued from Kiss failed to gain traction.[15] [16] Jepsen viewed her predicament as an opportunity to retract from the spotlight and contemplate the direction of her next album. She met with her record label and direction after The Summertime Kiss Tour wrapped up in late 2013, stating: "'I want you to put your faith in me that I'll come back when it's ready,' and they did and I'm very lucky to have a squad that wasn't nearly trying to mass produce things and was really more than looking at the quality of it."[fifteen]

Jepsen spent fourth dimension regrouping; searching for a "detour" that came to be in the form of a Broadway role: "I idea, how amazing would it be to accept a left turn, somehow, and still come dorsum to this? [...] but 'left turn'—I didn't know what that meant."[17] She was approached by the producers of Rodgers + Hammerstein'south Cinderella to audition for the titular character, and was formally offered the office after auditioning in Los Angeles and passing callbacks in New York.[17] [xviii] Jepsen causeless the role for twelve weeks from February 2014 to June 2014, and during this time she decided to handle her own A&R. With help from guitarist Tavish Crowe, Jepsen began emailing artists she admired to see if they were interested in collaborating, including Tegan and Sara, Rostam Batmanglij of Vampire Weekend and Shellback.[16]

Nether the pressure level of matching "Call Me Maybe"'south success, Jepsen recorded an entire indie-folk album during her run on Cinderella as an human activity of "rebellion".[19] [20] Jepsen felt that the demo project was adult for the wrong reasons–out of superficiality–and information technology was ultimately scrapped: "I think there is a natural rebellion when y'all have success in one surface area to completely rebel against that. I needed to get that out of my system, I think. I made really weird music." Jepsen's work on Cinderella provided valuable perspective in terms of being divers by a single attribute, specially from her costar Fran Drescher: "Everyone still calls her 'the Nanny'. I realized you can't give in to other people's perception of you lot. Anybody's gonna be known for something."[21]

"[Emotion] had to not be about trying to prove something. I feel like if you're writing music just to have a different identity in the public's middle, it'south sort of the incorrect motive. It's gotta be coming from a place of what y'all love and what you're passionate about."[22]

Writing and development [edit]

Due to her dissatisfaction with Buss'due south constrained timeframe of two months,[23] Jepsen went into Emotion with the intent of crafting a project that was authentic and allowed her to arroyo different avenues.[24] [25] Whereas Kiss was developed in an amenable manner, as Jepsen was simply grateful for the opportunity, Emotion was spurred past her want to take more creative control.[26] Jepsen commented that much of the anthology is about "trying to get some ability back" after exiting a relationship and subsequently settling down in New York.[27] She sought to channel a "heart-on-your-sleeve sensibility" reminiscent of 1980s pop music afterwards attending a Cyndi Lauper concert in Japan.[28] These themes were further explored through "old-school" Prince and Madonna records on morning runs earlier Cinderella rehearsals: "What I loved was how potent some of those [1980s] lyrics were—how centre wrenching, how everyone's tea leaves are just right there on their sleeve. In music today, everything is a lilliputian more coy, but I wanted that romance and that fantasy, and I think that a lot of people [my] age do."[27] [9]

"['80s music] was kind of an escape from reality. There's a bit of fantasy on the album in that we've heightened everything–heightened the honey and heightened the drama. [...] I would tell the people I worked with, 'I want that feeling, that yearning, that uhhhhh.' And they were like, 'OK, you grunted. I think we become information technology.'"[29]

An epiphany came to Jepsen after finishing "Emotion", the album's title track, where she found that a 1980s pop audio, combined with a more than "alternative" production, was what she had been seeking.[25] This fashioned the album's direction entirely–Emotion developed every bit a midway betoken between the "pure" popular she recorded in Los Angeles and the indie-folk endeavour that was scrapped in New York.[20]

Jepsen combed through Dev Hynes' discography after becoming infatuated with "Losing You" by Solange, to which she found his proper noun listed in its production credits.[30] Jepsen sought to collaborate, stating she was a fan, which Hynes hesitated to believe. He was eventually "won over" by Jepsen's demonstration of her vocal ability and work ethic, and credited her with genuine intentions of "[developing] a new aesthetic" versus pursuing "Pitchfork-approved artists" for the sake of indie brownie.[31] The pair worked in a Chelsea studio betwixt Jepsen'southward Cinderella performances.[26] Hynes sent a demo of what would get "All That", where Jepsen wrote the bridge and produced the vocals herself. Ariel Rechtshaid was brought in for boosted work on the song.[32] [sixteen] In a like affair, Jepsen's admiration of Sky Ferreira'south work led her to Rechtshaid and the pair began coming together for coffee dates, figuring out a session appointment as he was in the midst of producing with Brandon Flowers.[33] Rechtshaid further contributed to Emotion by aiding in the selection process of its track list and finalizing the production on its closer, "When I Needed You".[32]

Rostam Batmanglij was a prior fan of Jepsen'due south work when he reached out to her in the summer of 2014, after learning that she was in Los Angeles writing with various people.[32] Jepsen was "over the moon" and the pair developed "Warm Claret" over the adjacent year, the offset verse recorded as Jepsen saturday on the carpet of Batmanglij'due south habitation studio.[34] [35] Batmanglij announced the track's existence via Twitter on April 29, 2015.[36]

Jepsen spent a month in Sweden recording for the anthology, per her label'due south proffer.[37] [38] These sessions materialized in its lead single "I Really Like You lot", written with Peter Svensson of the Cardigans, "Your Type" with Rami Yacoub and Carl Falk, and the Mattman & Robin-produced "Run Away with Me" which developed over two split up trips to the country.[39] [twoscore] The duo flew to Los Angeles for one last session with Jepsen, finishing "Gimmie Beloved" in a 24-hour interval.[41]

Prior to starting total-fledged work on Emotion, Jepsen had sketched several of its demos on her tour autobus as she supported Kiss dorsum in 2013.[27] Of these, "Male child Bug" would eventually finalize its form with Sia and Greg Kurstin.[42] Furler wrote the span to "Male child Issues", and contributed the outside cut "Making the Nearly of the Dark", which Furler originally developed with the members of Haim.[43] [44] "I Didn't Just Come up Here to Dance" existed as early equally 2011 co-ordinate to matching lyrics on a tweet authored past Jepsen.[45] It would eventually be presented to Max Martin subsequently the pair finished work on "This evening I'one thousand Getting Over You" in 2012; intending to cease their session at midnight, the song compelled Martin to stay for two extra hours.[42] It was confirmed that she had worked with Josh Ramsay, Ryan Stewart, Benny Blanco and Stargate, though none of these producers appeared on the finalized project.[46] A total of 250 songs were composed over the class of the album'southward evolution.[47] Speaking to the Herald, Jepsen stated that she worked on Emotion past deadline and finished right before its Japan release appointment on June 24, 2015.[48]

Composition and lyrics [edit]

Emotion contains elements of synth-pop and new wave.[49] [50] [51] Consequence of Audio summed the record up as a "more mature, sophisticated version of her [Kiss] hyperpop", Jepsen elaborating: "I wanted to kind of blur the lines of what [a popular album] needed to be."[52] [53] She found information technology a challenge to repurpose the album'due south 80s influences into a modern context without delving into "empty nostalgia", stating that the anthology is not strictly a "period piece", but is "tinted with shades of that era".[54] [31] The lyrics on Emotion "shade her quondam ebullience with darker, more complex feelings", and it is sonically grounded with "earthier textures" from 80s R&B–cleansing herself of the Cinderella performances during the record's production.[23] Elsewhere, Jepsen explores funk and disco on "Boy Issues", and house music on "I Didn't Just Come Here to Dance".[55] [56] [57]

Jepsen singled "All That" out as well-nigh representative of the goals she sought to reach with Emotion. Lyrically: "['All That'] holds a special place in my heart because information technology is so revealing: It's talking near the desire for intimacy with somebody. And I think with songs like 'Call Me Perchance', that can be quite light and a little bit more surfacey, information technology's fun to get a piffling deeper."[54] [53] Jepsen penned "Your Blazon" with Rami Yacoub and Carl Falk at four in the morning time when she was "losing her mind": "They got me hooked for a calendar week on those little false cigarettes that taste of strawberries. You lot tin hear it in my voice, I sound all gritty. It'due south because I was vaping for a calendar week."[58]

"Warm Claret" was produced by Rostam Batmanglij and co-written with Tino Zolfo and Joe Cruz. It initially held the hook "warm love feels good" to which Batmanglij misheard as "warm blood", sticking equally its main motif equally he was drawn to its physical rather than abstract connotations.[32] Jepsen explained: "The more we chipped away at it, we couldn't get abroad from how much meliorate 'blood' felt and how realer it was. It's almost like that warm skin or that feeling of intimacy."[34] The vocal has been noted for its experimental vocal effects, with Batmanglij scattering distorted vocal cuts throughout, a "creepy" quality that the pair immediately liked. Elsewhere, sections of "Warm Blood" were sung in a lower pitch; Jepsen was to re-tape these parts as she came to the session with "shot vocals", however its "smokier" quality abased these plans.[59] Brad Nelson of The Guardian compared Jepsen's performance to that of Ezra Koenig's "machine-produced flexibility" on the Vampire Weekend song, "Diane Young".[threescore]

In a session with Tavish Crowe, the closer "When I Needed You" was written to process a break up where Jepsen realizes the faults of her seemingly "perfect" relationship: "[...] but in order to stay in it, I would have to exist quite a dissimilar person than who I naturally am [...] and that sacrifice didn't seem worth it in the stop." Dan Nigro and Nate Campany equanimous the "happier-sounding" instrumental, to which Jepsen felt a sense of catharsis in concealing a "very serious" emotion. Ariel Rechsthaid reworked the chord progression in order to invoke a sense of "agony", droning through information technology with a series of bong notes that fabricated the composition sound "a picayune chip more somber". The "five-string, funk-R&B" bass line was played by Ethan Farmer, and the drum fill, "an 80s kind-of snare with a big reverb on information technology," was inspired past John Mellencamp'due south "Jack & Diane".[61]

"When I'm Alone", a song written and co-equanimous by Jepsen during sessions for Emotion, was somewhen purchased by SM Entertainment and given to 1000-popular girl grouping f(ten) for their album 4 Walls.[62] "Cutting to the Feeling" and "Runaways", both written past Jepsen during sessions for Emotion, were recorded for the soundtrack of the 2016 moving picture Ballerina.[63] "Wildflowers", a vocal written during the sessions for Emotion which leaked online in 2016, was covered by Elle Fanning for the soundtrack of the pic Teen Spirit (2018).[64]

Title and artwork [edit]

Eternal Summer was a running contender for the anthology'due south title, in reference to Los Angeles existence an "eternal summertime in sunshine" where time perspective is lost.[fourteen] [16] It originated from the song "Eternal Summer" which Jepsen adult for a scrapped indie-folk endeavour; the song was ultimately cut from Emotion likewise. Per suggestion from her A&R, the song "Emotion" was retrofitted as the album'due south title as Jepsen was fond of its strength, both equally a one-word title and its complexity equally a concept.[65] Jepsen further stated that the song "Emotion" itself encapsulated her feelings of clarity, equally its writing process steered her in the management of "'80s emotional pop". Jepsen was "sold" on the championship Emotion after she was sent its phonetic spelling, which is reflected in its stylization (East·MO·TION).[65]

The album artwork features Jepsen sitting in a reserved position as she dons a technicolor sweater and black tights: "There were a few unlike pictures that had more of a decided facial expression, but I kind of liked the fact that I can't totally read what I was thinking in that motion picture. It could be many things, and this album, to me, was sort of a collection of many different emotions."[65] [66] The artwork's typography bears the lexicon entry of "Emotion" as a noun.[67]

Release and promotion [edit]

Jepsen during her Gimmie Love Bout in Table salt Lake City on March 4, 2016

Jepsen announced the title of the album on April 11, 2015, and released the cover artwork on April fifteen, 2015.[68] The track listing was unveiled on June 2, 2015.[69] The album's lead single, "I Really Like Yous", was released to the iTunes Store on March 2, 2015. The song reached the top twoscore in Australia, Canada, Nippon, and Netherlands, and has reached number 39 on the Usa Billboard Hot 100, number 3 in Republic of ireland and on the UK Singles Nautical chart, and number one on the Scottish Singles Chart. The music video was released on March 6, 2015, featuring Tom Hanks and Justin Bieber. The album'southward promotion was kicked off with a alive operation of "Really Like You lot" at Good Morning America on March 5, 2015. "All That" was issued equally the starting time promotional unmarried on April 5, 2015. The following solar day, Jepsen performed the track at Sat Dark Live.[70]

Jepsen at Capital Pride in 2015, where she performed several songs from Emotion

On May one, 2015, Jepsen performed "Run Away with Me", "Emotion", "Your Type", "Black Heart" and "Gimmie Dearest" at a show in Beijing, China.[71] The album'southward championship-track was released on June 3, 2015.[72] [73] "Run Away with Me" and "Your Type" too premiered on a Castilian radio station prior to the album'south release on June 22, 2015. "Run Abroad with Me" was released every bit the anthology'south 2nd single on July 17, 2015.[74] The music video for "Run Away with Me" was released on July 17, 2015 and directed past Jepsen'southward former beau, David Kalani Larkins. The video was filmed in Tokyo, New York City, and Paris.[75] The track was premiered on Hit FM in Spain on June 22, 2015.[76] "Warm Blood" was released equally the second promotional single on July 31, 2015. "Making the Near of the Night" was released equally the tertiary promotional single on August 7, 2015. "Your Blazon" was released as the fourth promotional single on Baronial 14, 2015.[77]

On August 21, the release date of Emotion in the United States, Jepsen performed "Run Away with Me" on Today. During her bout in South Africa in Oct 2015, she performed "Run Away With Me" on Idols South Africa. "Your Type" was re-released every bit the third official single on Nov 9, 2015, in Europe.[78] An official remix package was released on December 11, 2015, in Europe and Oceania and on December 18, 2015, in North America.[79] Its music video, directed past Gia Coppola, premiered Nov iii, 2015, and follows Jepsen on a Cinderella-inspired story where her character fantasizes about becoming a pop star.[lxxx] [81]

A music video for "Boy Bug" premiered on April viii, 2016. Information technology was directed by Petra Collins and stars Tavi Gevinson, Barbie Ferreira, Paloma Elsesser, among others.[82] [83]

Critical reception [edit]

Professional ratings
Aggregate scores
Source Rating
AnyDecentMusic? seven.three/x[84]
Metacritic 77/100[85]
Review scores
Source Rating
AllMusic [86]
The A.5. Club B+[87]
Consequence of Sound B+[88]
Entertainment Weekly A−[2]
The Guardian [89]
NME seven/10[90]
Pitchfork seven.4/10[1]
Rolling Stone [91]
Slant Magazine [92]
Spin 7/ten[93]

Emotion received positive reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the anthology received an average score of 77, based on 24 reviews.[85] The album was praised for its "popular perfection" in catchiness, cohesion and production value.[94] [95] [96] Sasha Geffen of Consequence of Sound wrote, "Few artists have taken a logarithmic striking like "Call Me Maybe" as a sign to push button even further, to make something better, more man, and more electric. But Jepsen is the kind of singer who thrives on the stakes that unapologetic pop music offers."[88] Annie Zaleski of The A.5. Club said, "If there'southward whatever justice, Emotion will propel her to superstardom—but fifty-fifty if it doesn't, she tin at to the lowest degree residue easy knowing she made one of 2015's nearly interesting, effervescent records."[87] Peter Tabakis of Pretty Much Amazing stated that "Emotion is then practiced, information technology's formed heaven-high expectations out of thin air."[97] Slant Mag's James Rainis writes, "Emotion is further proof that Jepsen is capable of translating broadly understood emotions and experiences into unshakable earworms."[92]

Opinion was divided over the album'due south lyrical content, which some reviewers have deemed as immature or banal.[94] Corban Goble of Pitchfork commented, "It'due south unfair to deeply scrutinize lyrics on a pop record—the goal is to write smart, but skew broad—but Emotion fails to tell u.s. who Jepsen is or wants to exist."[i] Her "absence of an identity" was farther compared to her contemporaries for their prototype-conscious work.[92] While Adam Downer of cokemachineglow opines that the album's "retro-pop elation without angle or ego lends it a refreshingly timeless quality", further contexualizing information technology [in] "a year where pop stars fight for brand supremacy"; Alexis Petridis of The Guardian states that the issue isn't Jepsen being without an "outrageous, headline-grabbing persona" like Rihanna or Miley Cyrus merely that "she doesn't do anything to postage stamp her identity on the songs [...] Information technology's one problem that all the expensive names in the credits can't solve."[89] Similarly, Jon Caramanica of The New York Times scrutinizes the heavy-lifting done by Emotion'southward cast of collaborators: "Maybe Ms. Jepsen'southward choices merely reinforce the new centrist pop model of '80s sleekness [...]; merely why fall under the spell of someone else's cool when you lot can luxuriate in the stink of your own cheese?"[98]

In a more negative review, Billy Hamilton of Under the Radar critiques the poptimism narrative surrounding Jepsen and her perceived endeavour to gratify "indie tastemakers", regarding her as "the pet project of a creative hipsterati that'due south determined to prove pop is cooler than you, or I, could maybe ever imagine," further expressing that "Carly Rae Jepsen and her production team try overly hard to be clever."[99] In a similar conclusion, Evan Sawdey of PopMatters writes that "Emotion is yet a very pleasing album if not only a shade overambitious, clearly trying too difficult to make the same genius pop moments that Kiss churned them out with effortless flair."[100]

Year-end lists [edit]

Jepsen during Gimmie Dear Tour in San Francisco on Feb 27, 2016

Decade-cease lists [edit]

Commercial operation [edit]

The album debuted at number xvi on the United states Billboard 200, earning 16,153 anthology sales in its start week. By the end of 2015, Emotion had sold a full of 36,000 copies.[139] In Canada, the album debuted at number 8 with two,600 copies sold in its first calendar week. In Nippon, the album debuted at number 8 with 12,189 physical copies sold in its first week. On April 2, 2016, Jepsen revealed via Twitter that Emotion was certified aureate by the Recording Industry Association of Nippon, having sold over 100,000 copies there, these copies stand for physical sales of the anthology only.[140] The album entered the UK Albums Chart on September 25 at number 21 with sales of 6,000 copies in addition to streaming figures.[141]

Legacy [edit]

Emotion is considered a crucial factor in Jepsen's "unlikely" career trajectory, following her stint on Canadian Idol and the ubiquity of "Telephone call Me Mayhap" to "cult idol".[142] [143] Marked equally a transitional piece, publications commended Jepsen for cultivating her sound, which "[reestablished] herself as a popular star for grown-ups".[144] [145] Carrie Battan of the New Yorker posed that Emotion spared Jepsen from "falling to her expiry" and instead descended her to the lesser akin to a ascent "mindie" creative person, online fizz and "underground cred" in tow: "Jepsen, the woman backside one of the biggest songs of this century, now resembles someone whom she never had the opportunity to go at the start: an indie darling."[10]

Emotion was labelled a "commercial flop" every bit its promotional cycle waned.[146] [147] James Rettig of Stereogum writes, "The lead-up to Emotion played out like a lesson in what not to do with a pop singer sitting precariously on the edge between cultural ubiquity and cult post-obit."[148] Some blamed its promotional ringlet-out, with a Japanese release arriving two months alee and therefore susceptible to leaks. Elsewhere, others focused on creative choices–Rettig criticized "I Really Like You" as pb unmarried, the "virtually damaging misstep" that hindered Jepsen's power to showcase her creative growth.[148] FasterLouder'south Jules LeFevre noted that Jepsen's decision against promoting any archetypal identity rendered herself "indistinct" in the "crowded popular landscape".[149]

The record grew to go a cult hit with Jepsen labelled equally an "underdog" every bit it spread by word-of-mouth.[148] Whereas music critics were "compelled by the narrative of a i-hit wonder trying to rebuild herself", as quipped by Battan, Caitlin White of Uproxx writes, "I think Emotion wouldn't be equally meaningful if we had to share it with commercialism's steely mechanism; its commercial failure is part of what makes it continue to experience intimate, ours."[10] [150] Emotion is noted for garnering Jepsen a large LGBTQ audience,[151] [152] [153] Brandon Tensley of Pacific Standard opining that her music "taps into a shared queer history of escape, possibility, and disappointment", likening her to Kylie Minogue.[154]

NPR chosen Emotion a "modernistic touchstone", by which they compared the Aces and Paramore'south Subsequently Laughter (2017) to.[155] In developing her EP Now That the Light Is Fading, Maggie Rogers resolved to make pop music after being inspired by Emotion.[156] Jay Som counts Jepsen as a notable influence on her debut album Everybody Works: "I felt very assertive with [Everybody Works] because I was also listening to her music. I liked how energetic and youthful the spirit is—and it'south but so not ashamed to be this pop record."[157] A tribute album was released digitally by Something Merry on November 21, 2018. The anthology is a track-by-track cover of Emotion, including covers fabricated by Wild Pink, Cheer Up, Time to come Teens, Gabe Goodman, Skilful Looking Friends, Kiki Maddog, Lilith, Mandancing, oldsoul, Photocomfort, Pushflowers, the Aux, the Superweaks, Tuft.[158]

Track listing [edit]

Standard edition[159]
No. Title Writer(s) Producer(s) Length
1. "Run Away with Me"
  • Carly Rae Jepsen
  • Mattias Larsson
  • Robin Fredriksson
  • Shellback
  • Oscar Holter
  • Jonnali Parmenius
  • Mattman & Robin
  • Shellback
  • Tim Blacksmith
  • Danny D.
 4:11
two. "Emotion"
  • Jepsen
  • Nate Campany
  • Ben Romans
  • Christopher J Baran
  • CJ Baran
  • Romans
 3:17
iii. "I Really Like You"
  • Jepsen
  • J Kash
  • Peter Svensson
  • Svensson
  • Jeff Halatrax
 iii:24
four. "Gimmie Honey"
  • Jepsen
  • Larsson
  • Fredriksson
 Mattman & Robin three:22
5. "All That"
  • Jepsen
  • Devonté Hynes
  • Ariel Rechtshaid
  • Rechtshaid
  • Hynes
 4:38
6. "Male child Problems"
  • Jepsen
  • Sia Furler
  • Greg Kurstin
  • Tavish Crowe
 Kurstin 3:42
7. "Making the Most of the Night"
  • Furler
  • Samuel Dixon
  • Emre Ramazanoglu
  • Danielle Haim
  • Alana Haim
  • Este Haim[a] [44]
  • Jepsen
 The Loftier Street 3:58
8. "Your Type"
  • Jepsen
  • Rami Yacoub
  • Carl Falk
  • Wayne Hector
  • Crowe
  • Falk
  • Yacoub
 three:19
nine. "Allow's Get Lost"
  • Jepsen
  • Baran
  • Romans
  • Baran
  • Romans
 3:thirteen
10. "LA Hallucinations"
  • Zachary Grey
  • Ajay Bhattacharyya
  • Jepsen
  • Stint
  • Gray
 three:04
11. "Warm Blood"
  • Jepsen
  • Rostam Batmanglij
  • Tino Zolfo
  • Joe Cruz
 Batmanglij 4:thirteen
12. "When I Needed Y'all"
  • Jepsen
  • Rechtshaid
  • Daniel Nigro
  • Nate Campany
  • Crowe
  • Rechtshaid
  • Nigro[b]
3:41
Total length: 44:02
Deluxe edition[160]
No. Title Writer(south) Producer(s) Length
13. "Blackness Heart"
  • Jepsen
  • Greg Wells
  • E. Kidd Bogart
 Wells 2:56
xiv. "I Didn't Just Come up Hither to Dance"
  • Jepsen
  • Zolfo
  • Cruz
  • LULOU
  • Wouter Janssen
  • LULOU
  • Wouter Janssen
 3:39
fifteen. "Favourite Colour"
  • Jepsen
  • Larsson
  • Fredriksson
  • Crowe
 Mattman & Robin 3:29
Total length: 54:06
Target, Japanese and palatial expanded edition bonus tracks[161]
No. Championship Writer(s) Producer(s) Length
16. "Never Get to Hold You"
  • Jepsen
  • Campany
  • Kyle Shearer
  • Crowe
 Shearer 4:13
17. "Beloved Over again"
  • Jepsen
  • Campany
  • Baran
  • Crowe
 Baran three:35
Total length: 61:54
Japanese bonus runway[162]
No. Title Writer(s) Producer(s) Length
xviii. "I Really Like You lot" (Liam Keegan Radio Edit)
  • Jepsen
  • Kash
  • Svensson
  • Svensson
  • Halatrax
  • Keegan[b]
3:09
Total length: 65:03
Japanese deluxe edition – bonus DVD[163]
No. Title Length
1. "I Really Similar You" (music video) 3:30
ii. "I Actually Similar You" (behind the scenes) 4:23
3. "The Making of Eastward•MO•TION" (studio webisode part one) 0:52
4. "E•MO•TION – International EPK" 9:23

Notes

  • ^[a] Although credited as 'The Trinity', the components of the band Haim are the names backside this pseudonym.
  • ^[b] signifies an additional producer

Personnel [edit]

Credits per the liner notes of Emotion.[67]

Music [edit]

  • Noonie Bao – bankroll vocals (rail 1)
  • CJ Baran – all instruments (tracks 2, 9, 17)
  • Rostam Batmanglij – keyboards, piano (runway 11)
  • Ajay Bhattacharyya – synths (track 10)
  • Peter Carlsson – solina (track 3)
  • Samuel Dixon – electrical guitar, acoustic guitar, bass guitar, synths (runway 7)
  • Carl Falk – instruments, guitars (runway 8)
  • Ethan Farmer – bass (tracks 5, 12)
  • Wojtek Goral – saxophone (track i)
  • Oscar Görres – backing vocals (track 1)
  • Zachary Gray – bass, synths (rails 10)
  • Jeff Halatrax – drums, synths, keyboards, bass (rail 3)
  • Svante Halldin – violin (track 4)
  • Oscar Holter – backing vocals (track 1)
  • Devonté Hynes – guitars (track 5)
  • Wouter Janssen – all instruments (rails 14)
  • Carly Rae Jepsen – lead vocals (all tracks); backing vocals (track 1)
  • Jakob Jerlström – backing vocals (track 1)
  • Tommy King – keyboards (track 12)
  • Daniel Farrugia - keyboards, pianoforte (rails 5)
  • Greg Kurstin – bass, drums, guitar, keyboards (track six)
  • Katerina Loules – backing vocals (track xiv)
  • Lukas "Lulou" Loules – all instruments (runway fourteen)
  • Roger Manning, Jr. – synthesizers (track five)
  • Mattman & Robin – backing vocals, bass, drums, percussion (tracks 1, 4, fifteen); guitars (tracks 1, four); vocoder, synths (track 15)
  • Missy Modell – backing vocals (rail 3)
  • Daniel Nigro – guitar (track 12)
  • Emre Ramazanoglu – synths, percussion, drums (track 7)
  • Rami – instruments, bass (rails eight)
  • Ariel Rechtshaid – synthesizers, percussion (rails 5)
  • Sibel Redžep – bankroll vocals (track 1)
  • Ben Romans – all instruments (tracks 2, 9)
  • Ludvig Söderberg – backing vocals (rails 1)
  • Marlene Strand – backing vocals (track 8)
  • Peter Svensson – drums, synths, keyboards, bass, guitar (rails 3)
  • Greg Wells – drums, synths (track 13)

Product [edit]

  • Henrique Andrade – engineering assistance (rails 7)
  • CJ Baran – production, programming (tracks ii, 9, 17)
  • Rostam Batmanglij – production, engineering, drum and synth programming (track 11)
  • Ajay Bhattacharyya – production, recording, drum programming (track 10)
  • Mikaelin 'Blue' Bluespruce – recording (track 5)
  • Mario Borgatta – mixing assistance (track 10)
  • Julian Burg – engineering (rail 6)
  • Martin Cooke – engineering aid (rails ten)
  • Rich Costey – mixing (runway 10)
  • Tom Coyne – mastering (tracks 1–4, 8)
  • John DeBold – engineering assistance (tracks 5, 12)
  • Samuel Dixon – programming (track 7)
  • Micky Evelyn – technology help (track v)
  • Eric Eylands – applied science assistance (track 3)
  • Carl Falk – product, programming (rail 8)
  • Nicholas Fournier – engineering science assistance (track ten)
  • Kyle Gaffney – engineering assistance (rail 14)
  • Chris Galland – mixing aid (tracks 6, 12)
  • Serban Ghenea – mixing (tracks i–4, 8)
  • Zachary Gray – production, recording (track 10)
  • Gene Grimaldi – mastering (tracks vi–7, 9–17)
  • Josh Gudwin – song product, vocal recording (track 7)
  • Jeff Halatrax – production, technology, programming (track 3)
  • John Hanes – mix engineering science (tracks 1–4, 8)
  • The High Street – production (track vii)
  • Devonté Hynes – product, programming (track v)
  • Chris Kasych – technology (tracks 11–12)
  • Greg Kurstin – production, engineering (track 6)
  • Lukas "Lulou" Loules – production, engineering, mixing (track 14)
  • Eric Madrid – mixing (tracks seven, thirteen, 15)
  • Manny Marroquin – mixing (tracks half-dozen, 12)
  • Mattman & Robin – production (tracks 1, 4, fifteen); programming (tracks 1, 15)
  • Mitch McCarthy – mixing (tracks sixteen–17)
  • Scott Moore – engineering (track 4)
  • Daniel Nigro – boosted production, programming (track 12)
  • Robert Orton – mixing (tracks 5, 11)
  • Alex Pasco – engineering science (rails 6)
  • Noah Passovoy – boosted vocal recording (rail 15)
  • Emre Ramazanoglu – programming (track 7)
  • Rami – production, programming (track 8)
  • Ariel Rechtshaid – production, programming (tracks v, 12); recording (rails 5); applied science, drum programming (track 12)
  • Ben Romans – production, programming (tracks 2, 9)
  • Will Sandalls – engineering (rails xvi)
  • Matt Schaeffer – technology assistance (tracks 14, 16)
  • Ike Schultz – mixing assist (tracks 6, 12)
  • Wesley Seidman – recording (track 5)
  • Kyle Shearer – production (track 16)
  • Shellback – production (rail 1)
  • Laura Sisk – boosted engineering (track 12)
  • Stint – production (runway 10)
  • Shane Stoneback – engineering (track 11)
  • Peter Svensson – product, engineering, programming (track 3)
  • Juan Carlos Torrado – engineering assistance (tracks 3, 17)
  • Randy Urbanski – engineering (track iv)
  • Jaime Velez – technology assistance (track 3)
  • Robert Vosgien – mastering (rails 5)
  • Vincent Vu – mixing assistance (tracks 7, 13, 15)
  • Greg Wells – production, programming (track xiii)
  • Wired Masters – mastering (track 14)

Business [edit]

  • Scott "Scooter" Braun – executive production, A&R, management
  • Greg Carr – marketing coordination
  • Lisa DiAngelo – publicity
  • John Ehmann – A&R
  • David Greyness – A&R
  • Pamela Gurley – legal representation
  • Brad Haugen – marketing, creative direction
  • Laura Hess – direction, marketing
  • Dyana Kass – marketing
  • Allison Kaye – management
  • Steve Kopec – direction
  • Evan Lamberg – A&R
  • Kenny Meiselas – legal representation
  • Katherine Neiss – A&R coordination
  • Olivia Zaro – A&R

Packaging [edit]

  • Jessica Severn – art direction and design
  • Karla Welch – styling
  • Matthew Welch – photography

Charts [edit]

Certifications [edit]

Release history [edit]

References [edit]

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