Mad lo-fi scientist Meg Remy returns to Philly with the U.S. Girls army

When we put Meg Remy on the cover of City Paper back in 2010, it was kind of a curious move. The Roots and Kurt Vile and various Espers have graced page one plenty, but Remy was different. Under the name U.S. Girls, the solo artist/mad-noise scientist was known for dissonant, spooky, lo-fi musical creations that involved a lot of knob twirling and effects-tweaking. Like a lot of acts on Philly’s esteemed Siltbreeze label, she was making strange and wonderful sounds that the world in general probably wasn’t going to get.

But still, we had a feeling about her. Maybe it was those soul-vocal snippets that sometimes rose up out of the static, or maybe it was the way pretty pop hooks revealed themselves after repeat listens, especially on her second full-length, Go Grey. Whatever it was, we put her on the cover and we never regretted it. And it’s been great watching Remy grow as a musician and a filmmaker — she’s directed videos for The Grange, and IceCream, as well as her own stuff — even though she left town to do it.

I caught up with Remy, who currently lives in Toronto, via email in anticipation of her triumphant return to Philly, playing here for the first time with a full band. Her sound these days is cleaner, and a touch more accessible, but no less daring. She’s still making crazy music, but maybe the world will meet her halfway.

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City Paper: What do you sound like with a six-piece band?

Meg Remy: We have invented a new form of music. It doesn’t have a name yet (waiting for some journalist to pen something). We are transcribing samples, tape loops and those strange old compositions of mine into live band songs. So that means mimicking jump cuts and strangely timed melodies and all that. It makes for a listening that feels nostalgic but foreign all the same. The setup is bass, guitar, organ/synth, drums and vocals. Traditional rock ’n’ roll setup spinning some bizarre-ass web.

CP: How does it feel going from a solo artist with a table full of gadgets to a frontwoman?

MR: It is completely freeing. I have been cut loose to stalk the stage, make eye contact with others and lift my head high for proper singing projection. It makes me feel strong to have people on stage and in the studio with me who are invested in making the songs sound as good as they can. We settle for nothing less than perfection. I always wanted a band or at least for my songs to sound bigger, and I have finally achieved this. 

CP: Do you still use the gadgets?

MR: Oh yes, I still play solo sets with all the tapes and knobs. Those will never go into permanent retirement. I would never want to get too comfortable with any one setup. In the past year, U.S. Girls has performed as a solo act, a six-piece band, a seven-piece band, a three-piece plus hand percussion, and a duo. I will try anything and everything. Not to make something stick but just to keep things interesting. 

CP: What’s been going on in your life since that City Paper cover story?

MR: I moved to Toronto in 2010, was married in 2012 and I have discovered the world of video/film art. I recently received a grant to produce a short film and I have been making music videos for lots of freaks. I am hooked.

CP: Is it fair to say City Paper is what rocketed you to superstardom? 

MR: I think that is fair to say. City Paper gifted me a taste of the CoverGirl life and I haven’t looked back since. 

CP: What else should I know?

MR: I have stopped using effects on my vocals. Pure Meg pumpin’ through the speakers now. … And last night I heard this record Trip Thru Hell by C.A. Quintet. Everyone should listen to this album! Whoa.

Mon., Aug. 4, 8 p.m., $10, with IceCream, Bourbon & Branch, 705 N. Second St., 215-238-0660, bourbonandbranchphilly.com.