Versions of Modern Performance pinned Horsegirl as promising students of indie rock. Their 2022 full-length debut, recorded while the girls—Nora Cheng, Penelope Lowenstein, and Gigi Reece—were finishing high school, read like a character study. The album nodded to 1980s and 1990s luminaries such as Sonic Youth, My Bloody Valentine, Belle & Sebastian, Pavement, and bands from Australia’s coveted Flying Nun label. Had it been an exam, they passed with flying colors.
After Versions, Horsegirl relocated to New York City. Lowenstein and Cheng attended NYU while the band immersed themselves in the DIY scene. They wrote music outside Lowenstein’s parents’ basement for the first time. In January, Horsegirl returned home to Chicago for two weeks to record their follow-up, Phonetics On and On. With returning musician/producer Cate Le Bon (Deerhunter, Kurt Vile, Wilco), the group met at Wilco‘s studio, the Loft. The heat was off to avoid interference, but Horsegirl bundled up and tracked their sophomore release.
“Where’d You Go?” opens the record with a playful, surfy vibe. Twangy guitar and tom-toms float along as Cheng and Lowenstein’s vocals intertwine. They finish each other’s sentences like only best friends do. The song’s vocable “oohs” (the first of many “oohs”, “aahs”, and “dahs elsewhere”) add a charming lift—this aesthetic balances cheeriness with the otherwise apathetic cool-girl vibe they embody.
“Rock City” has a meandering, laid-back groove, with Lowenstein’s bass carrying the melody reminiscent of Joy Division. Cheng’s guitar playing is creative, ranging from Johnny Marr-esque jangles to moments where it feels like an amateur fishing for notes. She is most impressive in “In Two”. Underneath, the bass slaps in post-punk rhythms similar to Wombo. Later, the violin joins with the pulse. Its throbs are slightly hidden, acting as another auxiliary percussion instrument. The subtle experimentation works nicely with the lethargic essence and the abundance of “oohs”.
“2468”, with its number play, feels like an elementary schoolyard game. The violin becomes more animated, leading the melody, and when the drums kick in, the song turns into a bop. In “Julie”, the guitar playing is particularly daring—some notes intentionally clash with the tonal center, creating a dissonance that is either brilliant or awkwardly out of place. While the move feels inconsistent, and although it’s in the background, it stands out as a bold risk, even if it is a bit distracting. “Switch Over” is a simple number with a repetitive chorus—switch over, switch off—whose aggressively strummed guitar evokes early Modest Mouse.
“Frontrunner” is the outlier. The two vocalists sing in unison, as opposed to against or across each other. Weirdly but pleasant, the acoustic guitar and baritone melody give it an old Western flair. “I Can’t Stand to See You” bookends Phonetics On and On. The song has a Frankie Cosmos playfulness. While here it sounds the most indebted to Cosmos, resemblances occur elsewhere. The album feels much like a young 20-something’s diary—a soundtrack to growing pains. It gives off an impression akin to MTV’s Daria with echoes of Lena Dunham’s film Tiny Furniture.
Phonetics On and On is a natural progression for a second full-length release. It sidesteps the stereotypical “sophomore slump”, often hindered by a contrived attempt to replicate success. The songs are well-crafted, demonstrating a deep understanding of classic indie rock, and the subtle experimentation keeps things fresh and engaging—i.e. violin, Gamelan bells and organ.
Horsegirl have already proven their authenticity; with Phonetics On and On, they move beyond their influences, carving out a distinct identity shaped through time and life experience. The album shows that the students are blossoming, and with confidence, they are beginning to define themselves as more than an imitation act.