When a band is preparing to release an album, there is such a thing as overdoing it. You can announce the album too soon, flood the internet with promotional videos and images, and, for the worst offense, use the album’s best moments as singles. We’ve witnessed this happen to fantastic bands as they fall victim to the modern, fast-paced news cycle and get caught up in thirsting for instant gratification. Longevity is rarely achieved through social media but cemented through art and character.
Many factors could take away from the anticipated release regarding Horsegirl and their second LP, Phonetics On and On. There is the ever-looming fear of a sophomore slump, especially with the runaway success of Horsegirl’s 2022 debut and the fact that all the singles, especially “Julie” and “2468,” are all fantastically spellbinding examples of the trio’s refreshing take on minimalistic pop. Alas, thanks to maturity, forward-thinking, and producer Cate Le Bon, Horsegirl’s sophomore album rarely misses.
Phonetics On and On avoids common mistakes on a sophomore album thanks to swelling string sections, imaginative melodies, and fearlessness to venture into new sonic territories. Suppose you were a fan of Horsegirl’s chugging distortion that frantically covered the vocals in a layer of wonky psychedelia from their debut. In that case, the band’s sophomore album will be a jarring listen. It’s not that the new sound the band is toying with is abrasive or concerning; it’s the opposite. Those dense moments of garage rock are replaced with lighthearted empathy, glistening guitar tones, and soaring pop harmonies. The band’s jagged edges are smoothed over but not entirely lost as Horsegirl still finds time to hint at their past, giving the day-one fans a wink as Horsegirl dives headfirst into uncharted waters with gusto and creativity.
The band’s sophomore album is a slow-burning effort that avoids the trappings of newfound fame, but not without its ups and downs. Horsegirl successfully avoided repeating itself with these 11 songs, and the direction in which they decided to take the album is welcomed. Moments like “Julie” and “Well I Know You’re Shy” capture the moodiness of grunge and the whimsy of pop with an accent of slowcore, all while showcasing the band’s innovative approach to songwriting. That same viewpoint on songwriting makes Phonetics On and On so refreshing and enticing. The lyrics are jovial yet sympathetic to Horsegirl and the world around them, like on the sentimental ballad “In Twos” or the twangy bounce of “Information Center.” These moments of moving poetry are delivered by lush, sweet-sounding harmonies that lift the weight off of the ever-evolving production on the album.
Le Bon captured the nuances of Horsegirl and stretched them out to their furthest extent, but it takes a few tracks for this vision to be fully realized. At times, the music underneath the band’s acrobatic vocal layering can feel one-dimensional, like on “Rock City.” While the dynamic vocals are enough to fill the holes, moments like these show cracks in the band’s seemingly unbreakable creative shield. This is not true for the whole album, of course, as Le Bon and Horsegirl find their groove in the second half. Songs like “Sport Meets Sound,” featuring a head-nodding tempo dropping off staggering drums and spurts of guitar prowess, and the album’s outro, “I Can’t Stand To See You,” is a slice of indie rock nostalgia.
Overall, Horsegirl’s sophomore effort is far from a flop. While the album dips into lows, the highs make it all worthwhile. Phonetics On and On is a daring second album with the band seemingly coming out as a new band, one obsessed with infectious melodies and fanciful harmonies dancing around glimmering acoustics and cinematic strings.
