I totally have favourite artists. My punk rock adolescence heroes taught me that having heroes is unpunk. Yet I cannot help but admire those that create art and music that touches me. And frankly, I don't see anything wrong with it either. Ever since I saw Megan Remy perform under her stage name of U.S. Girls at Madame Claude back in 2010, I have been an admirer and avid follower of her career. Ms Remy touches me because she is a serious sound artist but she is also very female. She never gave the impression of having to compete with men in the male-dominated genre of experimental music. Instead, she would look like the college girl next door and do her thing. And move people along the way. Then, earlier this year, she signed to Fat Cat Records and brought out a pop album. There is no other way to describe it. It has got that distinct U.S. Girls sound of dreamy, echoey vocals, of tape-looped sound samples and of superb songwriting. But her sound has become that little bit more digestible for a mass market, if the market listened up. This not only intrigued me - who would have thought she had that much pop in her - but it also made me love her as an artist that little bit more. I appreciate a good pop record and part of me wants my favourite artists to do well - something a lot easier achieved when writing music that not only nerds will listen to.
I don't need another incentive to go to Monarch this Friday, really, I am excited enough as it is. But that ain't enough for Megan Remy, oh no. She has just released this self-directed video for "Slim Baby". Oh baby, oh yum!
It's so great when this happens: I highly anticipate an event, the tension builds as the gig draws near and then Bang! all my expectations are met.
When I arrived just before 11pm the live music room at Madame Claude was so packed that I couldn't fit in. And this was just the opening band. If I recall correctly, they were Swiss, used video projections as a backdrop and played experimental ambient music produced with an array of tape cassettes.
By the time I had managed to secure a space in the room, U.S. Girls was setting up her equipment and the audience was either sipping beer or sharing joints with strangers. A guy sat next to me remarked that he could feel the excitement before the gig. I agreed.
U.S. Girls' set started rather mellow, with some background singers hiding under the table, but the rhythm picked up with every song. The half seated audience was really getting into the beats while at the same time you could see awe on people's faces at the sounds this single woman was procuding with what appeared very little equipment. The songs were also a lot more danceable than I had expected. Most of all, the "stage" presence and aura that U.S. Girls conveys really hit me. She seems to be one with the audience without actually interacting with individuals.
At a different venue, this may have also turned into a fine dance event. As it was, everybody was either swaying along on stools or standing in the jam packed back of the room. Kreuzberg's cellar venue that is Madame Claude has the right ambience for U.S. Girls but it's a shame that a lot of folk didn't fit in the room to see the band and that those who were inside could hardly move.
Overall, this performance was one of the best Berlin has seen this year and I will treasure the moment for a while to come.
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Then, earlier this year, she signed to Fat Cat Records and brought out a pop album. There is no other way to describe it. It has got that distinct U.S. Girls sound of dreamy, echoey vocals, of tape-looped sound samples and of superb songwriting. But her sound has become that little bit more digestible for a mass market, if the market listened up. This not only intrigued me - who would have thought she had that much pop in her - but it also made me love her as an artist that little bit more. I appreciate a good pop record and part of me wants my favourite artists to do well - something a lot easier achieved when writing music that not only nerds will listen to.
