There are some songs you vividly remember hearing for the first time. They sear themselves into your memory, like a firework in your head. Such as it was for me the first time I heard Chicago trio, Horsegirl. Scrolling through my Facebook feed there popped up a post from UK based shoegaze label Sonic Cathedral. Generally, when I see a post from them, I sit up and take notice so I clicked the link and ‘Ballroom Dance Scene’ filled my ears. I was mesmerised. I hadn’t heard anything like it, or had I? It was instantly familiar yet completely new to my ears. Soon I had the seven-inch single and the flip side ‘Sea Life Sandwich Boy’ delivered in spades as well. Next came the single ‘Billy’, a portent for their stunning debut that was about to release.
Horsegirl, made up of Penelope Lowenstein, Nora Cheng, and Gigi Reece, debut album was 2022’s Versions of Modern Performance, a record that soaked itself in the murky waters of ‘90s indie, blending Sonic Youth’s jagged edges with the dreamy haze of shoegaze. They were hailed as torchbearers of a new wave of indie rock—raw, instinctive, and thrillingly unpolished.
With Phonetics On and On, their sophomore release, Horsegirl have taken a sharp left turn. Produced by Cate Le Bon, the album strips away the distortion-drenched urgency of their debut, opting instead for a minimalist, almost skeletal approach. Their PR has this to say.
“After playing together for four years, Horsegirl explores the limits of the trio configuration within Phonetics On and On— what if instead of filling out songs with distortion, they utilized the expanse that the three of them didn’t occupy?”
“This question seems to be the motivating force behind the record, and the songs are a testament to experimenting with space and texture while maintaining a pop song at the core. New tools help bring this world to life; violins, synths, and gamelan tiles are all woven into the record with complete effect.”
This sounds like we’re in for a very different listening experience. Let’s drop the needle and see what’s what.
The album opens on the short but sweet ‘Where’d You Go?’ setting the tone with its taut, brittle guitars and clear, simple lyrics. The track’s brevity mirrors the fleeting nature of its themes, leaving listeners pondering the transient connections in our lives. It’s a stripped-back introduction, setting the stage for the album’s sparse yet intentional atmosphere.
‘Rock City’ offers a more expansive soundscape. The interplay between the instruments creates a sense of movement, evoking the bustling energy of urban life while hinting at the underlying loneliness that often accompanies it. This is Horsegirl at their most patient, allowing the track to unfold like a long drive through an unfamiliar city at dusk.
‘In Twos’ delves into themes of duality and partnership. The song’s structure reflects its subject matter, with harmonizing vocals and mirrored guitar riffs that dance around each other, illustrating the push and pull of relationships. There’s a hypnotic quality to its repetitions, like a mantra or an unresolved question left hanging in the air.
Lead single ‘2468’ stands out with its use of folksy strings that introduce us to a new sound for the band. The jaunty rhythm juxtaposes with the almost deadpan vocal delivery providing that unique Horsegirl listening experience. I love the slow build of textures as the song enters its second half. The different attacks on the guitar strings filling the air left around that driving rhythm section. this track exemplifies Horsegirl’s experimental spirit and willingness to embrace the unexpected. It’s an odd, fractured anthem, proof that the band still has their DIY unpredictability intact.
‘Well I Know You’re Shy’ is a poignant exploration of introversion. The minimalist instrumentation allows the vulnerability of the lyrics to shine, forming an intimate atmosphere that resonates deeply with anyone who’s ever felt out of place. It’s a whisper in the dark, an acknowledgment of social anxiety that never feels forced or over-explained.
Up next is one of their best tracks to date. ‘Julie’ is a melancholic ballad that tells a story of lost connections. The song’s deliberate pacing and haunting melodies create a sense of longing, making it one of the album’s most emotionally impactful tracks. There’s something almost ghostly about it, as if the song itself is reaching out to someone long gone.
Flipping over to side B and we up the bpm’s with ‘Switch Over’. The upbeat rhythm contrasts with introspective lyrics, reflecting the complexities of change and the bittersweet nature of moving on. The chorus glimmers with an unexpected pop sensibility, a welcome moment of lightness in an otherwise restrained record.
This leads us into ‘Information Content’ which delves into the overwhelming nature of modern information overload. The minimal instrumentation slowly building to mirror the tidal wave of data we navigate daily, while the vocals provide a grounding presence amidst the chaos. It’s a subtle critique of digital saturation, done in Horsegirl’s signature understated style.
Things take another folksy turn with ‘Frontrunner’. A thoughtful track that ruminates on the urgency of ambition. There’s an underlying tension here, as if the band is questioning whether success is truly worth the chase. The guitars opt for a country feel, strummed acoustic and a lead that draws influence from the late great Luthor Perkins.
‘Sport Meets Sound’ follows. An unexpected experiment, this track plays with the rhythm of physical motion, almost like a sonic interpretation of a heartbeat during a sprint. It blurs the line between movement and music, capturing the strange connection between sound and body in a way that’s both abstract and strangely visceral.
‘I Can’t Stand to See You ‘is our stripped-down closer and it leaves us with an aching sense of unresolved emotion. The instrumentation is sparse, the lyrics direct, and the whole track feels like a final conversation that ends in silence rather than resolution. As the last notes fade, it’s clear that Phonetics On and On isn’t about easy answers—it’s about the spaces in between.
Phonetics On and On is not the record fans might have expected, but it’s exactly the one Horsegirl needed to make. It refuses to repeat the formula of their debut, instead choosing to deconstruct their sound and rebuild it from the ground up. The influence of Cate Le Bon is evident in the record’s deliberate spaciousness, but this is still unmistakably Horsegirl—curious, exploratory, and unafraid of negative space.
This album rewards patience. It doesn’t grab you by the collar like Versions of Modern Performance did; instead, it lingers in the room like an unfinished conversation, waiting for you to lean in. It’s a quieter statement, but no less powerful—a testament to a band growing into themselves, refining their language, and carving out a sound that’s uniquely their own. Horsegirl aren’t just reliving the past; they’re whispering the future into existence.
Phonetics On and On is out now on Matador Records. You can grab a copy from the Horsegirl Bandcamp Page, Matadors Online Store or your favourite record store.
You can follow Horsegirl on social media here….
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