Soccer Mommy’s producer tends to cover everything with layers of sound ★★★☆☆

As Soccer Mommy, Sophie Allison already made two albums with intense, somewhat elusive pop songs in which influences from, among others, Liz Phair, The Breeders and other alternative women’s pop from the 1990s resounded.

For her third album, the American teamed up with avant-garde producer Daniel Lopatin, who as Oneohtrix Point Never releases electronic music that you don’t easily associate with indie rock.

That his contributions do not disrupt Allison’s songs, but amplify them, has already been shown the numbers the one on this album Sometimes, Forever preceded. Bones and shotgun now sound like an excellent introduction to this new Soccer Mommy album, on which the nineties are still not gone. Allison sings better, especially more powerful, but should curb Lopatin a little better in his tendency to cover everything with layers of sound. Some songs don’t need such a My Bloody Valentine slip at the end. It works better if he starts to distort, as he does with the acoustic guitars in Newdemo† But too often the songs almost collapse under Lopatin’s production weight.