Was there a reason Julian Casablancas was your first choice? A lot of it is “I miss you” or “You hurt me” or “I want you,” but not “I don’t want to fall in love with you because you’ll die one day.” You don’t really hear those songs. I’m often trying to work in pop forms and I feel that existential subject matter is missing in a lot of music, particularly music about love. The song has a bit of a spin on it in a romantic sense. Whether it’s a piece of art or a child, all things die. I related to that, but really what I related to is … making anything is futile. I think a lot of people read into that like “Don’t go too close to the sun,” “Don’t strive too much.” I heard something recently, where Stanley Kubrick said he thought this myth was really an example of “Make better wings.” Most people, I think, are familiar with Daedalus - maybe not even his name, but that he’s Icarus’ father who invented the wings. Daedalus came up with tying a little string on it and you would put honey on one side and it would entice it through. In order to find Daedalus, this king sends out a messenger and tells him, “Scour the lands and present people with this problem and the person who can solve it will be Daedalus.” The problem is how to get an ant to crawl through one side of a shell to the other. When I was writing it, I was reading a lot of Greek myth and I was drawn to this particular story about Daedalus. That didn’t happen either - someone got my hopes very up. Then there was a brief moment where it was going to maybe be a duet with Donald Fagen. I really wanted to do a duet with Julian Casablancas, which obviously didn’t happen. I was initially writing it in my mind as a duet. As they say, “It slaps.” An instant “Oh, shit.” Thematically, the song’s really all over the place. MEG REMY: Because of how it sounds, how it starts. You said that this song is about the act of creation? Tell me why this one kicks off the album. Now that you can hear the album for yourself, read our breakdown of each track on Bless This Mess. It’s music that’s just straight-up fun to listen to, but it also pieces through all kinds of complex imageries and life experiences, from Greek mythology to Remy’s changing relationship with her body and voice during her pregnancy. The resulting album is one of Remy’s finest works, transfixing and often exhilarating. Instead, Bless This Mess was pieced together remotely, with various collaborators, during pandemic years in which Remy became pregnant and gave birth to twins. The album was made entirely differently than its predecessor, which was recorded with a live band in studio in the span of a week. Funk, synth-pop, disco, tinges of arena rock and dream-pop - it’s all in there somewhere. Girls, and Bless This Mess goes in a lot of directions. Of course, the story is never simple with U.S. It was easy to imagine all the grooves and soul of In A Poem Unlimited and Heavy Light now recalibrated in Remy’s latest deconstruction, her aim on pure dance release. All the pop influences Remy toyed with were in full bloom here. Girls dropped the single “So Typically Now” way back in July of last year, it was clear Meg Remy’s next outing would continue the wild ride kicked off when the project signed to 4AD in the middle of the ’10s.
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