Meg Remy's work in U.S. Girls is a product of constant revolution both spiritually and practically, her unceasing experimentation with genre, instrumentation, and line-ups themselves unceasing.
At Kazoo! Fest, Guelph got a glimpse of the next stage of that metamorphosis, taking in U.S. Girls as a freshly expanded, eight-piece unit, augmented and invigorated with the galactic jolt of Toronto fusion ensemble the Cosmic Range (or at least the version of the group that recorded 2016's New Latitudes). It's a maximalist, dedicated growth out of Remy's longstanding preference for flexibility and DIY experimentation (the new act features a dedicated sax player, as well as duelling guitars and percussion), but one that builds naturally on U.S. Girls' repeat incorporation of disco, reggae and outside jazz influences.
Delivering a 45-minute set comprised almost entirely of these new psychedelic pop mutations (we did get a minor makeover of Half Free harbinger "Sororal Feelings" and a cover of Fiver's "Rage of Plastics" in there, though), it all came to a head in a final, frantic piece that culminated in a pummelling, skronk-blasted fit that had Remy bringing it home with a rat-a-tat of non-verbal vocalizations. Still weird, still wicked.
At Kazoo! Fest, Guelph got a glimpse of the next stage of that metamorphosis, taking in U.S. Girls as a freshly expanded, eight-piece unit, augmented and invigorated with the galactic jolt of Toronto fusion ensemble the Cosmic Range (or at least the version of the group that recorded 2016's New Latitudes). It's a maximalist, dedicated growth out of Remy's longstanding preference for flexibility and DIY experimentation (the new act features a dedicated sax player, as well as duelling guitars and percussion), but one that builds naturally on U.S. Girls' repeat incorporation of disco, reggae and outside jazz influences.
Delivering a 45-minute set comprised almost entirely of these new psychedelic pop mutations (we did get a minor makeover of Half Free harbinger "Sororal Feelings" and a cover of Fiver's "Rage of Plastics" in there, though), it all came to a head in a final, frantic piece that culminated in a pummelling, skronk-blasted fit that had Remy bringing it home with a rat-a-tat of non-verbal vocalizations. Still weird, still wicked.
