Meg Remy's U.S. Girls continues to be thrilling and profound on her collaborative eighth album, focusing on self reflection through childhood and emerging adulthood.
Of all the new music that's been thrown around, the world of Meg Remy has been the most interesting venture to me over the past couple of years. Her notable musical project, U.S. Girls, started out as being a stark and boldly experimental solo experience during the late 2000's. Over recent years, that has quickly changed into a much more collaborative one with more details, textures, and layers. Remy's work has become more and more accessible, while still retaining her bite and experimental edge on recent records like Half Free and In a Poem Unlimited. Her last record, Poem, is my favorite album of 2018 and is one of my favorite pop albums in recent memory. It's a passionately dark record full of different genres and sounds blended into a chaotic dance party full of personality. I have been certainly curious as to where Remy would go next, especially knowing that she keeps getting better and better with each new release.
Heavy Light, Remy's eighth release under the U.S. Girls name, features new surprises throughout. What's noticeably different about Heavy Light is that it's even more collaborative than the last album. There's backing vocalists prominently featured through pretty much the entire album. There are some different genres and styles attempted. There's three updated revisions of older U.S. Girls songs and a structured theme too. Even when listening to Heavy Light for the first time, you get that there's definitely a theme of self reflection on childhood and emerging adulthood. There are interludes scattered throughout the record that ask specific questions to what seem to be the backing vocalists, like what advice you would give to your teenage self or what was the color of your childhood bedroom. It's interesting hearing what each member has to say and shows the vulnerability that people seem to be facing with their younger self.
The start of the record definitely kicks off with back to back bangers: "4 American Dollars" and "Overtime." These two singles are two of the album's best tracks right out of the gate. They each have the chaotic frenzy and vintage disco flare that make U.S. Girls singles so great. I enjoy the first more than the second track, but "Overtime" is nonetheless a highlight within the album. "And Yet It Moves / Y Se Mueve" is a surprising standout for me. Remy decides to go for a bit of Spanish dance pop with flirty synths and a hooky groove which ends up going really well. What has definitely been noticeable about this record is really the lack of bangers. Compared to the nonstop flow of Poem, there's really only a handful of them on here, all of them really being the ones I previously mentioned. There are a lot more ballads in contrast, with each one being very atmospheric and dreamlike. "Denise, Don't Wait" is a gem that really focuses on the powerful vocal performances from Remy and her backing group with some pretty xylophones sprinkled in the background. "State's House (It's a Man's World)" is striking with its skeletal beat and uplifting vocals that chill your spine.
Tracks like "IOU" and "Woodstock '99" are very pretty to hear, but the very straightforward and simple piano balladry make them the least interesting moments on the entire album. Some of the other ballads add a little more spice to the mix, wether it's the colorful backing vocals on "Born to Lose" or the 70's cinematic progressive pop inspiration behind the ethereal "The Quiver to the Bomb." I'm still torn on the decision to close the album out with "Red Ford Radio." This new revision adds more and it's still an old favorite of mine, but it feels sudden and derivative once it ends. It doesn't really feel like the door is completely shut all the way. I feel like the album's very scattered flow really loses steam and excitement for me once we get towards the second half of the record, especially after "And Yet It Moves." I still find myself to be enjoying the majority of Heavy Light, despite my feelings toward the lack of bangers, the simple piano ballads, and its overall janky flow. It's certainly a different experience and breath from Poem or Half Free and I'm liking the different change of pace from Remy and friends. I really appreciate the added vocalists, revisions of past songs, and focus put into the theme on this album. Meg Remy is still one of the most profound artists and listening to new U.S. Girls music continues to be thrilling and powerful.
My Rating: 7 / 10
Favorite Songs: "4 American Dollars," "And Yet It Moves / Y Se Mueve," "State House (It's a Man's World)," "Denise, Don't Wait"
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