You’re tempted to call U.S. Girls Lynchian, but [her songs] are singular and personal enough to warrant their own adjective.  Musically, Meg Remy has been described as “an avant-pop deconstructionist”, “a basement R&B diva” or “a cheerleader on quaaludes”. She has, to date, employed a combination of reel-to-reel players, tape decks and samplers to record, and release bleary-eyed late-night music for driving down haunted highways on a number of labels such as Siltbreeze, Kraak, FatCat and her own Calico Corp imprint. Even at its most lo-fi, the largely four-track recordings evince a keen pop ear, even if this is pop from a series of distant eras. In terms of playfulness, texture, adventure and attention to detail, she has been compared to Eno. Seeing her in Barcelona at the Primavera Festival you can feel that she is about to go big. She commands the stage and has a fixating presence. Well. done. More please. Her latest song from her 4AD debut album  Half Free is New Age Killer: