Jeremih – Late Nights: Europe

by Anu Gulati (Computer Science/Math), published August 3rd 2016

Moldy | Stale | Edible | Fresh | Tasty!

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Following his trend of starting all recent record names with “Late Nights,” Jeremih dropped DatPiff exclusive Late Nights: Europe on an unsuspecting,  unsensual Wednesday night. After touring Europe for the last 30 days, Jeremih posted the mixtape as “not only a gift to myself, but to my fans,” as if he couldn’t get more charming.

Fourth-quarter 2015 Late Nights: The Album has thrusted past it’s expected end-of-the-year neglect, with songs like “Oui” and “Don’t Tell Em” still facing endless replay all summer on radio stations nationwide. Late Nights: The Album is glittered with clean hi-hats and falsettos imbued with a deep purple steaminess even Miguel couldn’t achieve. The Album was so highly consistent, cloaking itself in a sheen of seduction for it’s entirety and tying itself up with an ending so life-affirming and bright as “Paradise.” In a genre full of people gravely waiting for a new Frank Ocean LP, Jeremih’s Late Nights: The Album was a relieving, low-key Netflix-and-Chill session that keeps on giving.

With Late Nights: Europe masking a similar musk as The Album, Jeremih postcards an entire continent through images of British headboards and legs open like the Eiffel tower. Opener “Dubai” (which is not in Europe, but let’s just not tell Jeremih that) features a surprise Wiz Khalifa verse that crushes J. Cole’s trainwreck verse on The Album’s opener “Planez,” and Europe already holds more promise than The Album initially did. “I came to fuck this shit up,” Jeremih immediately proclaims, but it’s not the same kind of threatening the way Quavo or Travis Scott echoing the same phrase would be. Jeremih’s low growl instead invokes a whisper made before walking into the club with bands ready to be tossed and spent on multiple rounds of Patron shots.

He proves he’s not all gentle foreplay, as bangers like “Belgium (Get Down)” and “Lebanon” have bass so convulsing and twerk-worthy that their club presence over the next few months is inevitable. The record’s best joint “Paris (Who Taught You)” once again features Ty Dolla $ign, as the two bring out the virility in each other and craft a chill R&B song that engages with a sexily tight grip. An element that also made The Album especially excellent, Late Night: Europe features flawless sequencing as the tracks layer onto each other while never losing sight in having a successful night out. Jeremih embarks into new territories as he dips his toes in dancehall in “London” and employs a voice reminiscent of Swae Lee’s throughout.  It’s rewarding for a mixtape that will most likely be swept and regarded as some growth latched on to The Album’s supreme entity.

Though disorganized at times (as with the French spoken at the end of “Amsterdam” or a strange female voice introducing the tape on track 7), Late Nights: Europe is a gorgeous product that confidently dismisses it’s hiccups with lavish crepes and mimosas. It’s allure is no different from predecessor Late Nights: The Album, in that it doesn’t diminish its quality and sentiment. Jeremih’s love letter to his fans, European or nah, is a gesture with a genuinity not easily found. His music lacks all sense of urgency or demand, but stays around a while in a friendly and inviting way, with smooth melodies that float in and out of your headspace. Jeremih’s earnest passport of a mixtape docking on a present world state of political party corruption and police officer shootings is a blessing that shouldn’t be taken for granted. It’s nice to take a vacation from it all sometimes.

 

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