Soccer Mommy – ‘Evergreen’ album review: an enchanting album of raw emotion
THE SKINNY: Songs are discovered, not written. Sophia Regina Allison’s, aka Soccer Mommy’s, songs on her new album, Evergreen, play in a way that comes across so naturally, sounding like such an effortless extension of herself, that it’s hard to believe they were ever actually written and aren’t just a part of her which has always existed.
The album has a consistent tone throughout, and it champions serenity and peacefulness. Even the songs that are a bit more upbeat and encourage movement carry with them a sense of tranquillity that is hard to escape. The clean chord progressions paired with strings and enchanting rhythm are undeniable in the pleasant feelings they evoke.
That consistent feel is both a help and a hindrance to the album. On the one hand, this is clearly one body of work, and it plays as an album you can enjoy fairly easily from start to finish. Equally, some songs become indistinguishable from others. Habits are formed on this album that aren’t easily broken, and it means that even when songs start out as individualistic, they fall into that same style and pattern present throughout the LP.
The one clear exception to this is ‘Anchor’, which plays as a more experimental track. It would have been nice to have a few more of these on the record. Overall, though, this record is a good one to listen to and very much worthy of those who will dedicate time to it. It is a sweet and serene morning cup of tea brewed to prepare you for bracing for the cold.
For fans of: Dancing barefoot on grass and making wishes on dandelions.
A concluding comment from a shining sun: “Well, that sure is something I’m happy to shine down on.”
Evergreen track by track:
Release: October 25th | Producer: Ben H Allen III | Label: Loma Vista
‘Lost’: A sound as natural as the sunrise, Soccer Mommy kicks off her album with a track that feels like it was discovered instead of written. Clean strummed guitar and delicate strings form the backing instrumentation, but the track is not a safe acoustic number, far from it. The chorus builds in an unrelenting fashion, and the rhythm adopted throughout the track is exciting to listen to. [3/5]
‘M’: Slightly more upbeat but similar in tone to the opener, ‘M’ is a lovely song to listen to. The lyrics are sweet and executed beautifully, and the instrumentation, while not challenging or too intricate, complements the track as a whole. [3/5]
‘Driver’: One of the heavier numbers on the album. The song embraces folk rock in a way that stays true to the record’s theme. The catchy chorus, Allison’s delicate vocals, and the steadily building distortion on the guitar are great fun to listen to and are deeply atmospheric. [4/5]
‘Some Sunny Day’: Ironically, for a song named after the sun, the instrumentation on this track sounds like moonlight bottled up and preserved. It’s romantic in its effortless serenity, enchanting in every second as Allison utters each sentence with resounding longing. The slightly off-kilter guitar lick gives the song an edge that elevates it. [3.5/5]
‘Changes’: The instrumentation is very similar to that already established on the album. The atmosphere that builds throughout the passionately sung chorus gives the track a bit of standout quality, but it does fall victim to being too similar in style to those that came before. As a result, it blends into the background ever-so-slightly. [2.5/5]
‘Abigail’: A much more upbeat number that asks you to stop thinking about what you’re doing for a second, throw your head back, and start dancing. It’s effortless, wonderful, easy to get on board with, and a song that demands repeat listens. [3/5]
‘Thinking Of You’: A rhythm that encourages a montage. This kind of song could soundtrack an epiphany, a backing track that accommodates life-like light does revelation. While steady sounding, it builds on itself incredibly well and feels like a constantly expanding song. A terrific listen, through and through. [4/5]
‘Dreaming of Falling’: This is a great example of how a little can do a lot in music. The song’s opening minute is made up of three chords and isolated vocals, all of which make for one of the most dynamic moments on the record. I would have preferred it if Allison had stayed locked in that moment for a while longer and let the listeners sit in the vulnerability that comes with minimalism. Instead, she opts for running guitar and subtle drums, making the track sound a bit too similar to many of those before it. [2.5/5]
‘Salt In Wound’: An off-kilter guitar run alongside upbeat drums and rhythm opens up ‘Salt In Wound’. The uneasiness of the introduction is reflective of the song title, and it teases the idea of something cutting-edge and unique. Unfortunately, it falls into a similar style to the rest of the album. That opening guitar run is repeated a few times, which is nice to hear, but the style of music on this album is starting to feel a bit stale. It’s not that it’s bad, but it’s not so good as to be Evergreen. [2/5]
‘Anchor’: ‘Anchor’ fails to hold itself down in an intriguing way. The chords which dominate the introduction sound out of tune, and the drums are ever-so-slightly out of time. Allison’s vocals sound perfect as ever, and by having the rest of the song fall apart a little around her, it makes for a song that is difficult not to get sucked in by. The interesting guitar runs during the track are also enticing. It would be good to see Aliison embrace this different side to her sound more, but it feels too late for that now. [4/5]
‘Evergreen’: The title track sees out the album. It’s stripped-back and sweet-sounding, fitting for a record that championed both these elements. While it’s not the greatest song to end on, it also feels very appropriate.[3/5]
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