Evergreen Soccer Mommy

• 1 Lost 03:20
• 2 M 03:51
• 3 Driver 04:12
• 4 Some Sunny Day 04:01
• 5 Changes 04:59
• 6 Abigail 03:07
• 7 Thinking Of You 03:41
• 8 Dreaming Of Falling 03:49
• 9 Salt In Wound 04:13
• 10 Anchor 03:18
• 11 Evergreen 02:47
• Total Runtime 41:18

Info for Evergreen

Soccer Mommy, the musical project of beloved Nashville songwriter and musician Sophie Allison, announces her staggering new album Evergreen today. Allison began her career as a teenager, sharing music on Bandcamp in near-demo form. Recent years have found her enjoying synthesizers and experimental production, thanks to endless studio resources newly at her fingertips. But when Allison wrote the songs for Evergreen, she knew they called for a different touch. Songwriting has always been Allison’s way to sort through life and ground herself, so – as she crafted this album in the wake of a profound and personal loss – it felt important to keep these songs raw and relatable, unvarnished and honest. By opting for more organic production and shining a spotlight on her songwriting, Allison did just that. The result is Evergreen, a sonic return to Soccer Mommy's roots, but recast on a cinematic scale with the help of acoustic guitars, lush strings and flutes. Nothing overindulgent, everything real.

Evergreen was made by Allison in Atlanta’s Maze Studios with producer Ben H. Allen III (Deerhunter, Animal Collective, Youth Lagoon, Belle and Sebastian), and will be released on October 25th via Loma Vista Recordings.

The 11-track Evergreen animates Allison’s experience with loss through soundscapes that can conjure a sad-eyed daydream or an ecstatic weekend escape. On new single 'M,' which follows the previously-released album opener 'Lost,' Allison sings to shadows and ghosts. She recognizes that staying so devoted to something that’s gone could be a problem, but for right now, it’s the best she’s got.

Sophie Allison has always written candidly about her life, making Soccer Mommy one of indie rock’s most interesting and beloved artists of the last decade. Allison has used Soccer Mommy’s songs as a vehicle to sort through the thoughts and encounters that inevitably come with the reality of growing up. After all, Soccer Mommy began as a bedroom-to-Bandcamp exercise with teenage Allison posting her plaintive songs as demos. Over the years, though, she has often enhanced that sound, using the endless production possibilities, newly at her fingertips, to outstrip singer-songwriter stereotypes. The records would start with songwriting’s kernels of truth, and she would then imagine all the unexpected shapes they could take. Every Soccer Mommy record has felt like a surprise.

On Soccer Mommy’s fourth album, the tender but resolute Evergreen, Allison is again writing about her life. But that life’s different these days: Since making her previous album, 2022’s Sometimes, Forever, Allison experienced a profound and also very personal loss. New songs emerged from that change, unflinching and sometimes even funny reflections on what she was feeling. (Speaking of funny, this is a Soccer Mommy album, so there’s an ode to Allison’s purple-haired wife in the game Stardew Valley, too.) These songs were, once again, Allison’s way to sort through life, to ground herself. She wanted them to sound that way, too, to feel as true to the demos—raw and relatable, unvarnished and honest—as possible. The songwriting would again lead where the production would follow.

Evergreen is the absorbing result, an 11-track seesaw of articulate feeling that suggests Allison is driving you through the streets of her native Nashville, the Tennessee sun bright as she plays you a tape of songs she cut to document those very dark days. The mission for the album was to take life’s moments, frame them without obfuscating the emotional burdens or gifts that anchored them, and to let the lyrics and moods speak for themselves. Allison rendezvoused in Atlanta with producer Ben H. Allen III and told him she wanted to elide synthesizers and digital flourishes this time, favouring acoustic guitars, rich drums, and interweaving flutes. They built basic tracks for half the album as a pair in Allen’s Maze Studios before ushering in her touring band to add more. There were real flutes and real strings, just as Allison had imagined. As the layers and ideas mounted, Allen and Allison focused on peeling them back, on leaving subtle touches that never crowded the sentiments. The songs retain the spirit of the demos, candid and direct.

Allison assembled Evergreen as she crept into her late 20s, that tenuous time where the travails of adulthood suddenly look much closer than the playground of childhood. And during the three-year span since finishing Sometimes, Forever and beginning Evergreen, Allison learned loss is not a monolith. Some days are brutal and others are beautiful, as you take what you have gained from someone who is no longer here and try to carry it ahead, a talisman for whatever may come. “She cannot fade/She is so evergreen,” Allison sings in the devastating but strangely affirming title finale, strings sighing beneath the brush of her acoustic guitar. It feels like a lucid note to self. And that, after all, is where these songs started—Allison, writing songs for herself that documented what it was she was going through, just as she’s always done.

Soccer Mommy

Sophie Allison, aka Soccer Mommy
For Sophie Allison, aka Soccer Mommy, color theory is a distillation of hard-won catharsis. The album confronts the ongoing mental health and familial trials that have plagued the 22-year-old artist since pre-pubescence, presenting listeners with an uncompromisingly honest self-portrait, and reminding us exactly why her critically-acclaimed debut, 2018’s Clean, made her a hero to many. Wise beyond her years, Allison is a songwriter capable of capturing the fleeting moments of bliss that make an embattled existence temporarily beautiful. With color theory, Allison’s fraught past becomes a lens through which we might begin to understand what it means to be resilient.

Clean demonstrated Allison’s nuanced approach to lyricism and her disinterest in reducing complex emotional worlds into easily-digestible sound bites. On it, she projected the image of a confused but exceedingly mature teenager -- the type to offer up life-saving advice while cutting class under the bleachers. Clean led Soccer Mommy to sell out tour dates and play major music festivals around the world on top of opening for the likes of Kacey Musgraves, Vampire Weekend, and Paramore. A grueling touring schedule made it so that Allison had to get used to writing on the road, a challenge that exhilarated her. She wrote dozens of songs in hotels, green rooms, and in the backseat of the van. The ones that make up color theory were recorded in her hometown of Nashville at Alex The Great, a modest studio where the likes of Yo La Tengo have recorded, just two miles from her childhood home. Produced by Gabe Wax and engineered by Lars Stalfors (Mars Volta, HEALTH, St. Vincent), color theory’s sonic landscape is vast and dextrous, illustrating how much Allison has evolved as a musician and matured as a person over the past year. The melodies on color theory shimmer on the surface, but they reveal an unsettling darkness with each progressive listen.

“I wanted the experience of listening to color theory to feel like finding a dusty old cassette tape that has become messed up over time, because that’s what this album is: an expression of all the things that have slowly degraded me personally,” Allison says. “The production warps, the guitar solos occasionally glitch, the melodies can be poppy and deceptively cheerful. To me, it sounds like the music of my childhood distressed and, in some instances, decaying.” Allison used a sampling keyboard and string arrangements drawn from old floppy discs to lend color theory a timeworn aesthetic. She also opted to enlist her band in the recording process, which hadn’t been the case on any of her earlier releases. “At the base of every song on color theory is a live take done to tape. This album reflects our live performance, which I’ve grown really happy with,” she says.

color theory is thematically subdivided into three sections, each of which is named for a color that distills the mood Allison wanted to freeze in time. We begin with blue, a color that evokes a certain melancholy, and for Allison, illuminates depressive episodes and memories of inflicting self-harm. On “circle the drain,” she admits that “the days thin me out or just burn me straight through” over a swirling, guitar-driven arrangement that inspires a sense of ease in spite of the distressing lyrical content. The next section is represented by yellow, a color that points to illness, both mental and physical. “My mom has been terminally ill since I was a pre-teen, and I never really found a way to deal with it,” Allison says. “On ‘yellow is the color of her eyes,’ I sing about a period when I was on an international tour and kept feeling like my time with her was ticking away.” Lackadaisical from the outset, the song marries its relaxed arrangement with gutting lyrics that will ring true to anyone who has ever witnessed a loved one’s health decline.

The final section, represented by grey, addresses that fear of loss directly. “Watching my parents age and witnessing sickness take its toll made me think a lot about the cycle of life, and forced me to confront the paranoid sense that death is coming for me,” Allison says. On the color theory’s closer, “grey light,” she doesn’t shrink from the terrifying promise of death’s inevitability and instead gives herself over to it completely. Atop a faded, oceanic bed of instrumentation, she unflinchingly admits, “I see the noose/ It follows me closely whatever I do.” But it’s not all tragic, and moments of lightness appear on this album, too. Take lead single “lucy,” which navigates an all-consuming dread with cunning wit and showcases Allison’s deft songwriting prowess. Here, she pleads with a devilish character and succumbs to his cruelty just as easily as she delights in his attention. “That irks me -- that I’m falling down/ From heaven through the Earth/ To hellfire to wear his crown,” she sings, the twinkling instrumentation taking on an eerie, unsettling bent as the song progresses.

color theory investigates a traumatic past in exacting detail; in doing so, Allison finds inroads for healing through self-acceptance, and occasionally, humor. (“I’m the princess of screwing up!” she declares at one point.) This isn’t a quest to uncover some long-since forgotten happiness so much as it is an effort to stare-down the turmoil of adolescence that can haunt a person well into adulthood. Allison is a gifted storyteller, one who is able to take personal experience and project it to universal scale. On color theory, she beckons in outsiders, rejects, and anyone who has ever felt desperately alone in this world, lending them a place to unburden themselves and be momentarily free.

This album contains no booklet.