U.S. Girls is the project of musician/sound artist Meghan Remy, who lives in a space tethered to two distinct musical worlds: pop and experimental. The pull of each is equal in strength, and this—her third full-length—strips away a layer of extraneous noise. This makes her uneasy truce with pop music all the more exposed and vulnerable, creating a fresh flavor of weird. Remy’s cover of the '80s radio hit “The Boy Is Mine” is an unnerving bit of ear candy. Her ghostly vocals hover above a truly odd (and oddly beautiful) cacophony of muted electronic oscillations and unidentifiable, flute-like gurgles and gasps; those sounds lurch and roil over a rumbling bed of distorted noise. It stays with you, as any good pop song should, thanks in part to her warped take on girl-group singing; it’s close enough to honey to stick. Listen to the eerily catchy “Island Song” back-to-back with “The Day After 4th July” or the even more mesmerizing soundscape “Iran Then, Iraqognized Her” (there’s no explaining this silly pun). You’ll then get the essence of U.S. Girls—which is intriguing, indeed.