Medium Rotation — Sometimes, Forever; Beatopia

SOCCER MOMMY Sometimes, Forever (Loma Vista) — For her third full-length album as Soccer Mommy, Nashville-based singer-songwriter Sophie Allison enlisted fairly unlikely help from Oneohtrix Point Never’s Daniel Lopatin as producer. Her earthy, moody material seems somewhat at odds with his sonic abstractions, but he winds up as an ideal collaborator. Sometimes, Forever has a depth and richness that enhances the songs, skewing them just enough from what Soccer Mommy has done before to invite fresh, more attentive listening, both asserting influences more clearly and accentuating the deeply personal and rivetingly unique in Allison’s creativity. Much as the various cuts trail umbilical cords from nineteen-nineties stalwarts of chewy indie rock (“Bones” is what might have resulted if Juliana Hatfield had Games of Thrones-ed her way to leadership of the Lemonheads and “Unholy Affliction” calls upon the primal power of early PJ Harvey, to cite two examples), there’s so much invention on the album that it never feels derivative in the slightest. The music swirls and undulates, keeping Allison’s piercing vulnerable vocals firmly at the forefront. Her topics are often gloomy, touching on depression, heartbreak, and the usual catalog of human disappointments in a disparate and yet overconnected society of relative privilege circa the first quarter of the twenty-first century. The album isn’t downbeat, though. Music thic good can’t help but sound a little triumphant. In addition to the songs already mentioned, cheer from the sidelines for “With U,” “Shotgun,” the buzzy “Darkness Forever,” “Following Eyes,” and “Feel It All the Time.”

BEABADOOBEE, Beatopia (Dirty Hit) — It’s not Beatrice Laus’s fault that her fast-rising success performing under the name Beabadoobee lands with a seismic smack of molar-reverberating precociousness. If someone’s ready, they’re ready, and Beabadoobee’s debut, Fake It Flowers, definitely sounded like it was made by somebody who was ready as could be. A mere twenty years old when that album arrived, Laus demonstrated a casual command of crunchy, indie-thinned power pop that could rend holes in the knees of jeans with the purity of its tunefulness. Her sophomore effort, Beatopia, keeps the spirit alive, albeit with a more contemplative air. For every grooving, shoulder-bobbing “Talk,” there’s at least a couple cuts that go gentle (“Sunny Day,” “See You Soon,” and “Pictures” of us can be entered as exhibits now, if it pleases the court). The vibe is such that “The Perfect Pair” could almost spring from the twee indie pop revolution of the early two-thousands. It’s less softening than elegant expansion, an engaging immersion in her own sound that includes some strategic splashing around to see what new ripples she can make and how far those ripples can travel. Bolster your civic pride as a resident of Beatopia with “10:36,” “Broken CD,” “Lovesong,” and “Don’t Get the Deal.”

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