Meg Remy’s deliberate silence early in the U.S. Girls set at Union Stage Sunday night let you know that though she was having fun; she wasn’t fucking around. Remy is U.S. Girls, who are currently touring their sixth record, In a Poem Unlimited. Center stage, silent and dressed in all black, Remy stared back at anyone making a sound.
Side note, Ian Svenonious’ solo act, Escape-ism, opened for U.S. Girls. I first heard about Svenonious and Escape-ism in talking with Eric Hilton of Thievery Corporation, (see here). Hilton was talking about bands he loves to see around town and Svenonious was the first thing to come to mind:
“Anything Ian Svenonious does, I love. I just saw Escape-ism at DC9, and I just thought it was brilliant. It’s very esoteric, like a lot of his things are, but it’s awesome.”
He was right. Escape-ism was odd, very 60s performance art, but great. Check out his DC special, “Exorcist Stairs.”
Remy called for this silence after the third or fourth song of the set, (or willed rather, because she didn’t say a thing), before she started singing “Rosebud.” The title is a reference to Citizen Kane, but I like to call it “Finch Song” because of the music video, which shows her partner, Slim Twig, setting free a booty-shaking finch.
Slim Twig and his band, The Cosmic Range, actually joined Remy for the tour, as well as being a background vocalist. The Cosmic Range is a free jazz group based in Toronto, but they were a perfect fit for Remy’s disco-inflected songs. They were also able to play “off-record,” (i.e. not according to the studio recording) to flex Remy’s experimental chops.
Their look lent itself to the more surreal U.S. Girls songs. Alongside Remy and her background singer’s chic black, they looked positively Lynch-ian. The saxophonist played a comically small curved sopranino sax and the keyboard player wore all red, red slacks and red button down, though no tie; he also tended to dance like he was slapping a horse.
The drummer and Slim Twig looked very much the part of “band members.” Slim even looked like he belonged in a group who takes their coffee intravenously. Either way they were sexy; Slim was the ‘sexy garbage’ to the drummer’s ‘sexy hipster.’
Remy’s silence was a recurring note throughout the night. She refused to allow songs to die à la Frankie Cosmos, which is to say slowly and with a whimper, and instead pushed for an end with free jazz flurries, followed by stillness. Again, The Cosmic Range hookup makes sense.
The songs are long and groove. Remy has routinely experimented with countless genres over the years for U.S. Girls. For In a Poem Unlimited, she dived deep into disco and other early dance music. Lyrically and tonally they’re on another level. Her songs tend to channel the anger of wronged women.
For example, “The Pearly Gates” imagines a woman on her way to heaven who realizes the only way in is through Peter, and Peter is a fucking monster. The song asks if heaven is safe if it’s run by men, and if Remy’s stories were only intelligible to the studied listener, she left no room for ambiguity on her position when she paused the set another time; she played a sample of someone saying “I strongly encourage you not to tell women what to do.”
She let the sample run several times, nodding toward the audience, before moving to the next.
As the show went on, the performance became more unhinged. If the first several songs were christian baby making music, then the latter were more chimera-child making music. The groove moved to a sort of slink, and you almost felt as if the band had forgotten the audience. Remy, her background vocalist and the keyboardist were dancing around one another, and you felt they might tear each other’s clothes off. But if they were to fuck, the rest of the band would probably only stare glassy-eyed.
For the encore, only Remy came back onstage. She told the audience “there are no encores in life” and dropped the microphone. For more on U.S. Girls follow them on Twitter, and for more on Remy, check out her Instagram. Find In a Poem Unlimited wherever you get your music.