![]() One of the great things about Sometimes, Forever, though, is that it never feels self-consciously weird, as if Allison is angling for novelty or forcing her music into contexts where it doesn’t fit. Plus she’s shown a willingness to explore dark and abstract digital realms through collaborations with HEALTH and BJ Burton. But upon further consideration, Allison has been throwing surprise production tweaks into her songs since the first track on her first album, when the intimate “Still Clean” bottomed out into even sparser lo-fi near the end. At first Lopatin struck me as an odd match for an artist whose work evoked both scraggly ’90s indie rock acts like Helium, Liz Phair, and Pavement and more pop-leaning post-Y2K stars like Michelle Branch, Avril Lavigne, and Taylor Swift. The big news this time out is that Allison worked with the producer and composer Daniel Lopatin, aka Oneohtrix Point Never - known for his own tense, eerie work at the intersection of pop, classical, and experimental electronics and, more recently, his close working relationship with the Weeknd. But on Sometimes, Forever - the third Soccer Mommy album, out this week - she’s a long way from muddy DIY recordings. This, plus her knack for nifty chord-based guitar riffs, was central to Soccer Mommy’s appeal back when Allison was a teenager recording on a four-track at home in Nashville, and all of those skills remain crucial selling points here in her mid-twenties. Allison can distill a roiling cauldron of emotions into streamlined bursts of melody, sketching out vivid scenes and internal monologues with her moonbeam of a voice. “It’s a tidal wave or nothing at all.” The Soccer Mommy auteur’s songs have always exemplified that truth. “I don’t know how to feel things small,” Sophie Allison sings at the outset of her new album’s closing track.
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