Centre

The trajectory of transformation achieved by Meg Remy under her U.S. Girls banner is as sweeping as it is singular, unrivalled by nearly any North American artist of the past two decades. From crusty, crouch-core basement floors in Philadelphia and Chicago, crooning through delay pedals over grainy loops, to touring the planet as front woman for an explosive eight-piece art-soul orchestra, her vision and craft have honed ceaselessly over the project’s 15-year existence. Remy’s latest creation expands the palette even further, fusing the muses of funk, motherhood, Greek myth, slow jams, and the radical disorientation of joy into an electric tapestry of anthems, aches, and awakenings: Bless This Mess.

As a platform and persona, U.S. Girls operates on a uniquely out-of-time wavelength, alternately wronged and rueful, classic but contemporary, bruised vignettes of poetic Americana through a feminist lens. Bless This Mess marks both a divergence from and deepening of Remy’s songbook, more at peace with her restless truths and moods. Long-time collaborator (as well as vocal engineer, multi-instrumentalist, husband, and co-parent) Maximilian Turnbull plays a key role facilitating these fluid muses. As artists and partners their rapport at this point is thoroughly symbiotic, able to tap into subtle veins of humour and heaviness, rhythm, and reverie. Remy speaks of seeking to accept and celebrate mystery and the unknown as an underlying emotional goal for the album, which feels distinctly achieved.

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