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Talkhouse

U.S. Girls is Meg Remy’s musical moniker. The Toronto-based multidisciplinary artist&#8217;s music traces a circuitous evolution. It encompasses unconventional, challenging sound work as prominently as her vocally-driven explorations of American pop mores (often on the same album). Since 2007, Remy has toured several times in Europe, Eastern Canada and the United States. She accompanies her hugely distinctive voice with innovative set-ups, including combinations of reel-to-reel players, tape decks, and samplers, as well as occasionally singing with a full band. Remy has released a clutch of original records on labels as diverse as Siltbreeze, Kraak, FatCat and her own Calico Corp. imprint.
Her latest album Heavy Light was released in March 2020 via 4AD.

U.S. Girls

Music

The Way We Get By: Meg Remy (U.S. Girls) Actually Doesn’t Feel That Uncomfortable Right Now

Glassio is the Queens, NY-based new wave/dream-pop project from Irish-Iranian songwriter-producer Sam R. His debut album For The Very Last Time will be released summer 2020.

Glassio

The Way We Get By: Glassio Has Been Taking It Easy

Day Wave is the project of Jackson Phillips. His EP Crush is out 4/24 via PIAS Recording.
(Photo Credit: Daniel Topete)

Day Wave

The Way We Get By: Day Wave Has Been Revisiting The Microphones

Zully Adler is the Shorenstein Research Fellow at the San Francisco Museum of Modern Art, where he writes on underground and alternative art in California. 
Adler runs the Goaty Tapes cassette label and its vinyl and book imprint House Rules, which will publish the forthcoming Charlie Nothing: State of the Ding.

Zully Adler

Searching for the Elusive Dingulator

Moaning is a rock band from LA. Their second album, Uneasy Laughter, was released March 2020 via Sup Pop.
(Photo Credit: Michael Schmelling)

Moaning

The Way We Get By: Moaning Is Just Trying to Stay Thankful

Jehnny Beth is a solo artist and the frontwoman of the band Savages. Her latest album, TO LOVE IS TO LIVE, is out May 8.
(Photo Credit: Johnny Hostile)

Jehnny Beth

The Way We Get By: Jehnny Beth Has Been Reading a Million Books At the Same Time

When he co-founded the instrumental band Balmorhea over 10 years ago, Rob Lowe (RG Lowe) had no idea that its introspective instrumental music would be heard by millions of people, or that it would offer the opportunity to travel and perform around the world. After years of success in the world of neo-classical music, Lowe took a sharp turn when a casual conversation with a friend in Marfa, TX planted the idea in his head that he should challenge himself to write a pop album. Having spent years in church choirs and musical theater as a kid in West Texas, he knew he could sing, but would have to teach himself how to write the type of pop songs he was interested in creating. This eventually manifested in his 2017 debut, Slow Time, which Stereogum called &ldquo;impossibly smooth.&rdquo; Three years later, Lowe is returning with his sophomore album, Life of the Body, out May 22 via Western Vinyl.&nbsp;
(Photo Credit: Claire Cottrell)

RG Lowe

RG Lowe and Jess Williamson Talk Releasing Albums in the Midst of a Pandemic

Steve Sladkowski is the guitarist from the Toronto punk band PUP. When he isn&#8217;t on the road or rehearsing, you can usually find him crate-digging in record stores, yelling at basketball games on TV, reading about current events, or trying out new slow-cooker recipes. He once considered becoming an ethnomusicologist, but decided to play in bands instead because he knew he&#8217;d be broke either way.

Steve Sladkowski

The Way We Get By: PUP’s Steve Sladkowski Is Trying to be Patient With Himself

Since 1998, the Pickathon has brought together an intimate audience and some incredible performers to a farm outside of Portland, Oregon. 2020&#8217;s festival will take place July 30 through August 2.

Pickathon

Pickathon Presents: The Mellows

Grounded in a tightly knit friendship and an intuitive musical bond, Lightning Bug’s music, an enveloping mix of rapturous shoegaze, longing balladry, and ambient soundscapes, sits at the center point of a creative exchange among songwriter Audrey Kang, multi-instrumentalist Kevin Copeland, and producer Logan Miley. Despite a knack for sonic eclecticism, each Lightning Bug record holds a magnetic sense of cohesion. Lyrically, the songs document Audrey navigating a relationship with her own humanity, memories fraught with joy and pain, and the constant cycle of tension and release necessary in developing self-trust. Lightning Bug’s music is then the manifestation of dialogues: a musical dialogue amongst members of a sacred creative partnership and an internal one as Audrey plumbs the depths of her own foundation.
Last year’s October Song (released via Marbled Arm) marked Lightning Bug’s second full-length offering, the follow up to the largely anonymous release of their self-titled debut Floaters. Earning an 8.0 from Pitchfork and a spot on NME’s best debut albums of 2015 respectively, Lightning Bug have emerged as one of the musical underground’s most fertile sources for textured world-building and soaring catharsis. Lightning Bug have now announced Fat Possum as their new label home and are now recording the follow up to October Song with new members Vincent Puleo and Dane Hagen.
(Photo Credit: Luke Clerkin)

Lightning Bug

The Way We Get By: Lightning Bug’s Audrey Kang Found Pina Universally Moving

<div>As Ramona Lisa, Caroline Polachek released the album Arcadia in April.  She is also the singer-keyboardist of Chairlift.  You can follow her on Twitter <a href="https://twitter.com/carolineplz" target="_blank">here</a> and the Ramona Lisa website is <a href="http://www.theramonalisa.com" target="_blank">here</a>.</div>
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Caroline Polachek

The Way We Get By: Caroline Rose Wants to Be a Source of Comfort For You

CMON is Josh da Costa and Jamen Whitelock, a duo that met in New York where they created the band Regal Degal in 2009. Now based in Los Angeles, they’ve continued their musical partnership recording and performing as CMON. The debut album Confusing Mix Of Nations sprang from time spent combing through old demos and retooling them into spaced-out dance music featuring twangy guitar riffs, analog drum machines, and lush synth textures. Uninhibited by the limitations of a typical rock band, CMON embraces technology to construct a hybrid sound inspired by the past, present, and future. CMON’s music is built for heady crate-diggers and cutting-edge partygoers, perfect for both headphones and the club.
(Photo Credit: Kathryn Vetter Miller)

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