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U.S. Girls

There’s something wilfully defiant about lo-fi; the dishevelled vocals,
the amp crackles and dead space, the hiss of a sonic two finger salute.

It’s often done with an angry insolence, revelling in the noise
and discordance of the budget racket it creates, but sometimes it
can be oddly beautiful in its determined imperfections.

It’s a sound Meghan Remy has resolutely battled with since her ‘Introducing’ debut – her abrasive, alternative take on pop typically moves slow,

forcing you to sift through the distortion and swim through the
fuzz and feedback of the electronic tipping points.

But this abstraction gives ‘GEM’ its theatre as Meghan rattles her chains on ‘Rosemary’, makes

‘Down in the Boondocks’ the crazed play-date it always should be, and gives ‘Slim Baby’ Girls its sleazy,

glam-rock scuzz. Let this one seduce, and you’ll be (un) pleasantly surprised.

“New York’s obviously a huge city and there are a lot of bands who can co-exist without really Girls being aware of each other, and I’m friends with a lot of those bands now,

but friends in the way that you meet other bands touring in other cities. It wasn’t like the same building or the same rehearsals or anything. It’s
a question people ask and I always wish I had a better answer.”

Five years of toughing it out in New York, battling against the label rejection and resolutely working to perfect and finesse the Interpol dynamic ultimately paid off.

After being turned down by “every record label in the world”, including Matador, who they eventually signed with, despite the struggle,

Kessler clearly holds that period in fond regard. “They’re incredible memories,” he reminisces.

“We spent five years being rejected by every record label around and struggling to play gigs in New York City.

It’s expensive to get by and most bands don’t make it that long in New York because people’s

attention spans are pulled every which way, and it takes a lot of work to stay together

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