
Super slim and built to rock the Vox in analog style.
Impressively full featured for such a small package. Many truly Vox-like sounds
Still sounds more like an analog “amp-in-a-box” approximation than digital emulations (or the real thing)
$279
Tech 21 SansAmp Character Plus Mop Top Liverpool
tech21nyc.com
A “fly rig,” in the broadest definition, is a small, portable, plug-and-play assemblage of pedals and possibly a preamp that you can throw in a backpack or overhead compartment so you can jet away with ease to your next show. Practical, portable backline tools like these have been around for quite some time, and in many forms, and Tech 21’s SansAmp range, including their very own Fly Rig series, deserves a lot of credit for popularizing the concept of an integrated, all-in-one solution.
Back in 1989, long before digital modelers were fixtures on stages, Tech 21 introduced its entirely analog SansAmp devices to help squeeze big tube-amp tone from changing backline rigs. The new Character Plus Series pedals serve the same basic purpose: achieving the most accurate possible image of a tube amp in an all-analog, amp-in-a-box format. And in pairing an “analog amp” with a pedal circuit famously associated with that amp, the Character Plus Series delivers many practical, spirited, and very affordable alternatives to real amp sounds.
The four new offerings include the Screaming Blonde (which pairs Fender-style and Tube Screamer-style circuits), English Muffy (Hiwatt- and Big Muff-style), and Fuzzy Brit (Marshall- and Fuzz Face-style). Our review model, the Mop Top Liverpool, includes a Vox-like amp-in-a-box circuit with a Rangemaster-style booster at the front end. As is the SansAmp way, this unit squeezes a lot into a very compact package. Frankly, I expected something much larger than the 7.75" x 2.75" x 1" pedal that arrived.
Double Top Boost
Though the Mop Top takes after a Vox-style tube combo, it really gives you the flavor of two top-boost-equipped AC-inspired amps of varying gain profiles. Controls include drive, volume, and character for each of two footswitchable channels, which are labeled A and B and dedicated to relatively clean and overdriven tones, respectively. The two channels share an EQ stage with low, mid, and high frequency bands, plus pushbuttons for high shift and mid shift. The Rangemaster-style boost function, which has a dedicated footswitch, includes just a single knob, but it’s a dual-function affair. It’s flat at 12 o’clock, and provides up to 12 dB of treble boost in the clockwise direction or 12 dB of mid boost in the counterclockwise direction. There’s also a buffered bypass footswitch to route your signal past all the circuitry, which is handy if you’re using the Mop Top in front of a traditional amp.
Connectivity includes mono input and output, plus an XLR out for a balanced low-Z signal to a front-of-house mixer or other line input. Power is supplied by a standard 9V DC input (the power supply is provided) and the circuit includes an analog speaker “emulation” tailored to each specific model. In the case of the Mop Top Liverpool, this feature tracks a pair of Celestion alnico Blues—naturally.
Vox Box
To test the Mop Top’s abilities as a true plug-and-play fly rig, I hooked it up to a Tech 21 Power Engine Deuce Deluxe powered 1x12" (which was designed specifically for SansAmp rigs) as well as a Universal Audio Apollo Twin Duo. With each rig, the little Mop Top proved capable and versatile.
The footswitchable A/B channels facilitate easy rhythm/lead switching, although it can be tricky to clean up the signal entirely with Les Paul humbuckers driving the Mop Top. The character controls provide powerful voice-shaping and supplement the traditional EQ controls effectively, enabling thick midrange sounds, enhanced clarity from the crisp, clear highs in the “character A” voice, and midrange-y takes on thick Clapton/Cream-style sounds in “character B” mode.
It can be tricky to clean up the signal entirely with Les Paul humbuckers driving the Mop Top.
The Rangemaster-style boost is handy and flexible. And between the tone-altering capabilities of the boost and the amp section’s flexible EQ, you get the sense of having everything you need to cut it at a real fly-in gig (save for any staple effects). But even if the boost and amp flavors aren’t enough to cover all the drive sounds you need, the Mop Top Liverpool interacts well with other drive pedals in front of it. It integrated seamlessly with a Klon-style Wampler Tumnus Deluxe, a higher-gain JHS Angry Charlie, and a Tsakalis Six overdrive.
If there’s anything missing from the sense of a real tube-driven AC15 or AC30 experience, it’s arguably the lively chime and bloom you hear from a real class-A EL84 amp. Some of that is a “feel” thing. But if you won’t miss the push and pull of tube dynamics in your playing, the voice and personality of the Mop Top Liverpool are very much in the spirit of the real thing.
The Verdict
The Mop Top Liverpool works great when über portability is of the essence, or you just need a recognizable Vox-like tone from a backline, and fast. The Mop Top Liverpool may not replace many players’ beloved vintage or reissue Vox combos. But for an all-analog unit under $300, the new Mop Top Liverpool kicks with the essence of Vox personality. It’s practical, fun, and easy to use, too—pretty impressive for what’s essentially an amp and booster you can practically carry in your hip pocket.
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Killswitch Engage are, from left to right, Justin Foley on drums, guitarist Adam Dutkiewicz, vocalist Jesse Leach, bassist Mike D’Antonio, and guitarist Joel Stroetzel.
The metalcore pioneers return with an album for the times, This Consequence, that explores division, war, and other modern-day troubles to the tune of the band’s tandem guitar duo’s brutal, lockstep riff-ery.
“We don’t consider ourselves politicians or into politics by any means, but the sense of national unrest, and the unwillingness to work together, it’s really grated on us,” admits Killswitch Engage guitarist/producer Adam Dutkiewicz (Adam D, professionally). “It’s manifested itself into the songs and lyrics.”
As a result, Killswitch Engage’s ninth full-length LP, This Consequence, has all the hallmarks of a band meeting its moment. It’s been nearly a quarter-century since they released their eponymous debut, and they’ve subsequently achieved a career-sustaining amount of success as one of the main architects of the metalcore genre, but This Consequence is likely their first album to highlight such a clearly articulated, socially conscious through line.
Lyrically, cause-and-effect is a driving theme on This Consequence, and Killswitch Engage (KSE) captures the zeitgeist of the 2020s with incisive, often cautionary, commentary regarding topics like war, hatred, division, and falling in line. Musically, the band has channeled those same sources of inspiration into performances that feel more urgent, and thus more sincere, creating a viscerally brutal yet brilliantly melodic slab of postmodern metalcore. KSE has long held a reputation for having a good time and riling up crowds with uncontainable energy and unpredictable performances, but it’s been hard to ignore the degradation of discourse in this country over the last decade, even for these renowned ringmasters.
KSE was formed in 1999 in Westfield, Massachusetts, from the remnants of Overcast and Aftershock, two prominent local metal bands. KSE’s early lineup featured founding members Dutkiewicz on drums and Mike D’Antonio on bass, along with vocalist Jesse Leach and guitarist Joel Stroetzel. The fledgling band quickly gained attention for its mix of melodic and death-metal influences: a musical amalgamation that would become the template for metalcore. The band’s second album, 2002’s Alive or Just Breathing, was pivotal, marking a major shift in their sound and identity, with a dual-guitar attack leading the charge. In order to accurately render that album in concert, Dutkiewicz switched to guitar, and they brought in Tom Gomes on drums. The record includes some of the band’s most iconic songs to date, including, “My Last Serenade,” “Fixation on the Darkness,” and “The Element of One.” Adopting a two-guitar approach was a masterstroke and Alive or Just Breathing has since become one of metalcore’s most definitive albums, blending deft, tightly synchronized guitar riffs with battering rhythms, guttural verses, melodic choruses, and a hardcore punk attitude. It was a winning formula that enabled KSE to build a huge fan base.
“Everything I bring to the table, I tell them, ‘We can throw it away.’”–Adam Dutkiewicz
In 2004, they released The End of Heartache, their first to feature Howard Jones on lead vocals and Justin Foley on drums. The album reached No. 21 on the Billboard200 and earned a Best Metal Performance Grammy nomination for the title track. Songs like “When Darkness Falls” and “Rose of Sharyn” continued to elevate KSE’s status within the metalcore hierarchy. In 2009, Jones left and Leach returned. Disarm the Descent was released in 2013 and debuted at No. 7 on the Billboard200, marking the band’s highest charting debut to that point. Incarnate followed in 2016, and then Atonement, their first release on Metal Blade, in 2019. KSE was on a roll with Leach firmly back in the fold, and ready to tour when the pandemic struck. During the downtime, inspiration hit, so they regrouped, wrote, rehearsed, and eventually recorded This Consequence. Songs like “Aftermath,” “Abandon Us,” and “Broken Glass” exemplify the kind of relatable cultural commentary that can be cathartic for today’s disenfranchised—especially when paired with the band’s other equally memorable musical attributes.
In riffs they trust: Killswitch Engage’s Adam Dutkiewicz (left) and Mike Stroetzel prefer strong, arranged guitar parts that create scenes within arrangements, rather than flash shredding.
Photo by Mike White
The writing and rehearsal process for This Consequence was the first time since Alive or Just Breathing that all five members convened in a studio to work out the material before recording. Like many artists nowadays, KSE had been writing and recording remotely for at least the last decade. Stroetzel says it was great to be able to work on the tunes together, in the same room, and that, musically, it allowed the arrangements to come together a little bit faster. “Especially the songs that were only partially finished,” chimes in Dutkiewicz. In addition to his role on guitar, Dutkiewicz has been the band’s producer—his major at Berklee—almost since inception. Perhaps having a skill set with that kind of overview is why he’s also the only member of the group to craft fully fleshed-out songs on his own. And yet, even he recognizes how his material benefitted from their rehearsal process this time. “It was really good for everybody in the band to get their hands on their instruments, learn the riffs, and then tweak them to their level of comfort,” he says. “They’re more invested in the song that way because their voice and their sound is on it. And when we play the song live, it’s more their song, instead of that song that Adam wrote.”
“A tight staccato section needs a wide, harmonically rich section to complement it. We try our best to have scenes in a song like that.”–Adam Dutkiewicz
The cultural continuity of the lyrics on This Consequence didn’t just come about by happenstance, either. It’s not a concept album per se, but the band encouraged Leach to continually refine his lyrics and elevate his ideas and topics. “When you’re writing lyrics for that many songs at once, it’s easy to fall into the tendency of writing about the same topics, with the same vibe,” says Dutkiewicz. “He just needed to try something completely different.” As a result, Leach tapped into his own angst about the current state of world affairs, bestowing upon This Consequence the kind of social relevance that previous KSE albums never quite captured so succinctly. “Jesse gets the gold star for trying the hardest,” commends Dutkiewicz.
Per usual, Adam Dutkiewicz served as producer for the new album, but engineer Mark Lewis at MRL Studios in Nashville, Tennessee, played a significant role in determining its final sonic character.
Dutkiewicz isn’t particularly attached to his own musical ideas or songs and admits he’s willing to deconstruct just about anything for the good of the group, even after he’s submitted a complete demo to the rest of the guys. “Everything I bring to the table, I tell them, ‘We can throw it away.’ I think a big part of being an artist is just the creation of things and sometimes the destruction of things.” Dutkiewicz’s willingness to analyze material from that perspective is part of what makes him such a good de facto producer for the band. “It’s just not having an ego about anything,” he says. “You always have to remember you have to do what’s best for the song and not for my riff.” Another theme that runs through KSE songs on This Consequence, and in general, is how their arrangements work. They employ a visual, almost cinematic approach to production and songcraft. “It’s almost like you want scenes in a song,” explains Dutkiewicz. “A tight staccato section needs a wide, harmonically rich section to complement it. We try our best to have scenes in a song like that.”
“We play together a little behind the beat now. Before, we were fighting each other a little bit.”—Joel Stroetzel
Dutkiewicz and Stroetzel have been playing guitar together since long before the release of Alive or Just Breathing, mostly because the former has always worn multiple hats within the band, and share many of the same influences, including Megadeth, Slayer, Testament, Sepultura, and especially Metallica. They both credit James Hetfield for setting the bar when it comes to their own obsession with fast, articulate rhythm-guitar playing. As Stroetzel got older he gravitated towards classic rock, especially Jimi Hendrix and Led Zeppelin. “Now I can play things other than metal,” he jokes. Dutkiewicz, on the other hand, got into the classic stuff at a younger age, citing his early infatuation with Eddie Van Halen and Angus Young. “It’s more so Angus Young’s spirit and onstage attitude,” he clarifies. Dutkiewicz’s high-energy stage presence validates that sentiment.
Adam Dutkiewicz’s Gear
Adam Dutkiewicz, telegraphing his love of suds, onstage at Los Angeles’ Wiltern Theatre in February 2022, playing his Caparison TAT Special FX “Metal Machine” with Fishman Fluence Signature Series Killswitch Engage Pickups.
Photo by Debi Del Grande
Guitars
- Caparison TAT Special FX “Metal Machine” with Fishman Fluence Signature Series Killswitch Engage Pickups
Amps
- Kemper Profiler
- Kemper Stage
- Mesa/Boogie 4x12 cabs with Celestion speakers
Effects
- Electro-Harmonix Magnum 44 Power Amp
- Maxon OD808 Overdrive
Strings, Picks, Microphones, &
Accessories
- D’Addario EXL115 XL Nickel Wound (.011– .049)
- In-Tune XJ Jazz 1.14 mm
- Shure ULXD and GLXD wireless systems
- sE V7 Dynamic Microphones
- D’Addario Planet Waves cables
Stroetzel confesses that it took some time to develop into the symbiotic guitar tandem that’s become a signature musical element of the KSE sound. “We play together a little behind the beat now,” he explains. “Before, we were fighting each other a little bit. I always thought Adam had a very forward style with his picking, but he’s mellowed over the years. I had to pick up the pace a little, Adam relaxed a little bit, and I think we found a happy midpoint. It only took 25 years [laughter].” Part of the challenge has been adapting to how the other person writes. “I struggle with some of Joel’s articulate phrasing sections,” explains Dutkiewicz. “I’m just a big mangler and he’s got these well-phrased sections. And I’m just like, ‘God, ah.’ He plays a lot more guitar than me, so his string skipping and pick phrasing is way beyond what I’m capable of doing.” Stroetzel says he struggles with some of Dutkiewicz’s chord voicings because he has such big hands. “Some of these chords he can reach, I’m like, ‘Man, how do you even do that?’”
“Just hearing the Kemper for the first time, and what it could actually do, was pretty impressive, especially for high-gain tone.”—Joel Stroetzel
Surprisingly, however, they don’t actually even take guitar solos in the traditional sense. “We’re not necessarily looking to throw leads on everything,” admits Dutkiewicz. “To us, it’s just a musical interlude. You can’t have vocals [constantly] for three minutes and 30 seconds, so it’s just a quick little side journey in the song.” One of the closest things to an actual guitar solo is probably on the opening track “Abandon Us,” right after the first chorus, which features the nimble-fingered fretwork of Dutkiewicz, but even that’s more like a short detour than a bona fide lead break. Instead, they tend to incorporate a lot of Thin Lizzy/Iron Maiden-style harmony parts and deploy single-note phrases, counter melodies, and sub-hooks to the vocals in bridges and choruses, weaving a layered tapestry of melodic ear candy. Songwriting is ultimately their primary focus, and the songs are relatively short and to the point for a metal band, so there doesn’t seem to be a need to clutter things up with unnecessary solos. When it comes to crafting such parts, the general rule of thumb for assigning these melodious forays is whoever writes the song, or initiates the song idea, does the honors. And so, songs like “Discordant Nation,” “I Believe,” and “Requiem” highlight Stroetzel’s nuanced lyrical phrases, while “Abandon Us” and “Where It Dies” feature Dutkiewicz’s more shred-like soloing style.
When it comes to tone, Stroetzel in particular remains a big fan of tube amps, and the band has a long history of utilizing heads from boutique manufacturers like Diezel, Framus, and Friedman. In recent years, however, software sounds have gotten much better, and they’ve gravitated towards profiling amps and plugins, especially live. “Just hearing the Kemper for the first time, and what it could actually do, was pretty impressive, especially for high-gain tone,” explains Stroetzel. “If you want an aggressive metal tone, I think the Kemper does a nice job capturing that, and it works great live—we’re consistent from night to night.” And besides, they both openly admit it’s not like KSE requires a lot of nuanced technique. “We don’t have very delicate parts in our songs,” jokes Dutkiewicz. “Even our clean tones aren’t very touch sensitive.”
Joel Stroetzel's Gear
Joel Stroetzel, here, and Adam Dutkiewicz both play signature-model Caparison guitars. Stroetzel’s is a Dellinger-JSM V2.
Photo by Debi Del Grande
Guitars
- Caparison Dellinger-JSM V2 with Fishman Fluence Signature Series Killswitch Engage Pickups
Amps
- Kemper Profiler
- Kemper Stage
- Mesa/Boogie 4x12 cabs with Celestion speakers
Effects
- Electro-Harmonix Magnum 44 Power Amp
- Maxon OD808 Overdrive
Strings, Picks, Microphones, &
Accessories
- D’Addario EXL115 XL Nickel Wound (.011–.049)
- D’Addario Duralin Black Ice 1.10 mm
- Shure ULXD and GLXD wireless systems
- sE V7 Dynamic Microphones
- D’Addario Planet Waves cables
Dutkiewicz says that what listeners end up hearing, tone-wise, is ultimately up to whoever mixes the album, which, in the case of This Consequence, was Mark Lewis at MRL Studios in Nashville, Tennessee. Aside from that, everything else is very cut-and-dried. Stroetzel says there’s always a Maxon OD808 on everything they do that’s dirty. “Throw a little bit of that boost in there, and it just kind of compresses the tone a little bit and brings out the midrange a little more,” he explains. “And then, all we really need is a noise gate. That’s it.” They both play Caparison signature model guitars, incorporating elements of other instruments they’ve played over the years. “I’ve always liked Fender-style guitars—Strats and Teles,” says Stroetzel. “So, my signature model is constructed with those in mind, but to sound a little bit thicker and have some thunder in the low end, like a hot-rod metal guitar.” Dutkiewicz says his guitar was designed with simplicity in mind. “I was ruining guitars on tour,” he admits. “I had a bolt-on once, and my sweat got into the bolt holes and it actually rotted out. I couldn’t believe it. Sweat was getting in the cavity of the guitar, and it was cutting out the pickups and causing corrosion on the electronics inside. So, I got rid of the neck pickup and made it a neck-through. I’m a mangler, so it’s loud, bright, and obnoxious, just like me [laughter].”
As for their revered place in the pantheon of metalcore, Stroetzel takes the humble approach, as many in his position often do, saying they’re not really concerned with putting a label on KSE. “We all just try to put in elements of what we like,” he says. “Everybody in the band has listened to so many different types of music over the years. It’s like, ‘Who cares if this is a hardcore song or a thrash song?’ It doesn’t really matter. I don’t think we’ve ever tried to stick to a specific style. We’re just a rock band.”
YouTube It
In this full-set performance from 2023’s Wacken Open Air festival in Itzehoe, Germany, Killswitch Engage dances the line between beauty and brutality.
The National New Yorker lived at the forefront of the emerging electric guitar industry, and in Memphis Minnie’s hands, it came alive.
This National electric is just the tip of the iceberg of electric guitar history.
On a summer day in 1897, a girl named Lizzie Douglas was born on a farm in the middle of nowhere in Mississippi, the first of 13 siblings. When she was seven, her family moved closer to Memphis, Tennessee, and little Lizzie took up the banjo. Banjo led to guitar, guitar led to gigs, and gigs led to dreams. She was a prodigious talent, and “Kid” Douglas ran away from home to play for tips on Beale Street when she was just a teenager. She began touring around the South, adopted the moniker Memphis Minnie, and eventually joined the circus for a few years.
(Are you not totally intrigued by the story of this incredible woman? Why did she run away from home? Why did she fall in love with the guitar? We haven’t even touched on how remarkable her songwriting is. This is a singular pioneer of guitar history, and we beseech you to read Woman with Guitar: Memphis Minnie’s Blues by Beth and Paul Garon.)
Following the end of World War I, Hawaiian music enjoyed a rapid rise in popularity. On their travels around the U.S., musicians like Sol Ho’opi’i became fans of Louis Armstrong and the New Orleans Rhythm Kings, leading to a great cross-pollination of Hawaiian music with jazz and blues. This potent combination proved popular and drew ever-larger audiences, which created a significant problem: How on earth would an audience of thousands hear the sound from a wimpy little acoustic guitar?
This art deco pickguard offers just a bit of pizzazz to an otherwise demure instrument.
In the late 1920s, George Beauchamp, John and Rudy Dopyera, Adolph Rickenbacker, and John Dopyera’s nephew Paul Barth endeavored to answer that question with a mechanically amplified guitar. Working together under Beauchamp and John Dopyera’s National String Instrument Corporation, they designed the first resonator guitar, which, like a Victrola, used a cone-shaped resonator built into the guitar to amplify the sound. It was definitely louder, but not quite loud enough—especially for the Hawaiian slide musicians. With the guitars laid on their laps, much of the sound projected straight up at the ceiling instead of toward the audience.
Barth and Beauchamp tackled this problem in the 1930s by designing a magnetic pickup, and Rickenbacker installed it in the first commercially successful electric instrument: a lap-steel guitar known affectionately as the “Frying Pan” due to its distinctive shape. Suddenly, any stringed instrument could be as loud as your amplifier allowed, setting off a flurry of innovation. Electric guitars were born!
“At the time it was positively futuristic, with its lack of f-holes and way-cool art deco design on the pickup.”
By this time, Memphis Minnie was a bona fide star. She recorded for Columbia, Vocalion, and Decca Records. Her song “Bumble Bee,” featuring her driving guitar technique, became hugely popular and earned her a new nickname: the Queen of Country Blues. She was officially royalty, and her subjects needed to hear her game-changing playing. This is where she crossed paths with our old pals over at National.
National and other companies began adding pickups to so-called Spanish guitars, which they naturally called “Electric Spanish.” (This term was famously abbreviated ES by the Gibson Guitar Corporation and used as a prefix on a wide variety of models.) In 1935, National made its first Electric Spanish guitar, renamed the New Yorker three years later. By today’s standards, it’s modestly appointed. At the time it was positively futuristic, with its lack of f-holes and way-cool art deco design on the pickup.
There’s buckle rash and the finish on the back of the neck is rubbed clean off in spots, but that just goes to show how well-loved this guitar has been.
Memphis Minnie had finally found an axe fit for a Queen. She was among the first blues guitarists to go electric, and the New Yorker fueled her already-upward trajectory. She recorded over 200 songs in her 25-year career, cementing her and the National New Yorker’s place in musical history.
Our National New Yorker was made in 1939 and shows perfect play wear as far as we’re concerned. Sure, there’s buckle rash and the finish on the back of the neck is rubbed clean off in spots, but structurally, this guitar is in great shape. It’s easy to imagine this guitar was lovingly wiped down each time it was put back in the case.
There’s magic in this guitar, y’all. Every time we pick it up, we can feel Memphis Minnie’s spirit enter the room. This guitar sounds fearless. It’s a survivor. This is a guitar that could inspire you to run away and join the circus, transcend genre and gender, and leave your own mark on music history. As a guitar store, watching guitars pass from musician to musician gives us a beautiful physical reminder of how history moves through generations. We can’t wait to see who joins this guitar’s remarkable legacy.
SOURCES: blackpast.org, nps.gov, worldmusic.net, historylink.org, Memphis Music Hall of Fame, “Memphis Minnie’s ‘Scientific Sound’: Afro-Sonic Modernity and the Jukebox Era of the Blues” from American Quarterly, “The History of the Development of Electric Stringed Musical Instruments” by Stephen Errede, Department of Physics, University of Illinois at Urbana-Champaign, IL.
In our third installment with Santa Cruz Guitar Company founder Richard Hoover, the master luthier shows PG's John Bohlinger how his team of builders assemble and construct guitars like a chef preparing food pairings. Hoover explains that the finer details like binding, headstock size and shape, internal bracing, and adhesives are critical players in shaping an instrument's sound. Finally, Richard explains how SCGC uses every inch of wood for making acoustic guitars or outside ventures like surfboards and art.
We know Horsegirl as a band of musicians, but their friendships will always come before the music. From left to right: Nora Cheng, drummer Gigi Reece, and Penelope Lowenstein.
The Chicago-via-New York trio of best friends reinterpret the best bits of college-rock and ’90s indie on their new record, Phonetics On and On.
Horsegirl guitarists Nora Cheng and Penelope Lowenstein are back in their hometown of Chicago during winter break from New York University, where they share an apartment with drummer Gigi Reece. They’re both in the middle of writing papers. Cheng is working on one about Buckminster Fuller for a city planning class, and Lowenstein is untangling Austrian writer Ingeborg Bachmann’s short story, “Three Paths to the Lake.”
“It was kind of life-changing, honestly. It changed how I thought about womanhood,” Lowenstein says over the call, laughing a bit at the gravitas of the statement.
But the moment of levity illuminates the fact that big things are happening in their lives. When they released their debut album, 2022’s Versions of Modern Performance, the three members of Horsegirl were still teenagers in high school. Their new, sophomore record, Phonetics On and On, arrives right in the middle of numerous first experiences—their first time living away from home, first loves, first years of their 20s, in university. Horsegirl is going through changes. Lowenstein notes how, through moving to a new city, their friendship has grown, too, into something more familial. They rely on each other more.
“If the friendship was ever taking a toll because of the band, the friendship would come before the band, without any doubt.”–Penelope Lowenstein
“Everyone's cooking together, you take each other to the doctor,” Lowenstein says. “You rely on each other for weird things. I think transitioning from being teenage friends to suddenly working together, touring together, writing together in this really intimate creative relationship, going through sort of an unusual experience together at a young age, and then also starting school together—I just feel like it brings this insane intimacy that we work really hard to maintain. And if the friendship was ever taking a toll because of the band, the friendship would come before the band without any doubt.”
Horsegirl recorded their sophomore LP, Phonetics On and On, at Wilco’s The Loft studio in their hometown, Chicago.
These changes also include subtle and not-so-subtle shifts in their sophisticated and artful guitar-pop. Versions of Modern Performance created a notion of the band as ’90s college-rock torchbearers, with reverb-and-distortion-drenched numbers that recalled Yo La Tengo and the Breeders. Phonetics On and On doesn’t extinguish the flame, but it’s markedly more contemporary, sacrificing none of the catchiness but opting for more space, hypnotic guitar lines, and meditative, repeated phrases. Cheng and Lowenstein credit Welsh art-pop wiz Cate Le Bon’s presence as producer in the studio as essential to the sonic direction.
“On the record, I think we were really interested in Young Marble Giants—super minimal, the percussiveness of the guitar, and how you can do so much with so little.”–Nora Cheng
“We had never really let a fourth person into our writing process,” Cheng says. “I feel like Cate really changed the way we think about how you can compose a song, and built off ideas we were already thinking about, and just created this very comfortable space for experimentation and pushed us. There are so many weird instruments and things that aren't even instruments at [Wilco’s Chicago studio] The Loft. I feel like, definitely on our first record, we were super hesitant to go into territory that wasn't just distorted guitar, bass, and drums.”
Nora Cheng's Gear
Nora Cheng says that letting a fourth person—Welsh artist Cate Le Bon—into the trio’s songwriting changed how they thought about composition.
Photo by Braden Long
Effects
- EarthQuaker Devices Plumes
- Ibanez Tube Screamer
- TC Electronic Polytune
Picks
- Dunlop Tortex .73 mm
Phonetics On and On introduces warm synths (“Julie”), raw-sounding violin (“In Twos”), and gamelan tiles—common in traditional Indonesian music—to Horsegirl’s repertoire, and expands on their already deep quiver of guitar sounds as Cheng and Lowenstein branch into frenetic squonks, warped jangles, and jagged, bare-bones riffs. The result is a collection of songs simultaneously densely textured and spacious.
“I listen to these songs and I feel like it captures the raw, creative energy of being in the studio and being like, ‘Fuck! We just exploded the song. What is about to happen?’” Lowenstein says. “That feeling is something we didn’t have on the first record because we knew exactly what we wanted to capture and it was the songs we had written in my parents’ basement.”
Cheng was first introduced to classical guitar as a kid by her dad, who tried to teach her, and then she was subsequently drawn back to rock by bands like Cage The Elephant and Arcade Fire. Lowenstein started playing at age 6, which covers most of her life memories and comprises a large part of her identity. “It made me feel really powerful as a young girl to know that I was a very proficient guitarist,” she says. The shreddy playing of Television, Pink Floyd’s spacey guitar solos, and Yo La Tengo’s Ira Kaplan were all integral to her as Horsegirl began.
Penelope Lowenstein's Gear
Penelope Lowenstein likes looking back at the versions of herself that made older records.
Photo by Braden Long
Effects
- EarthQuaker Westwood
- EarthQuaker Bellows
- TC Electronic PolyTune
Picks
- Dunlop Tortex 1.0 mm
Recently, the two of them have found themselves influenced by guitarists both related and unrelated to the type of tunes they’re trading in on their new album. Lowenstein got into Brazilian guitar during the pandemic and has recently been “in a Jim O’Rourke, John Fahey zone.”
“There’s something about listening to that music where you realize, about the guitar, that you can just compose an entire orchestra on one instrument,” Lowenstein says. “And hearing what the bass in those guitar parts is doing—as in, the E string—is kind of mind blowing.”
“On the record, I think we were really interested in Young Marble Giants—super minimal, the percussiveness of the guitar, and how you can do so much with so little,” Cheng adds. “And also Lizzy Mercier [Descloux], mostly on the Rosa Yemen records. That guitar playing I feel was very inspiring for the anti-solo,[a technique] which appears on [Phonetics On and On].”This flurry of focused discovery gives the impression that Cheng and Lowenstein’s sensibilities are shifting day-to-day, buoyed by the incredible expansion of creative possibilities that setting one’s life to revolve around music can afford. And, of course, the energy and exponential growth of youth. Horsegirl has already clocked major stylistic shifts in their brief lifespan, and it’s exciting to have such a clear glimpse of evolution in artists who are, likely and hopefully, just beginning a long journey together.
“There’s something about listening to that music where you realize, about the guitar, that you can just compose an entire orchestra on one instrument.”–Penelope Lowenstein
“In your 20s, life moves so fast,” Lowenstein says. “So much changes from the time of recording something to releasing something that even that process is so strange. You recognize yourself, and you also kind of sympathize with yourself. It's a really rewarding way of life, I think, for musicians, and it's cool that we have our teenage years captured like that, too—on and on until we're old women.”
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Last summer, Horsegirl gathered at a Chicago studio space to record a sun-soaked set of new and old tunes.