By Gareth Watkins
U.S Girls, plural, is Meghan Remy, singular, a former 4-track tape manipulator who, like so many in the avant-garde (Cold Cave and John Maus for instance) discovered that the mainstream is infinitely weirder than anything happening in art school basements.
If you were into the musique-concrete freakery on Remy’s 2008 album Introducing or the dredged-up-from-the-bijou witch-blues of 2010’s Go Grey then you won’t be in to this. If, on the other hand, you got into her post 2011 work, which includes the greatest cover of Brandy and Monica’s “The Boy is Mine” that you’ll ever hear, then this is might just be her best album to date.
On the album’s fourth track, “Window Shades,” she’s doing Miami Vice coupled with Hall and Oates ‘80s synth-soul, but with her requisite, exquisite reverbed saxophone. One track later she’s Marc Bolan of T-Rex, glammed to the gills and freaking out on a Staxx amplifier. On the track after that, “Red Comes in Many Shades” she’s vamping like Lana Del Rey. Trying to figure out the next twist, attempting to establish some kind of thematic consistently may be grating for some and glorious for others, but neither party will forget it.Half Free, U.S Girls