Album Review: Soccer Mommy - Clean
There’s something, possibly intentionally, cloying about the
name ‘Soccer Mommy,’ the moniker that Sophie Allison has been releasing music
under for the last three years. Maybe it’s the inclusion of the word ‘mommy,’
or maybe it’s the subversive play on the suburban stereotype, but at first
glance, it comes off like a band that doesn’t take itself very seriously.
Originally a one-person project, Allison began releasing EPs
onto the internet when she was barely out of high school—efforts with titles
like Songs For The Recently Sad or Songs From My Bedroom; from there, the
project slowly began to grow. The eight song effort, For Young Hearts, outside of a gratis digital release, was also
available on cassette via Orchid Tapes, and less than a year ago, Allison
signed to the renowned indie label Fat Possum, and issued Collection, a gathering of six old (and re-recorded) songs, plus
two brand new ones.
Clean can be seen
as Soccer Mommy’s proper debut—the band is no longer really just Allison,
though she is still obviously the voice, as well as the face, behind the name.
The album, much like the band’s name, is maybe a little cloying. Throughout the
album’s nine songs (plus one short instrumental segue), Allison walks a
tightrope between cutesy pop song clichés and being incredibly blunt—often
blurring the lines between the two. The result is an unassuming yet impressive,
and at times, startlingly catchy listen that allows its deep roots in 1990s
alternative rock and on-point song writing to sneak up on you.
At its core, Clean
is an album about young love and heartbreak—the two go hand in hand, don’t
they? Lyrically, Allison paints evocative portraits of both being burned, as
well as being the one who does the burning, as she attempts to navigate her way
through relationships that may or may not only end up being about getting
stoned and making out. And that’s one of the impressive things about Clean, and about Allison as a young songwriter
(she’s only, like, 20 now, I guess) is that she’s writing about what a million
other songwriters have written about (love, heartbreak, et. al) but she’s doing
so in this strange way that blends a visceral honesty with some kind of cute
indie charm.
While Soccer Mommy, for better or for worse, has been more
of a ‘lo-fi’ or bedroom kind of project, Allison and the band has definitely
benefitted from a larger recording budget and ability to experiment with studio
trickery. Not that Clean is, like, a
slick sounding pop record, or a product of some kind of indie think tank—but there’s
a lot of neat stuff going on, production wise, especially in the first two
songs.
On the slow burning introductory track, “Still Clean,”
Allison seems like she’s building up to some kind of explosive refrain
following the song’s third verse; however, she’s much too clever for that. She
pulls away—it sounds like she’s singing “Only
what you wanted for a little while” from a million miles away, while the
acoustic guitar stabs become much, much louder, and the jittery atmospherics
that have been rumbling underneath the song at times steadily grow and swoon as
her voice comes back in.
Then, on the album’s second song, the angsty, fuzzed out
“Cool,” rather than opting for a fade out, or even a definitive end to the
song, with 30 seconds left, things gradually begin to slow down before
everything comes to a stop. It’s a startling effect, but an interesting use of
tape manipulation.
Clean is a
relatively concise effort—10 tracks, and only one of the songs extends beyond
four minutes. Structurally, Allison works to balance the energy and emotional
tone of each song, knowing when to bring things in, and when to play out.
Following the album’s snarling, shuffling, and jangly single “Your Dog,” the
album shifts into a more introspective place, with the somber and pleading
“Flaw,” and the even more somber and swooning “Blossom (Wasting All My Time.)”
Allison picks things back up within the album’s latter
portion—at least immediately following the halfway mark, with the infectious one-two
punch of “Last Girl” and “Skin,” before heading into Clean’s penultimate and finest moment, the dramatic, sweeping
“Scorpio Rising.”
I hesitate to say that Sophie Allison has a voice that is
‘wise beyond her years,’ but she is very similar to her peers Julien Baker and
Phoebe Bridgers in the sense that she’s balancing this wondrous sense of
youthful whimsy and innocence alongside the things you only learn with age.
Allison’s voice sounds very young a lot of the time, but as a frontwoman for
Soccer Mommy, she’s incredibly confident, and there’s something almost
instantly familiar about both her voice, as well as the band’s
music—specifically songs that owe so much to the mid to late 1990s alternative
rock/pop aesthetic, like the aforementioned “Last Girl” and “Skin.”
Throughout Clean,
Allison traverses love, lust, heartbreak, and all of the spaces in between with
her lyrics—at times, arriving as very stark observations: “Now you want to start with someone not so far,” she sings on
“Scorpio Rising.” “Oh she’s bubbly and
sweet like a Coca-Cola/ I watch from my drink as you look her over.” Other
times, they are incredibly saccharine, like they had been pulled from the
margins of a high school notebook: “I wan
to be the one you’re kissing when you’re stoned,” she coos in a deadpan on
“Skin.”
The tag line on Soccer Mommy’s Bandcamp page simply reads
‘chill but kind of sad,’ which is, I suppose, an accurate assessment. Clean, from start to finish, is an
utterly fascinating listen that rarely falters, never overstays its welcome,
and is incredibly memorable, full of big, fun sing-a-long refrains as well as
downcast, introspective moments.
Clean is out now on all formats, via Fat Possum.
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