Horsegirl’s Phonetics On and On: A Playful Reinvention

When Horsegirl released Versions of Modern Performance in 2022, the trio—then fresh out of high school—seemed destined for Cool Band status. They wore their influences proudly, name-dropping cult favorites like Electrelane, Belle & Sebastian, and My Bloody Valentine. Their lyrics nodded to The Jesus and Mary Chain and Gang of Four, while Sonic Youth’s Lee Ranaldo and Steve Shelley lent their presence to the debut. But for all its style, the album sometimes felt like an intricate collage of references, with the band’s own identity still taking shape.

With their sophomore effort, Phonetics On and On, Penelope Lowenstein, Nora Cheng, and Gigi Reece strip things back, honing in on what truly drives them: the joy of making music together. The result is a record that’s both refreshingly simple and endlessly replayable, packed with wiry post-punk riffs, infectious melodies, and a raw energy that embraces imperfection.

Rather than the shoegaze-heavy waves of sound that defined their debut, Phonetics On and On pares things down to the essentials. The reverb fades, the production tightens, and each member’s individual presence feels sharper. Teaming up with avant-pop visionary Cate Le Bon, the trio refines its sound while keeping a sense of unpredictability alive. Take the jangly opener, Where’d You Go?, where a guitar solo suddenly unspools like an afterthought, or Rock City, where Lowenstein and Cheng stretch a wordless “woo-hoo-ooh-ooh” into a slow, whistling hook that lingers long after the song ends.

The album thrives on spontaneity. Tracks like 2468 and Switch Over are built around minimalist, almost childlike refrains—chants and numbers tossed off so effortlessly that they feel instinctive rather than unfinished. The whole record carries the energy of a band figuring things out in real time, capturing the thrill of experimentation rather than the polish of overproduction. It’s music that values intuition over intricacy, embracing the sheer fun of seeing where a song might go.

This DIY spirit extends beyond sound. The band’s playful, lo-fi aesthetic recalls the raw simplicity of ‘80s indie pioneers like Beat Happening, who turned untrained musicianship into an art form. Cheng’s first-ever attempt at violin, which opens 2468, sets the tone. “It sounds like a children’s recital,” she admitted to Rolling Stone, “but playing an instrument you don’t know, you get that innocence you can’t fake.”

In an era where indie rock’s post-punk revival leans toward wry cynicism—think Dry Cleaning, Squid, and Wet Leg—Horsegirl takes a different route. Instead of arch detachment, they lean into playfulness, instinct, and unfiltered joy. There’s a magnetic looseness here, a sense of freedom that makes Phonetics On and On feel like an open invitation. Listening to it feels like stumbling across a jump rope game on the street—effortlessly rhythmic, slightly chaotic, yet completely welcoming.

Mistakes aren’t flaws in Horsegirl’s world; they’re part of the fun. “We have so many mistakes to make—mistakes to make with you,” Lowenstein sings on Julie, the album’s emotional core. “You know I want them too.” With Phonetics On and On, Horsegirl makes it clear: the best moments happen when you stop overthinking, start playing, and see where the music takes you.