Horsegirl - Phonetics On and On Review
Horsegirl ruptures their old sound, and invites us to enjoy their new minimalist approach to feel-good indie rock.
Horsegirl drops their third album Phonetics On and On, taking the shape of a minimalist, sun-lit room serenade. Stretching the length of 37 minutes, and packing 11 lighthearted guitar-clad tracks, Phonetics On and On is a sonic cheeky smile. Nora Cheng, Penelope Lowenstein, and Gigi Reece unveil simplistic optimism and modern poetics between the “La la la’s” and “Doo doo doo’s”. The project’s rudimentary movement stands confidently amongst Versions of a Modern Performance and Rough Trade Super-Disc, and showcases the playful penmanship that the modern Horsegirl seeks to embody. The trio stripped their work down, and released new, linen-fresh sounds that adopt their experimental search for a youthful spirit.
“Where'd You Go” starts out the album with a stuttering drum beat and hefty surf guitar where Cheng and Lowenstein take turns on the “la la la” and “dee dee dee” merry go round. Phonetics are really out there to play in this album, and it feels almost like the project is a sonic testament
to the necessity of returning to your childhood self. Track “2468” acts as the folky welcome wagon tune off the album. Its raspy violin and eager percussion instruments accompany the ever-oscillating “Two, four, six, eight// they walk in twos” verses. Its predecessor, “In Twos”, plays into melancholic poetics and contemplates partnership both in its lyricism and structure. The track spends its time in two soundscapes, one a smooth echoing guitar, the other a jabby violin bow, that collectively drive home the idea of togetherness. Amongst the warmth and lighthearted movement within the album, “In Twos” remains the pensive cushion that we can lie our heavy heads on.
“Well I Know You’re Shy” widdles a sweet conversational offshoot into the Phonetics On and On stump. The lead vocalist’s untamed, yet monotone, thoughts plant themselves confidently in the candied confrontational piece, making for a (yet again) simplification of and invitation to sharing one’s feelings. “Switch Over” adopts the same elementary style as its counterpart tracks, with a heavy focus on guitar and an achy bass. In the “Switch Over” official music video, Cheng, Lowenstein, and Reece perform the track in a vintage living room, popping in and out of the frame as the lyrics advise them to do so. It’s a sweet indie rock track in its basal form, underdressed in an ever-familiar sonic movement.
“Sport Meets Sound” and “Information Content” mosey along with two different fonts of guitar, both still engaging in recreational wordplay. When listening to the project, it’s easy to get lost in the sequencing of tracks with the invisible guitar string that threads all of the songs together. Each track stands alone, but the sonics are all siblings, making it a nearly 37-minute long track.
Of course, there are miniscule breaks within this, one being “Julie”, where we can hear a bit more longing from the Duster-esque chords and bitter-sweet lyricism. The project’s reprise “I Can’t Stand To See You” let's listeners exit just as they entered: Carefree, and light as a feather. It drives the “Da da da” memo home, while simultaneously embodying the minimalist dress code of the album.
Phonetics On and On leads with strings, yes, but not with the same foot that Versions uses in tracks like “The Fall of Horsegirl” or “Dirtbag Transformation (Still Dirty)”, where vocals are nearly drowned by ruthless punk string work. Here, Horsegirl sets down their carefully tattered punk sonics, and leans into the art of strumming some feel-good tunes. The project takes on a playful experimentation with musical modesty, ushering in Horsegirl’s newfound love for simpler times. Although it isn’t a plot-twist listen, Phonetics On and On opens up the cabin door, and invites listeners in for a charming indie rock experience, which is always appreciated.