{"id":62,"date":"2025-02-25T20:08:00","date_gmt":"2025-02-26T01:08:00","guid":{"rendered":"https:\/\/wers.org\/wecb\/milkcrate\/2025-2-25-lessons-in-fun-etics-horsegirls-phonetics-on-amp-on\/"},"modified":"2026-03-09T12:49:22","modified_gmt":"2026-03-09T16:49:22","slug":"2025-2-25-lessons-in-fun-etics-horsegirls-phonetics-on-amp-on","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/2025-2-25-lessons-in-fun-etics-horsegirls-phonetics-on-amp-on\/","title":{"rendered":"Lessons in Fun-etics: Horsegirl\u2019s \u201cPhonetics On & On\u201d"},"content":{"rendered":"
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Graphic by Sofia Giarrusso<\/p>\n<\/div>\n<\/figcaption><\/figure>\n<\/p><\/div>\n

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by Christian Jones<\/h1>\n

It is November 2019. Chicago\u2019s pre-pandemic community of teenage creatives is flourishing. TACO (Teen Artists\u2019 Creative Oasis) is promoting their new event\u2014Tacoween\u2014a holiday house show complete with an open mic and purchasable art made by teens across the city. This is where I first saw Horsegirl. A group of 30 or so crowd the room of the living room. Clad in The Royal Tenenbaums<\/em> and Fantastic Mr. Fox<\/em> costumes, they walk on stage quietly and the crowd gets hushed. They play their first-ever single, \u201cForecast.\u201d It is an immediate hit. People cheer and whoop throughout the shredding. It was unlike any of the other bands on the scene I had heard\u2014like Corn on My Dinner Plate, who excelled at woozy psych pop. I could hear the influences of Sonic Youth, Yo La Tengo, and shoegaze, the music I had just begun to discover and love. \u201cSea Life Sandwich Boy\u201d follows, and by the end of the crashing drone, everyone could feel the magic. I remember thinking in that moment: Wow, they actually have it.<\/em><\/p>\n

Horsegirl played at more shows and venues\u2014Thalia Hall, Shuga Records, the MCA (Museum of Contemporary Art Chicago), the Square Roots Festival, and more house shows\u2014building a name for themselves among Chicago teens as the<\/em> band to see. All the while, they were ripping with and learning from other bands of the \u201cHallogallo<\/span><\/a>\u201d scene: Lifeguard, Friko, Dwaal Troupe, Free Range, and Post Office Winter. Everything changed for Horsegirl when they were featured in a Chicago Tribune<\/em> piece<\/span><\/a>, gaining them national exposure. And by 2021, they were signed (along with fellow Hallogallo band Lifeguard) to the prestigious indie label that represents many of their idols\u2014Matador Records.<\/p>\n

Horsegirl\u2019s first album, Versions of Modern Performance<\/em> (2022), proved they could be \u201cnoisy<\/span><\/a>\u201d and defy the expectations placed on younger girl bands. The project catapulted them into international recognition: they played at Coachella, Pitchfork festival, and Lollapalooza, while also opening for Pavement, Yo La Tengo, Wilco, and the Breeders, simultaneously touring Europe and North America. Versions<\/em> paid homage to all their myriad inspirations, but with a distinct flair. Tracks \u201cBilly<\/span><\/a>\u201d and \u201cOption 8<\/span><\/a>\u201d buzzed with shoegaze haze\u2014the latter replete with Interpol\u2019s monochromatic suave. The opening track \u201cAnti-glory<\/span><\/a>\u201d was an instant anthem. And \u201cBeautiful Song<\/span><\/a>\u201d foreshadowed the twee lyricism that Horsegirl leaned into for their recent release. Essentially, Versions<\/em> was grandiose: a love letter as wide as a landscape, as long as a decade.<\/p>\n

Horsegirl pulls back on their sophomore record, Phonetics On & On<\/em>, finding their own voice in minimalist arrangements crafted under producer Cate Le Bon\u2019s guidance. Le Bon\u2019s advice to Horsegirl largely centered on cutting back and embracing experimentation. This led them to create with violin, synths, and chopped-up guitar. Their danceable singles \u201c2468<\/span><\/a>\u201d and \u201cSwitch Over<\/span><\/a>\u201d are an exciting hop, skip, and jump in a new sonic direction\u2014some m\u00e9lange of playful folk, upbeat jangle pop, and post-punk poetics.<\/p>\n

At times flat-out obscure and other times interpretable, Phonetics<\/em> playfully treads between moody and meaningful lyricism. On standout track \u201cInformation Content<\/span><\/a>,\u201d Cheng chirps wistfully \u201cahoo ahoo ahoo\u201d like a cuckoo over the ticking clock of a guitar solo. She sings, \u201cI\u2019m translating my talk to tones,\u201d but it\u2019s not just here\u2014on the whole album. Pretty much every song features some variation of a \u201cnon-lexical vocable<\/span><\/a>,\u201d which is a fancy way of classifying \u201cla la la.\u201d Horsegirl\u2019s vocables match the same playful spirit as Life Without Buildings or Gertrude Stein, but as delivered by a little girl chewing sounds like bubblegum, sometimes humming herself to sleep at night. Perhaps she dreams of the Belle & Sebastian-esque storybook shepherd of \u201cRock City<\/span><\/a>,\u201d who wants to drive a flower truck because the smell will make people happy. <\/p>\n

Linguistic play doesn\u2019t stop Horsegirl from delivering meaningful lines though. Another standout, \u201cIn Twos<\/span><\/a>,\u201d is a gorgeous melancholic ballad. The echoey bassline pulses like a heartbeat, some distant nod to Arthur Russel\u2019s \u201cAnswer Me<\/span><\/a>.\u201d Lowenstein\u2019s voice oscillates ever-subtly between hope and heaviness as she repeats ninefold: \u201cand I try.\u201d The entire song aches with the polarity of loss, appreciation and mourning separated only by a line break: \u201cevery good thing that I find \/ I find I lose.\u201d On \u201cJulie<\/span><\/a>,\u201d above Reece\u2019s synth bed and Cheng\u2019s cat-like guitars, Lowenstein sings, \u201cI have so many mistakes to make \/ Mistakes to make with you, you know I want them too.\u201d Lowenstein describes<\/span><\/a> the track as a love song that is also about existing in a new city: \u201cfeeling of young adulthood\u2026being overwhelmed by how new everything is, but then also\u2026the excitement of it all.\u201d Horsegirl is getting personal, but striking a Jessica Pratt-like balance between confession and obfuscation.<\/p>\n

Despite Reece, Lowenstein, and Cheng all living in New York, where the latter two are studying at NYU, the music video for \u201cFrontrunner<\/span><\/a>\u201d is an homage to quintessential Chicago spots: Diner Grill, the L, Big Apple Finer Foods. It\u2019s also honest fun, a reminder that sometimes making a spontaneous short film with your friends, like you did on iMovie as kids, can be as exciting as anything that production could buy. This creative approach of play is at the heart of the album and shows that despite their professional resources, Horsegirl has never lost touch with the DIY spirit, phenomenal taste, and Chicago roots that makes them who they are.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

The creative approach of play is at the heart of the album and shows that despite their professional resources, Horsegirl has never lost touch with the DIY spirit, phenomenal taste, and Chicago roots that makes them who they 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