In this track "Miss America", audiences find themselves inside a hotel room close to JFK airfield, as the musician learns the devastating update that her dad has illness discovery. The UK-raised performer had been traveling the US on her initial visit, drumming with group Kero Kero Bonito, and suddenly grief casts a shadow, tinging everything in grey. Faltering keys and soft strings underscore gothic dispatches emanating from the tour van: "Cattle farm and broke down shack / Strip-mall, drug deal, panic attacks."
Her gentle singing are delivered with a flat manner, yet this record's intensity stems from her keen penmanship—blending stories, traditional phrases, and blunt personal notes—coupled with unexpected rich textures. Few songs recently showcase more potent novelistic flair compared to "Shelly", which depicts the killing of a deer and descends toward a fuel-soaked reckoning, reminiscent of literary pieces lit with flickers of warped cello. Tense, quiet verses with resonating, plucked guitar move to expansive refrains, and Walton's voice digitally manipulated to become something all-knowing and sinister.
Audiences might previously be familiar with the artist from her work as a music creator, DJ, and contributor in groups like Caroline. Daughters' musical twists draw on this varied background. The opener "Sometimes" bursts with flourish, as if an ensemble caught by surprise, while "Born Again Backwards" drastically ups the BPM via a punishing, beautiful, repeating percussion. Thick walls of sound, expertly mixed with a longtime collaborator, seem at once gnarly and ethereal, while Walton's dark, enchanted thinking peak on standout "Lambs", which briefly transforms into a swirling dance. "I hope your existence doesn't conclude with dying," she bargains, with poignant dark comedy.
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