When I tell people my favorite artist of the decade is Carly Rae Jepsen, I almost always have to clarify she is the singer of “Call Me Maybe” fame. Then, inevitably, I get the Ann from Arrested Development treatment—“...her?”

Outside of the isolated music-criticism blogosphere, “Call Me Maybe” has overshadowed everything else Jepsen has done. Most of the world sees Jepsen as a one-hit wonder who, despite her critically acclaimed album E•MO•TION (2015), will never again rise to the pure, vigorous, synth-sledgehammer-like fame that was “Maybe.” While Jepsen’s hit single has sold more copies worldwide (18 million) than the number of Twitter followers she has been able to garner (11 million), E•MO•TION sold only 16,000 copies in its first week, a poor showing by comparison.

But here’s a secret: If you have listened to E•MO•TION, you love it. Just look at the cult-like following Jepsen has amassed in lieu of actual album sales. Her fans sing the words to every lyric of every song at her concerts. They start trends, like commenting on her Instagram photos with “Queen of ___,” which likely originated from her obscure cover of the ‘80s band Go West’s “King of Wishful Thinking.” (Example: Carly shares a pic of her sitting on a couch and fans call her the Queen of Sitting). They make shirts—one of which I own—that say “Carly Slay Jepsen,” to which Carly replies #LOVE. They write love letters to her album on the anniversary of its release. In Japan, where Jepsen is especially popular, fans gift her chopsticks with her name engraved on them. The problem is, the rest of the world hasn’t heard her album.

But today, Jepsen released E•MO•TION: Side B, eight songs that are leftovers from the original album. It’s primarily a gift to her fans (me), but it’s also a quiet suggestion from her to the rest of the world. Here’s another chance to get to know me.

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Side B is more than a nostalgic echo of E•MO•TION. This handful of tracks shows that even Jepsen’s cuts are better than most other pop music out there. “First Time,” originally released on an exclusive album for her Japanese fans, is a revivified Madonna workout song; “Higher” sounds like a disco guitar-inspired dance riot. Another previously Japanese-exclusive track, “Fever,” with its huge ‘80s percussion, feels like a power ballad on speed. In the build-up to the chorus, Jepsen declares, “But I’m so damn scared / You don’t even care,” an enormous Carly-esque confession punctuated by the underlying drums. (It’s also reminiscent of Hercules’s “I Can Go the Distance,” an appropriate parallel to Jepsen’s sentimental, semi-corny style.)