Back in the heady days of 2012, Carly Rae Jepsen was simultaneously on the brink of international stardom and international ridicule. 'Call Me Maybe' had just dropped, man like Justin Bieber was a big supporter and it seemed like teen pop had a new darling.

If anything shows the gulf between generations, it's the difference in opinions about that particular subgenre. Carly Rae Jepsen's co-sign from Bieber put her in the same pantheon as One Direction, Selena Gomez and Bieber himself. They were hated and derided by almost everyone past a certain age and critically they were torn apart, yet their already-massive fan base persisted with their adulation. This meant that 'teen pop' was a label that was hard to break away from. It was teenage fandoms that had made people like Jepsen, and if they lost their teenage fandoms they could lose it all.

If there's one man who has learnt to manipulate this young market like no other, it's Scooter Braun. The man behind Bieber, The Wanted and Ariana Grande brought Jepsen in house in 2012, signed her to his record label and oversaw the next stage of her career. In Jepsen's line of work, there's no one better to have onside than Braun. Surely this meant she'd made it?

After the hype of 2012, it seemed like even Jepsen believed she was little more than a one-hit-wonder, and she vanished from our collective consciousness. The follow up single to 'Call Me Maybe' only charted in Canada and South Korea, the one after that was a duet with Owl City (remember him?). After all this, 'Call Me Maybe' felt like a lifetime ago. It came to be seen as evidence of the excesses of a bloated and infantilised music industry. Maybe we all felt ashamed that we'd let that song, and what it represented, get so big. Jepsen was quickly forgotten and her singles dried up, not that anyone was paying attention.

Then, in 2015, Jepsen was back. Either side of the release of her new album (E•MO•TION), she dropped 'I Really Like You' and 'Run Away With Me', both were pure pop perfection with writing credits from some of the biggest names in that particular game. So far, so Jepsen. Scratch beneath the album's surface, though, and suddenly it doesn't look like business as usual for Jepsen. The standout tracks on the album are, undoubtedly, 'All That' and 'Warm Blood'. As well as being bangers, they also show Jepsen's reinvention as she moves away from teenage-novelty towards becoming a genuinely serious and interesting musician.

Like most artists of her ilk, Jepsen employs swarms of songwriters to help her at work. E•MO•TION has all the writers you'd expect, veterans seasoned by the work they've done for everyone from Kelly Clarkson to Will Young, from Kesha to Avril Lavigne. Some of the other writers, though, show Jepsen's new direction. 'All That' is co-written by Dev Hynes (aka Blood Orange). As well as absolutely killing it with his own projects, Hynes has built a name for himself as one of the most interesting and coveted writers in the game right now. He's co-credited for Sky Ferreira's 'Everything is Embarrassing', he co-wrote 'Losing You' with Solange Knowles, and he's done work for FKA Twigs and Jessie Ware. Getting a co-credit from Hynes gave Jepsen's new album a credibility she probably never thought she could get; it also moved her away from the 'teen'-pop artists that helped launch her and took her closer to artists like Ferreira and Twigs.

It isn't just Hynes who's helping Jepsen either. Ariel Rechtshaid is a long-term collaborator of Hynes', and helped out on 'All That'. Rechtshaid's CV is long and illustrious; he's produced and written for people like HAIM, Tobias Jesso Jr., and Theophilus London. 'Warm Blood' is co-written by Rostam Batmanglij, a man best known for being one of the driving forces behind Vampire Weekend.

Arguably the most interesting writing credit on the record, though, appears on 'Boy Problems'. The track is co written by Sia. Whereas Hynes and Rechtshaid (and Batmanglij to a lesser extent) are well known for their work writing and producing for some of pop's most interesting musicians, Sia is one of the most successful of those artists, and has managed to seamlessly blend her indie credibility and massive mainstream success. Sia, then, could be seen as more than just Jepsen's co-writer; she could be a template for the artist that Jepsen is becoming.

Jepsen's reinvention can be seen as part of a wider process. Recently, praise from all corners has been heaped on Scooter Braun's star client, Justin Bieber, for his new album and the way it shows his development into a mature and (relatively) credible artist. Jepsen's subtle change fits in line with his, and could be part of Braun's master plan. He built massive success for these artists amongst teens and young adults and, over time, he's kept these fans loyal while overseeing the artists' change into something credible and interesting.

It's been Bieber's change that's won Braun's methods the most acclaim, but it's Carly Rae Jepsen who deserves the praise. Turning the Jepsen of the 'Call Me Maybe' days into an artist with co-signs from Blood Orange, Sia and Vampire Weekend is something that no one saw coming, and E•MO•TION shows Jepsen as the artist no one ever thought she could be.