Jordan Pedersen wants Jeremih to know how irritating AutoCorrect makes it to type his name.
The increasing miscegenation of the “indie” and “pop” worlds – I use those terms *very* loosely – is a boon to all fans of the musicks. As Zeus alluded to in his review of the crossover event of the year – one that would have been inconceivable just a few years ago – we all benefit from blurred lines.
The crossover of what some derisively refer to as PBR&B and mainstream R&B (Budweiser&B?) is one of the most fruitful collaborations. The xx covering Aaliyah; Inc. aping Maxwell; How to Dress Well remaking R. Kelly and Ready for the World. But it’s where the feedback loop reverses, and those artists being paid tribute start to take notice, that things start to get really interesting.
Case in point: Jeremih not only heard Shlohmo’s subterranean refix of “Fuck U All The Time,” he ended up collaborating with dude.
We’re at the point where it’s hard to tell whether a dark shade club banger like Jeremih’s new single “Ex – To – See” is a crossover move or just an example of what R&B sounds like now. In fact, the first few times I listened to it, I was convinced Shlohmo himself was on the boards (it actually is KB). Subsequent listens reveal it as a slightly bowdlerized take on Shlohmo’s no-light-escapes codeine drip, but the influence is clear.
Jeremih may not have revealed himself as a truly great artist, but he is emerging as guy with impeccable taste. His still-great Late Nights with Jeremih is nothing if not an assemblage of great sounds, even if Mih himself sometimes seems like a supporting player in his own story.
For better or worse, he’s closer to the front on this one, and though he still doesn’t have a ton to say – the “ex to see”/ecstasy metaphor never really clicks – I’m always in favor of mainstream R&B getting weirder. In any event, it means borders are increasingly meaningless. And that’s always good.