Perhaps Meg Rey's crowning achievement...
24 · 06 · 2025
Listening to any of Meg Remy’s U.S. Girls albums from the last decade reveals a mind bursting—almost overflowing—with innovative concepts and genre-blending ideas.
From the jarring industrial psych-rock of ‘Half Free’ to the politically charged, wild funk tracks of ‘In A Poem Unlimited,’ the existential avant-pop of ‘Heavy Light,’ and the Parisian disco alongside polished ‘80s electro elements in ‘Bless This Mess,’ Remy’s music transcends typical classification. Her ninth LP, ‘Scratch It,’ draws from a more focused tonal spectrum, yet in doing so, it may prove to be the most satisfyingly cohesive collection of her career. This time, the Toronto-based artist has zeroed in on soul, country, folk, and ‘60s psychedelia with remarkable precision. What’s more, she made the choice to record directly to tape with a carefully selected group of musicians and, comparatively, a limited array of instruments over just 10 days. The result is yet another meticulously crafted, often dazzling achievement.
It’s hard to discuss ‘Scratch It’ without examining the monumental 12-minute track, ‘Bookends.’ This piece serves both as a tribute to Remy’s deceased friend, Riley Gale—lead vocalist of the Dallas thrash metal band Power Trip—and as a reflection inspired by John Carey’s remarkable book, Eyewitness To History. The song embarks on a journey that starts with a delicate motif of chilly, twinkling keys, traversing the lines between life and death before dissolving into a surreal whirl of carnivalesque psychedelia. That Remy continues to offer such astonishing moments of brilliance is truly commendable—especially given the extensive breadth of her discography. The only drawback is that the subsequent gentle minimalism of ‘Emptying The Jimador’—though achingly beautiful—unavoidably feels like a letdown in contrast.
The inclusion of two relatively obscure yet captivating covers adds an interesting dimension. The first is Alex Lukashevsky’s ‘Firefly On The 4th Of July,’ which might be the most upbeat song about nuclear destruction you’ll encounter this year. Meanwhile, the guttural organ sounds and thoughtful bursts of harmonica elevate Micah Blue Smaldone’s ‘The Clearing’ into something enchantingly mystical and unexpectedly thrilling. Beyond the covers, the original tracks keep the same adventurous spirit. ‘Walking Song’ throws the listener off balance as its lush mid-tempo groove, clipped guitars, and sultry bass are abruptly interrupted midway, as spiraling organ notes cue a shift to a delightfully playful ‘70s rock-inspired waltz.
In many respects, Remy’s career can be seen as a two-decade-long experiment with rhythm and groove, making it fitting that ‘Like James Said’—a homage to James Brown that celebrates the essence of dance—opens the album. Glorious and joyous, her lyrics frame a simple act as an expression of artistic defiance: “No offence, just wanna dance by myself / It’s a solo thing / I’m the queen of exorcising pain / This choreography is only for me.” Notably, this is the sole moment when her band steps outside the album’s otherwise strict musical framework of guitar, bass, drums, harmonica, and keys—featuring a fittingly soulful string arrangement by Jo Schornikow.
Despite years of consistent brilliance, Meg Remy’s work has never fully received the recognition it deserves, and there’s a sense that part of her relishes the role of the perennial underdog. It’s unfortunate, though, as her latest LP highlights an artist joyfully scaling impressive, awe-inspiring heights, supported by impeccable musicianship, intricate production, and fantastic songs. Given the vast territory she has already covered, where does she go next? Perhaps that doesn’t matter. When the results are this remarkable, who truly cares? We’ll be along for the ride. As ‘Scratch It’ concludes with the squelchy, ecstatic, and infectious funk of ‘No Fruit,’ one can only wonder if there has ever been a more complete or concise U.S. Girls record.
9/10
Words: Luke Winstanley
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If you listen to any of Meg Remy’s U.S. Girls albums from the last ten years, you’ll find a mind teeming with ideas and almost overflowing.