
Horsegirl is (from left to right) guitarists Penelope Lowenstein and Nora Cheng, with drummer Gigi Reece.
Fueled by youthful bravado and an explosive retro-futuristic sound, this young punk-rock power trio blasts the lid off your expectations with their debut, Versions of Modern Performance.
Since the dawn of garage rock, basements and carports across America have played host to untold thousands of high school friends looking to fulfill that insatiable need to form a band. And, of course, it’s never easy, but even when everything clicks, it’s probably safe to say that not many of them wind up getting signed to the genre-defining indie rock label Matador Records on their first try.
“For us, it started purely as three teenagers who were doing it for fun,” gushes Penelope Lowenstein—at 18, the youngest member of the teenaged three-piece Horsegirl, who in the short span of three years have gone from jamming together in their parents’ basements to, this October, opening for the legendary alt-rock outfit Pavement on their much-touted reunion tour. “I don’t know how it usually happens for bands, but it was just this weird moment where suddenly we were on peoples’ radar. Eventually we recorded a bunch of demos, put them on Soundcloud, and sent them to all the labels who had become interested, and that’s how we were connected with Matador.”
It isn’t easy to make good songwriting sound effortless, but this power trio—and they are definitely that—is making it happen.
There’s more to the story, but for now here’s the nitty-gritty: Versions of Modern Performance, Horsegirl’s debut album, is 34 minutes of voluminous sonic joy, tracked in its entirety at Steve Albini’s stalwart Electrical Audio and produced by studio vet John Agnello, whose prestigious credits include work with Dinosaur Jr., Sonic Youth, the Dream Syndicate, and Kurt Vile, to name just a few. Lowenstein switches off on guitar, bass, and vocals with Nora Cheng. They met and cemented their friendship while taking part in the School of Rock program in their native Chicago. (Sidenote: They first played together in a cover band that featured, you guessed it, Sonic Youth songs on the setlist). Gigi Reece, Horsegirl’s drummer, joined in early 2019, bringing an instant powerhouse backbeat to the band’s sound, which surges with a psychedelic fervor that conjures tastes of the Velvet Underground and Nico, My Bloody Valentine, Stereolab, and Yo La Tengo—again, to name just a few.
Beautiful Song
“We were brought together by this shared love for the same kind of music,” says Cheng, describing how the resurgent Chicago scene, tough-to-crack but nurturing when it counted, eventually helped propel Horsegirl into the spotlight. They recorded their first single, the cavernous and hauntingly folk-tinged “Ballroom Dance Scene,” with their friends Jack Lickerman and Niko Kapetan (whose own band, Friko, has carved out a distinctive dream-pop niche). Eventually the Chicago Tribune came calling, running a high-profile feature on Horsegirl that sparked a critical buzz. “This was after more and more bands had started popping up that seemed to share similar influences with us, or the same ethos, I guess you could call it,” Cheng observes. “I don’t know exactly how it happened, but it all turned into a very supportive, young community.”
In a sense then, Versions of Modern Performance is as much a reflection of the scene that elevated Horsegirl as it is the band’s full-throated statement of purpose. From the sharp angles and resonant chords of the uptempo opener “Anti-glory” to the layers of sludge and whistling guitars in the mournful “Billy” (loosely inspired, with its E–B–E–B–E–B tuning, by the music of Nick Drake), the album conveys a warm, enveloping analog atmosphere where heavy-leaded psych rock, recombinant proto-punk, wistful indie-pop melodies, and volcanic blooms of guitar feedback all collide in a crucible of spontaneity. Infuse all that with a healthy dose of controlled chaos and the multi-colored picture of what Horsegirl is all about begins to take shape.
Nora Cheng’s Gear
Nora Cheng gets sonic with her Ibanez Roadstar II at the Sinclair in Cambridge, Massachusetts, on August 7, 2022.
Photo by Tim Bugbee/Tinnitus Photography
Guitars
• Ibanez Roadstar II
• Fender Jaguar
Amps
• Vox AC30
• Fender Twin Reverb
Effects
• Ibanez Tube Screamer
• Keeley Electronics Loomer Fuzz/Reverb
Strings and Picks
• Ernie Ball Regular Slinkys (.010–.046)
• Various picks
“We had a very clear idea of how we wanted this record to sound,” Cheng says, referring to the band’s initial sessions with Agnello. “The main thing was to stay away from being too polished. We wanted it to sound like our live set. It just goes with the idea of us being a trio, and wanting to capture that live sense on the record. And it was really helpful to have somebody working with us who understood that.”
“It was hard to keep up on an actual bass, but the Bass VI made it easy for my hands. It was also a huge turning point for us songwriting-wise, because as a guitarist I can only think of it in guitar terms.” —Penelope Lowenstein
Daunted only slightly at first by the magnitude of recording at Electrical Audio (“it was crazy to see Fugazi’s thank-you note taped to the fridge there!” recalls Cheng), the trio quickly took to their surroundings and established a free-flowing collaborative rapport with their producer. “I think John’s philosophy was very much like, ‘If we get a good live energy going between the three of you, then you don’t really have to add very much else,’” Lowenstein recalls. The band set about duplicating their live setup, with Cheng relying on her Ibanez Roadstar II (her dad’s college guitar) running through a Vox AC30 or a Fender Twin, while Lowenstein played her early ’90s Fender Strat Ultra (which once belonged to her dad), often through a Fender Hot Rod Deluxe. Interestingly, both guitarists also use coiled guitar cables from axe to pedalboard—a bit of an old-school move that’s perceived by many players as a midrange tone thickener, due to the cable’s length and high capacitance.
Penelope Lowenstein’s Gear
Penelope Lowenstein plays the Squier Classic Vibe Bass VI that she shares with Cheng. The instrument’s guitar-like playability made it an inspiration for songwriting for the band’s debut album.
Photo by Tim Bugbee/Tinnitus Photography
Guitars
• Early ’90s Fender Stratocaster Ultra
• Fender Jazzmaster
• Squier Classic Vibe Bass VI (also used by Nora Cheng)
Amps
• Fender Hot Rod Deluxe
Effects
• EarthQuaker Westwood Translucent Drive Manipulator
• EarthQuaker Bellows Fuzz Driver
Strings and Picks
• Ernie Ball Regular Slinkys (.010–.046)
• Various picks
For the low end, they switch off on a Squier Classic Vibe Bass VI, which Lowenstein acquired from a friend. “I’m still trying to figure out what it needs amp-wise when we play live,” she admits, “but it was really a solution to being in a trio. It was hard to keep up on an actual bass, but the Bass VI made it easy for my hands. It was also a huge turning point for us songwriting-wise, because as a guitarist I can only think of it in guitar terms, but because it’s not a bass I feel like it lets me write whatever the song needs. Sometimes I’ll do low-end things, and sometimes I’ll almost take a guitar solo on it.”
Naturally, both players have embraced the expressive scope of effects pedals, and distortion in particular. Cheng prefers her Ibanez Tube Screamer for most songs, but on the ironically titled “The Fall of Horsegirl,” the violin bow comes out (shades of Jimmy Page!) and she leans into a Keeley Electronics Loomer fuzz/reverb box. “I got it when I was really big into My Bloody Valentine,” she reveals, “and it has some really cool—I think they’re reverse—reverb sounds. We just cranked a bunch of stuff on it like, ‘Okay, what sounds cool with the bow?’ And it turned into this very big, cathedral-like sound. It’s noisy, but it’s also a bit beautiful. That came from a lot of experimentation.”
“The idea behind interludes is not just to be there for no reason. They’re meant to break apart the album and let you settle after this one and prepare for this next one.” —Nora Cheng
Lowenstein comes back to “Billy,” the album’s closing track. “I’ve basically stolen my dad’s Jazzmaster to play just that one song on tour, because it’s ridiculous to retune like that,” she says. “But I have an EarthQuaker Westwood on it—that’s the sound of my main distortion. I also use a Bellows pedal with it near the end. Whenever we want a crazy Horsegirl ending, I just hit the Bellows and it does the rest.”
Horsegirl’s itch for sonic exploration gets scratched on the album’s three brief interludes: the the cavernous “Bog Bog 1,” the feedback-soaked “Electrolocation 2,”and “The Guitar Is Dead 3,” which features all three band members seated at one piano, plunking out a single mournful chord progression that gets processed through a building wave of echo and delay.Horsegirl digs into a song from their new record onstage at the Sinclair in Cambridge, Massachusetts.
Photo by Tim Bugbee/Tinnitus Photography
“I guess the idea behind interludes is not just to be there for no reason,” Cheng says. “They’re meant to break apart the album and let you settle after this one and prepare for this next one. And something interesting about that was we’d developed interludes just playing them live, so it was something that was maybe natural for us to do anyway.”
The band’s most compelling collective trait is their willingness to explore all these possibilities together, as a unit. “Dirtbag Transformation (Still Dirty),” their latest single, is a beautiful example: Over a Breeders-like groove, Cheng and Lowenstein lay into chords that bend and move between Reece’s loping rhythm with judicious use of the whammy bar. “I play my Strat on that one,” Lowenstein recalls. “That’s the only song we recorded with two guitar parts first, and then we added the bass part. We’ve rearranged it live so Nora plays bass and I play a hybrid of the two guitar parts.” The song also moves between minor- and major-sounding moods, and tails out on a sunny coda where both singers take up the underlying wordless melody in unison.
What makes Versions of Modern Performance such a solid and endlessly accessible debut is how the band managed to harness their freewheeling sense of abandon into the rigid structure that memorable songs demand.
Further on, “World of Pots and Pans,” played in open E, harnesses the band’s psychedelic-punk leanings, as does the epic “Homage to Birdnoculars.” The song is a roiling workout that feels seamlessly drawn, with its simple two-note anchoring guitar melody and the recurring lyric “fall into my wormhole,” sounding inspired by the modern Texas-psych blueprint perfected by bands like the Black Angels. But it would be a mistake to try to pigeonhole Horsegirl’s sound as the sum of any set of perceived influences. What makes Versions of Modern Performance such a solid and endlessly accessible debut is how the band managed to harness their freewheeling sense of abandon into the rigid structure that memorable songs demand. It isn’t easy to make good songwriting sound effortless, but this power trio—and they are definitely that—is making it happen. And together with Agnello at the mixing desk they’ve crafted an album that merits repeated Saturday night listens in—where else?—the nearest basement you can find that’s tricked out for sound and kicked-back listening.
Cheng describes “Beautiful Song,” the album’s oceanic second track, as a vivid snapshot of what the band sought to harness and then release. “That’s how we want people to listen to us,” she says. “We all really enjoy the process of listening to a record all the way through, so it was something that we were thinking about. A record was the goal, from even before we had enough songs to make one. And there’s the typical first song that’s strong and sets the tone for the album, but I think the second song is underrated. I tend to really like second songs, because to me, that’s when we’re in the album.”
Recording at Steve Albini’s famed Electrical Audio studio was initially intimidating, but the trio doubled-down to make a compelling, vibrant live-vibe album that recalls primal Sonic Youth.
“I think this is the hardest we’ve all worked in our lives,” Lowenstein asserts, citing the hurdles Horsegirl had to overcome as a band of teenagers seeking entry into an adult world.
Their journey from the hyper-competitive live venues of Chicago to the hallowed studio spaces of Electrical Audio has been a rollercoaster, but, through it all, friendship and an ever-nurturing sense of community have kept them grounded. “We wrote all these songs while we were living this experience. Throughout high school, we were a live band. It was just what we love to do. And where we are right now feels like a really important thing to share with everyone. It’s very special to us.”
Horsegirl - Full Performance (Live on KEXP)
The band runs through some of the meatier cuts from their new album (as well as the fan fave “Ballroom Dance Scene”). Nora Cheng opens with her Fender Jaguar, tuned to open E, and then switches to her reliable Ibanez Roadstar II, while Penelope Lowenstein holds down the harmonic interplay and lower frequencies on her Squier Bass VI.
Pristine tone and total control from Chase Bliss Clean! Enter the I Love Pedals giveaway now and don’t forget to return daily for more chances to win!
Chase Bliss Clean
Clean began its life as a question: Can clean be as fun as dirty?
Developed slowly and through a variety of experiments, Clean explores the wild side of compression and brings the interactivity of distortion circuits to a clean signal.
Two stages of compression, 100% analog, and true stereo. Everything you need to complete your sound.
Two Notes Unveil the Next Giant Leap in Their Reactive Load Box Legacy With Reload II
Introducing Torpedo Reload II - Two Notes Audio Engineering's latest groundbreaking reactive load solution, featuring twin-channel operation, multi-impedance compatibility, and continuous attenuation. With a Celestion® Approved Load Response and 215W per channel power amplifier, Reload II redefines backline control.
Two Notes Audio Engineering, the world's leading innovator and manufacturer of load boxes, attenuators, and digital cabinet emulators, has just announced Torpedo Reload II - The latest installment in Two Notes’ class-leading reactive load solution legacy marking the definitive watershed in contemporary backline control.
Featuring twin-channel operation, selectable multi-impedance compatibility, and true continuous attenuation, Reload II is Two Notes’ most advanced Load Box to date. Its mission is simple: unleash the power of any amplifier or line-level source without compromise. Armed with a ground-up rework of their defining reactive load for a Celestion® Approved Load Response, the match is set to drive any amp’s power stage (rated up to 200W RMS) to perfection, retaining all the sonic integrity your performance demands. Scalable from a whisper to a full-throttle onslaught, Reload II’s ultra-transparent dual-mono 215W (per channel) amplifier/attenuator and paired speaker outputs preserve every facet of your tone. Add a Stereo FX Loop, dual Line outputs, and GENOME Reload II Edition (software download) into the mix and Reload doesn't just enhance your rig, it redefines it.
“When it came to developing Reload II, it was obvious this couldn't be a run-of-the-mill update of its predecessor. Fuelled by an ethos rooted in continual redefinition of contemporary backline control, we set our sights on a ground-up rework of our defining reactive load. The results speak for themselves: hands-down the best-in-class impedance match available on the market to date and the first reactive Load Box to feature an industry first Celestion® Approved Load Response.” Said Guillaume Pille, Two notes CEO. “Whether it’s a tube amp, a line level source, or even both simultaneously, all the hookup flexibility you demand from a Two Notes product is here. Throw a 215W (per cab output) power amplifier into the mix, and you’re primed with everything from studio-friendly silent loadbox operation to mainstage-ready source amplification. If that wasn't enough, there’s a suite of expertly-tuned tone-shaping tools - plus a super-versatile Stereo/Dual Mono FX loop - that all combine to make Reload II our most adaptable solution to date. The next generation of our Reactive Load legacy has arrived. It’s now up to you to reimagine your backline with everything the Two Notes ecosystem has to offer!
Reload II is now available for pre-order from Two Notes stockists worldwide, scheduled for shipping Q1 2025. At launch, Reload II ships with the following MAP / MSRPs
US: $999.99 (MAP)
Euro: 999.99€ (MSRP)
GBP - £849.99 (MSRP)
For more information, please visit two-notes.com.
Introducing Torpedo Reload II - YouTube
On That’s the Price of Loving Me, “We’re Not Finished Yet” is a love letter to Wareham’s 1968 Gibson ES-335.
The singer-songwriter-guitarist, known for his time with indie rock heroes Galaxie 500, Luna, and Dean & Britta, reunites with producer Kramer on his latest song-driven solo effort, That’s the Price of Loving Me.
“You want there to be moments where something unexpected hits you,” says Dean Wareham. “They’ve done studies on this. What is it in a song that makes people cry? What is it that moves you? It’s something unexpected.”
The singer-songwriter, 61, has crafted many such moments—most famously during the late ’80s and early ’90s, helping cement the dream-pop genre with cult-favorites Galaxie 500. Take the tenor saxophone, by Ralph Carney, that elevates the back half of “Decomposing Trees” from 1989’s On Fire, or the Mellotron-like atmosphere that bubbles up during “Spook” on This Is Our Music from 1990—both of which, notably, were recorded with journeyman producer Kramer, who’s part of Wareham’s rich sonic universe once again with the songwriter’s new solo album, That’s the Price of Loving Me.
Following This Is Our Music, the final Galaxie 500 album, Wareham and Kramer went their separate ways. The former founded the long-running indie-rock band Luna, formed the duo Dean & Britta with now-wife Britta Phillips, worked on film scores, and released a handful of solo projects. Kramer, meanwhile, grew into a hero of experimental music, playing with and producing everyone from John Zorn to Daniel Johnston. They stayed in touch, even as they drifted apart geographically, and always talked about working together again—but it took the weight of mortality to make it happen.
“[Kramer has] been saying for years, ‘It’s crazy we haven’t made a record together,’” says Wareham over Zoom, his shimmering silver hair flanked in the frame by a wall-hung cherry red Gibson SG and a poster of Rainer Werner Fassbinder’s 1975 drama Faustrecht der Freiheit. “He was living in Florida, and I was living elsewhere and doing other things. But I did lose a couple of friends over the pandemic, and it did occur to me, you can’t just say, ‘I’ll get to it’ forever. Not to be morbid, but we’re not gonna be here forever. We’re not getting any younger, are we?”
Dean Wareham's Gear
Wareham was a member of the early indie dream-pop trio Galaxie 500. After their split, he formed indie rock stalwarts Luna as well as Dean & Britta, with wife and Luna bandmate Britta Phillips.
Photo by Laura Moreau
Guitars
Amps
- Lazy J 20
- Mesa/Boogie California Tweed
Effects
- EAE Hypersleep reverb
- EAE Sending analog delay
- Dr Scientist Frazz Dazzler fuzz
- Danelectro Back Talk
- Joe Parker Raydeen overdrive
Strings, Picks, and Accessories
- Curtis Mangan nickel wounds (.010–.046)
- Dunlop Nylon .88 mm picks
- Truetone 1 Spot Pro CS12
In 2020, Dean & Britta recorded a covers album, Quarantine Tapes—the perfect opportunity, amid the agony of lockdown, to finally get Kramer involved. The producer mixed their hazy version of the Seekers’ “The Carnival Is Over,” which planted the seeds for a bigger collaboration on That’s the Price of Loving Me. At first, though, Wareham didn’t have any songs, so he gave himself a hard deadline by booking some time at L.A. studio Lucy’s Meat Market.
“What is it in a song that makes people cry? What is it that moves you? It’s something unexpected.”
“I don’t write songs every day—sometimes I don’t write songs for a whole year or something,” he says with a laugh. “The only thing that gets me to do it is booking studio time. Then I have to write some songs because it’ll be embarrassing if I show up with nothing.”
The space itself—decked out with a jaw-dropping amount of vintage guitars and amplifiers and keyboards—helped animate his sleepy-eyed and gently psychedelic songs. “I thought I had a few nice instruments,” Wareham says, “but I showed up, like, ‘Oh, your Les Paul’s from 1955? I think I’ll play this one. Your Martin is from the ’40s?’” Speed and spontaneity were essential: They worked six full days, with Kramer guiding him to capture every performance without overthinking it.
Wareham’s latest was produced by Kramer, a former member of Shockabilly, Bongwater, and the Butthole Surfers who owns the legendary underground label Shimmy-Disc. He produced all three Galaxie 500 LPs.
“[That’s] how I worked with Kramer back in the day too,” he recalls. “Maybe it kinda spoiled me—he was always like, ‘Yep, that’s it. Next!’ I got lazy about going back and redoing things. We’d make the decision and move on: keep that drum track and bass track. Maybe Britta [bass, backing vocals] would change a few things. Sometimes you’re with people who think every single thing should be replaced and made perfect, and you don’t actually have to do that. When it came time for me to overdub a guitar solo or something, Kramer would just allow me two takes generally: ‘Do it again a little differently. That’s it. That’s good.’”
“I thought I had a few nice instruments, but I showed up, like, ‘Oh, your Les Paul’s from 1955? I think I’ll play this one.’”
The material itself allowed for such malleability, with ringing chord progressions and gentle melodies often influenced by the musicians who happened to be gathered around him that day. “You Were the Ones I Had to Betray” has the baroque-pop sweetness of late-’60s Beatles, partly due to the sawing cellos of L.A. session player Gabe Noel, who also added some boomy bass harmonica to the climax. “It’s an instrument you’d mostly associate with the Beach Boys, I guess,” Wareham says. “It kinda sounds like a saxophone or something.”
Wareham, his 335, and Mesa/Boogie California Tweed at a recent Luna show, with bassist Britta Phillips in the background.
Photo by Mario Heller
It’s easy to get wrapped up in the warm hug of these arrangements, but it’s also worth highlighting Wareham’s lyrics—whether it’s the clever but subtle acrostic poetry of “The Mystery Guest” (“I’d never done that before, and it’s not that hard to do actually. Sometimes it’s just to give yourself a strange assignment to get yourself thinking in a different way”) or the hilarity of “We’re Not Finished Yet,” which scans as carnal but is actually a love letter to his semi-recently acquired 1968 Gibson ES-335.
“Sometimes it’s just to give yourself a strange assignment to get yourself thinking in a different way.”
“I read this poem about a guy polishing an antique wooden cabinet or something,” Wareham explains. “I thought, ‘That’s funny—it’s vaguely sexual, how he’s like rubbing this thing.’ I thought it would be funny if I wrote a song not about a piece of furniture but about the guitar—the experience of buying this. The lyrics in there: ‘I waxed you; I rubbed you; I reamed you.’ It all sounds like a dirty song, but it’s like, ‘No, I had to get the peg holes reamed!’ It works kind of as a love song, but that’s what it’s really about.”
Which brings us back to that idea of the unexpected. The most beautiful touches on Loving Me, crafted with his ol’ producer pal, are the ones that appear out of nowhere—like the blossoming guitar overdubs of “New World Julie” and “Dear Pretty Baby.” Kramer, he says, liked to “run two or three guitar tracks at once, where it becomes a symphony of guitars.”
These surprises, indeed, are the moments that stick with you.
YouTube It
Luna’s four-song performance on KEXP showcases Dean Wareham’s sparse, low-key indie rock vibe as well as his simple and sweet guitar embellishments.
The Delecaster offers a passionate Mexican-culture spin on the tried-and-true Tele model.
Drawing on the appointments of the traditional acoustic instruments that have been the Delgado family’s stock-in-trade for three generations, a new take on the Tele is born.
Growing up as the son and grandson of luthiers renowned for their concert classical and flamenco guitars, I was immersed in the world of handcrafted instruments from a young age. While I learned the traditional techniques passed down through generations, my musical tastes spanned a wide spectrum, from the soulful melodies of boleros and mariachi to the raw energy of punk and folk. This diverse musical upbringing instilled in me a deep appreciation for the unique character and personality of different guitar styles.
At Delgado Guitars, we build more than 45 different types of stringed instruments that help players cover plenty of ground. Our concert classical guitars, bajo quintos, acoustic steel strings, and mariachi instruments are sought after by musicians worldwide, often with a waiting list. In recent years, we've expanded our lineup to include a modern classic with a twist: the Delecaster. It’s not an acoustic instrument, but bear with me. I think it’s a story worth sharing.
My vision for the Delecaster was to create an instrument that honored the iconic Telecaster design while infusing it with the distinct flavor of my Latin American heritage. I've always been drawn to the elegant simplicity and versatility of the Telecaster, but I also wanted to push the boundaries and explore new sonic possibilities.
“I've always been drawn to the elegant simplicity and versatility of the Telecaster, but I also wanted to push the boundaries and explore new sonic possibilities.”
”Each Delecaster is handcrafted in our workshop, where traditional techniques mingle with modern innovations. We use only fine tonewoods, carefully selected for their resonance and beauty. The body is typically crafted from lightweight ash, known for its bright and articulate sound. The maple neck provides a smooth and comfortable playing experience, while the 9.5"-radius, 25.5"-scale-length ebony fretboard adds a touch of warmth and sustain.
One of the hallmarks of the Delecaster is its unique aesthetic. I drew inspiration from the intricate inlay work and vibrant colors found in our traditional Latin American instruments, and incorporated these elements into the Delecaster's design. The binding is what you would see on our bajo sexto instruments and similar to designs on our vihuela or guitarrón. The purfling I have also used to create rosettes on requintos and jaranas. The vibrant colors are seen throughout Mexico’s art, architecture, and festivals. They have spiritual and mythological meanings, and can represent beliefs, passion, and tradition.
The combination of Fralin Vintage Hot Tele pickups and a 4-way switch system delivers a wide range of tonal possibilities, from classic Telecaster twang to thick, overdriven tones. The Wilkinson string-through bridge with compensated saddles ensures accurate intonation and sustain, while the Wilkinson tuners provide smooth and precise tuning, and the bone nut adds a touch of warmth and clarity to the overall tone.
At Delgado Guitars, we believe that the soul of an instrument lies in the hands of its maker. That’s why we don't rely on CNC machines, shapers, or assembly lines. I pour my heart and soul into each instrument. From the initial selection of tonewoods to the final setup and inspection, every step of the process is carried out with the utmost care and attention to detail. We take pride in our work, and the Delecaster demonstrates this passion.
The Delecaster is a work of art, a symbol of cultural fusion, and a testament to the power of human creativity. It’s an instrument designed to inspire musicians to express themselves in new and exciting ways. Wherever we’re from, isn’t that what we’re all looking for?