The track is an electronic-tinged pop number with a driving beat that exudes plenty of confidence in its lyrics. DeTiger and Biig Piig – real name Jess Smyth – wrote the song with producer Oscar Scheller and Rex Detiger.
The accompanying video, directed by Jeremy Reynoso, sees the pair navigating the course at a go-kart track, with glitchy visuals matching the song’s tone.
“‘Crash Course’ is collection of New York sounds spun around and spit out onto an L.A. racetrack,” Blu DeTiger said of the track. “It’s dirty bass, high energy, fun. We had the best time making this and I think that comes through when you listen to it. I’ve been a big fan of Biig Piig for a while, she has a really unique voice and sound. It was really cool to collaborate with her on this.”
Biig Piig added: “Making the track in L.A. with Blu, Rex and Oscar was so fun, it all flowed so great in the studio and the drums and bass line just set me off – I feel like we tapped into this divine feminine energy, and when the lyrics and melodies came I pictured us driving fast down a highway, GTA style blaring the speakers.”
Reviewing Blu DeTiger’s ‘How Did We Get Here?’ EP last year, NME wrote: “‘How Did We Get Here?’ feels so endlessly endearing. By unloading a bruising passion for the bass into every hook, DeTiger has crafted a current, cool and vibrant project that is sure to accelerate her dizzying rise to fame.”
Since its release, she’s played on Bleachers’ earworm ‘Stop Making This Hurt’ (before later joining the Jack Antonoff-led band for a rendition of the track on Saturday Night Live), appeared in the documentary film Olivia Rodrigo: Driving Home 2 U (A Sour Film), and collaborated with Canadian funk-duo Chromeo.
Speaking to NME last month about her upcoming collaboration with Biig Piig, she said: “[Biig Piig]’s just such a nice person, such a kind soul. We actually made a few different songs, and the one that we finished just had something that I really liked about it.”
Meanwhile, Biig Piig’s ‘The Sky Is Bleeding’ EP was released last May and received a positive four star review from NME. The review praised her intimacy and reinvention, labelling the EP as “Smyth’s most diverse and assertive collection yet”.