Horsegirl’s ‘Phonetics On And On’: A Young Band Embracing Innocence and Minimalism

“My parents used to send me links to every bit of press we got,” vocalist/bassist Penelope Lowenstein tells us. “I had to be like, ‘It’s really sweet that you guys are excited about this, but I don’t read this, and I would love it if you didn’t send it to me, actually.’ Then something big will happen, and they’ll be like, ‘I know we’re not supposed to say anything about press, but…'”

Upcoming Release and Band Dynamics

Something big is about to happen to Horsegirl. They will soon release their sophomore album, Phonetics On And On, this Friday. Recorded with indie-pop experimentalist Cate Le Bon at the storied Loft studio in Chicago, it’s also their second release for the legendary indie label Matador. However, the accomplished members of Horsegirl can’t stay out late tonight: Lowenstein and co-vocalist/guitarist Nora Cheng, both English majors at NYU, have class in the morning. Afterwards, they’re flying to Los Angeles with drummer Gigi Reece to play a show.

The Evolution of a Band

When Horsegirl broke out in 2022 with their debut LP Versions Of Modern Performance, most press contextualized their ’90s-inspired indie rock at odds with their young age; Lowenstein was still in high school at the time. Modern Performance drew comparisons to Stephen Malkmus’ lackadaisical melodies and Kevin Shields’ screeching guitar lines, contrasted with Lowenstein and Cheng’s girlish vocals.

Girlhood, as Horsegirl explains during a dinner conversation in Williamsburg, was a big reference point for Phonetics On And On. It was a source of comfort at the time for the band, who each moved from their Chicago hometown to New York in between albums. Phonetics‘ lead single “2468” strips away the noise down to the building blocks of indie rock, layering playground chants over pared-down guitar, bass, drums, and a crooning violin. It’s decidedly a more minimal approach, but their hooks, cheeky humor, and knack for composition haven’t waned.

Cate Le Bon’s Influence

Horsegirl worked with Le Bon on Matador’s recommendation; immediately upon getting acquainted with her, the band felt a strong sense of connection and trust. “All it took was meeting her for the first time to realize she’s, like, kind of one of us,” Lowenstein says with a smile. “I feel like she saw us the way we wanted to be seen. And considering how much we’ve admired her, her kind of weirdo approval meant a lot to us.”

Children’s Recitals as Inspiration

LOWENSTEIN:

We had an image in mind of, like, a janky auditorium: the kid band shows up, no one has a pedal board, the guitar just goes straight into the amp. Talent show vibes with only the gear that the school has. That image was an aesthetic we wanted to channel.

REECE:

As young adults who became friends when we were teenagers, we talked about girlhood a lot while making this record together. I think a childhood recital taps into those feelings of it being really playful and scrappy, and it doesn’t really sound right, but you’re just happy to be doing it.

The dichotomy of recitals provided a foundation for Phonetics On And On. The excitement is high, yet stakes are low, making it an ideal backdrop for crafting a minimal but compelling album.

Exiting a Juvenile Stage

REECE:

I feel like we exited a juvenile stage that we were in. But we reflect on that time with a lot of happiness, and it’s very sentimental.

LOWENSTEIN:

This record is totally different from the teenage vibe of the first record. This is more about the joy of kids’ art, and that innocence that can be really hard to replicate as an adult, but you wish that you were able to tap into it.

Rawness and Embracing Imperfection

Lowenstein and Reece emphasized the importance of retaining that youthful energy without trying too hard to replicate it. “The messiness is the most charming thing,” Re_listing. “Exactly. The messiness is the coolest part,” agreed Reece.

Memories of Girls Rock

LOWENSTEIN:

Nora and I did Girls Rock together. We must’ve been 15, and Nora texted me one day saying she found the Bandcamp link with all the Girls Rock songs. I was going through it and found the song that I was on. It’s the most ridiculous thing ever, but it’s still so cool. It sounds like the Raincoats or something.

CHENG:

Yeah, there’s no concern for guitar tone. In that program, you learn how to play your instrument in one week, and then you write the song at the end of the week and record it. So, you’re kind of doing all you’re able to do on those songs. I think we were also interested in how limits like that can help you create something you wouldn’t have done otherwise.

REECE:

And something that an adult with all the skill and knowledge literally might not think of.

Gigi, you mentioned being in concert band. What did you play?

REECE:

Saxophone. There were only two girl saxophonists, and nine boys.

LOWENSTEIN:

Wow, I didn’t know saxophone sections were such a sausage party.

REECE:

I was always told I was one of the worst when I literally was not. Misogyny, straight up. But yeah, I still loved concert band. I would give myself goosebumps all the time. For me, it wasn’t even about being on stage, but in a room full of kids who are all somehow playing their instruments to the tune of this sheet music we can all somehow read. It’s magical. Like, man, this is the stuff of life.

Conveying the Sound of the Album to Cate Le Bon

LOWENSTEIN:

There’s a good Cate quote from our time in the studio. She was like, “You guys don’t have to put on this jankiness. You naturally have it. You can try to be sophisticated, but anything the three of you do will always be janky.” I think people who know us — not just people we work with, but our friend group too — can kind of see our process and understand that’s just how we are.

It can be hard to communicate, and it’s something that we’re still kind of learning to navigate. It’s really hard to pass off any creative stuff to other people for us. And sometimes I do feel like our weird vision gets lost in translation. The fact that sometimes we want to look awkward in things is hard to translate.

REECE:

But with Cate, we didn’t really have to tell her anything.

The Concept of a Trio

CHENG:

This record is more clean-sounding; you can hear each instrument really clearly. On the first record, it was more of like this muddled mass. So we were interested in really embracing the trio thing. You can hear that there are three people playing, rather than us trying to fill all this extra space.

LOWENSTEIN:

Yeah. I think we realized there’s a really beautiful awkwardness and emptiness to three people playing together live on a stage. You go see a live show now, and the inclination is to make the set sound exactly like the record. It almost feels like people are, like, scared of what the band actually sounds like without all the extra stuff.

We toured the last album a lot, and when we came back to try writing the new one, we felt excited about the natural emptiness that exists in our band and the kind of weird space that is created when there’s only one guitar. When Nora finishes a riff or whatever, it just hangs there. Taking all these songs to the studio, that emptiness allowed us to flesh out the songs with arrangements that wouldn’t have worked if we were, like, making the noisiest guitar tones. We were able to add things like violin.

Influences: The Velvet Underground’s Loaded

REECE:

I think Loaded, specifically, was the reference for how we wanted our album to be mastered. The way each song sounds on it — it’s just great.

Other Artistic References

REECE:

We’ve been saying to everyone: Young Marble Giants. The way that their bass lines are melodic, and the guitar can get rhythmic.

LOWENSTEIN:

Such a mood with so little. Those songs are so kooky and atmospheric, but there’s nothing going on. Also, those guys aren’t really a rock band in the way we are, so it’s a cool thing to try to take inspiration from. Television Personalities were also a big one for us. Cate was referencing them a lot.

Inspiration from Faust IV

CHENG:

I think that album is cool because all the songs are different, but they all definitely exist in the same world. That’s something I’ve sort of thought about our band, too. It varies from song to song but the throughline is there.

LOWENSTEIN:

Before we met Cate in person, we had a Zoom call with her. We knew that it was meant to be when she said, “To me, Faust IV is everything. It’s the perfect record.” It’s really freaky. Cate knew we were into krautrock, as many bands are, and I think Faust is a really good example of taking influence from krautrock beyond just the motorik drum beat everyone rips off. There’s a playfulness to them that’s so cool and interesting, and I think channeling that playfulness and repetition was a big guiding light for us: a cool rock song that’s also ridiculous. The tambourine is so loud.

REECE:

I love that tambourine. I feel like I personally had to stop myself from trying to add tambourine to each song on this album. Also, the tambourine that they had at the Loft, where we recorded, was just the most perfect, shimmery, beautiful tambourine. And then we were told that Glenn [Kotche], the Wilco drummer, stole it from another studio or something, because he knew it was the best one! I was touched to be able to use the same tambourine Glenn uses.

Conclusion: A Beacon of Youth and Authenticity

Horsegirl’s Phonetics On And On is a testament to the beauty of simplicity and the enduring charm of youthful energy. By embracing minimalism and nostalgia, Horsegirl has created an album that stands out in today’s music landscape. As they continue to evolve as artists, their celebration of innocence and rawness is sure to captivate listeners young and old.

Stay tuned for more updates from Horsegirl and prepare to be captivated by their sound. Don’t forget to follow them on social media and check out their new album, Phonetics On And On, this Friday.

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