在2020年代最好的一些时，就倾斜了一些，当Horsegirlare often reviewed as this decade’s answer to 80s and 90s alt-rock. But when we catch up with guitarists Nora Cheng and Penelope Lowenstein it’s clear that they’re not making music just for the Gen-Xer who ownsGoo在乙烯基上：远离它。佩内洛普说：“参加一场摇滚表演有一些赋予的能力，在账单上和人群中的每个人都在21岁。”“感觉就像：这是音乐us，，，，made by us. We grew up all in the same city, making it for彼此。”
That city is Chicago, home to a vibrant indie-rock scene consisting mostly of teenaged bands. While Horsegirl don’t make their influences a secret – a strong love forMy Bloody Valentine，，，，声音青年还有更多的声音Versions Of Modern Performance– it’s not the need to revive any particular sound that drives them. “Obviously we were influenced by those bands, that’s what made us want to start writing music,” Nora says. But at this point, we really are pushed forward by the other kids our age, who arereigniting吉他。”
“That’s why sometimes when I hear the nostalgia take on our music, it’s like… well, if you were in Chicago, seeing it, it really isn’t nostalgic, it’s such a youth movement,” Penelope adds. “The ‘nostalgia’ thing doesn’t feel like my reality.”
The band’s formation within a live scene inevitably led to them imbuing that intoVersions Of Modern Performance。作为芝加哥嘈杂的摇滚乐队，实际上只有一个工作室要录制它。。“这影响了我们如何看待语气和记录方式。只是乐队的感觉那里。这张专辑是用一种现场直观的环境写的，并录制了非常现场。”
很容易假设每个新乐队至少在某种程度上都是互联网的产物，因此听到芝加哥有机，离线场景的亲密关系是令人耳目一新的。我们很好奇诺拉（Nora）和佩内洛普（Penelope）如何看待他们被推动的以流媒体为中心的世界。“We’ve heard stories, like this guy who didn’t know what Galaxie 500 sounded like, for ages, but he kept hearing their name thrown around, but he never knew what they sounded like because he never found them in a record store,” Nora says. “It’s hard to have that kind of experience with music now.”
佩内洛普补充说：“事实是我正在反流。但是我确实对我们能够在互联网上找到如此多音乐的方式感到非常感激。但是，自从高中以来，我注意到我们的乐队特别收集了CD，我可以向您展示，坚持下去：这是我的CD系列。“最近我们都进入了体色音乐。我也有obsessions自从开始以我在网上消费音乐时从未有过的方式收集物理音乐以来的记录。”
这导致了乐队的紧密考虑Versions Of Modern Performance将作为物理物品存在。诺拉告诉我们：“在物理发行版中，轨道列表与流媒体的释放不同。”“因为 - 嗯，有多种原因。但是在身体上，我们希望这是您坐下来听整个事情的整个体验。这意味着，您可以在一开始就可以让乐器介绍进行几分钟。”
因此，数字版本有点grabier，从单个开始Anti-Glory：对流媒体巨人的态度的让步要求of bands. “As someone who’s making music now, it’s not great,” Penelope says, expanding on her “anti-streaming” thought from before. “The idea of putting a ton of work into a long thing, and then someone only listening to 30 seconds of your top song when you’ve made a lot of weirder stuff than that.Andthe fact that it’s a lot harder to be a living musician, when you’re not making any money from the way most people consume music. It is a frustrating reality to be a young person in.”
她认为改变即将到来吗？“我不能说。我们唯一的经历是在一个城市中成为一群孩子，主要是摇滚乐队的高中生。例如，我们的一个朋友在芝加哥经营着一个杂志，随着时间的流逝，人们真正期待着新版本的事物。我记得，我们正在拍摄视频Dirtbag Transformation (Still Dirty)有人带来了杂志的副本。我看到所有的孩子在我们拍摄，阅读并赶上正在发生的事情之前躺在四处闲逛。”
“I’m not saying it’s not the most convenient way to spread information anymore. But, when so much stuff is online, there is an appeal to analogue stuff. That, I think, connects to the fact that we’re just a trio that – if you give us the instruments, we can play it, you know, completely as it is on the record without needing a computer or anything else. I think that is very appealing.”
鲈鱼
Speaking of instruments: Horsegirl take an interesting approach to having a bass guitarist. Both Nora and Penelope swap between guitar and Bass VI as needed. “Penelope and I are both guitarists,” Nora says. “I’ve picked up a bass, and I don’t enjoy how it feels, it doesn’t feel natural to me. But with the Bass VI, you can do low end stuff and high end stuff. It’s also a familiar dimension and feel. It just seemed like something that would have been very helpful to us in this trio formation.”
“Ido notlike playing bass. Ilikeplaying Bass VI,” Penelope adds. “It’s so its own instrument in a way that you can’t think about it in the context of anything other than ‘here’s the song we’re writing. This is kind of what’s developing with the regular guitar, here’s what the drums are doing. What is the third piece of that?’ You don’t have to think about ‘a bassline’, as such.
“作为一个训练有素的人，我一直在努力停止思考我被教过的东西，拿起没有人告诉我如何演奏的乐器真是太酷了。”
Nora expands on how they integrate it into songwriting. “If it starts with the guitar part, and then we add in the Bass VI, it’s not like ‘okay, let’s write the bass part.’ It’s more, let’s try this and see what sounds good with this instrument. And sometimes it doesn’t work out on Bass VI, and we have a song with just guitars. It’s all just experimentation.”
“And the switching between us literally just comes out of, if someone writes a song that starts with the bass part, they’ll play the bass part, or someone writes a song that starts with the guitar part, they play the guitar part,” Penelope says. “Or just what’s easiest to sing and play.”
This democratic approach works well for noisy indie rock, of course, where ‘showing off your sick skills’ on a particular instrument takes a back seat to creating texture. “I do feel like something that I’ve come to realise is very special about Horsegirl is that the mentality of ‘showing off’ just kind of… isn’t there?” Penelope says. “We’re all very focused on what the effect of the three of us playing together is like.” She then brings up perhaps the ultimate example: “I watched某种怪物，Metallica纪录片。次数自我出现只是吹我的想法，因为 - 我从不强调，哦，诺拉，诺拉试图炫耀。那不是我们拥有的动态。我感到很幸运。”
Born in theright一代
三个制作嘈杂的独立摇滚与著名功能失调的金属乐队的年轻人之间的比较也许不是一个有用的。吉他音乐的世界太大而复杂。但是，不幸的是，每当一个年轻的乐队出现在五分钟前的影响力时，“这支乐队会拯救吉他音乐吗？”热量是不可避免的。但是，这些沉闷的热使与现实接触的散发消失了，而Horsgirl的一部分防守是对当前吉他乐队的真正热情。
佩内洛普说：“我认为吉他音乐变得更加有趣。”“就像，我认为现在正在制作的许多吉他音乐非常有创造力。有很多安静，最小的吉他音乐超级酷。然后有像Black Midi这样的乐队，就像疯狂的。我不认为摇滚音乐已经死了。”
诺拉补充说：“我只是认为这是不同的。我觉得有各种各样的阶段，就像‘哦，这是新事物 - 吉他音乐吗？没有人会再关心这一点了。’但是，它总是以不同的形式坚持下去。它不会消失。这是一种非常通用的乐器。有时也许似乎不是 - 但确实是。”
那么马女儿的下一步是什么？专辑二显然是对话的一部分。诺拉说：“我们经常谈论这件事。”“我认为有时会有乐队的第二张唱片，您可以进行更多的实验性，也可以流行更多。老实说，我觉得我们可能同时参加。流行旋律中有美丽”
佩内洛普（Penelope）很快就澄清了：“不过，不要流行生产！”
Versions Of Modern Performance是现在出来。