In this song "Miss America", audiences are placed in a hotel room close to JFK airfield, as the musician receives a heartbreaking news of her father's cancer diagnosis. This UK-raised artist had been touring the US on her initial visit, drumming alongside indie band Kero Kero Bonito, when suddenly grief takes over, coloring everything in grey. Faltering piano and hushed strings accompany dark reports from the tour van: "Rural scenes and crumbling homes / Strip-mall, drug deal, panic attacks."
Her gentle singing are delivered with a deadpan manner, while this record's intensity stems from the sharp writing—blending fiction, traditional phrases, and blunt diary entries—along with surprising rich textures. Not many tracks this year showcase more potent novelistic style compared to "Shelly", a piece that describes the killing of an animal and spirals toward a petrol-laden reckoning, evoking literary pieces lit by glimpses of warped strings. Tense, quiet sections featuring echoing, plucked strings transition to expansive choruses, and Walton's voice electronically altered to become something all-knowing and sinister.
Listeners might already know Walton from her work as an electronic producer, DJ, and member in groups such as Caroline. Daughters' sonic turns reflect her varied career. The first track "Sometimes" erupts in flourish, as if a string band caught by surprise, while "Born Again Backwards" drastically ups the BPM with a punishing, stunning, looping percussion. Thick layers of audio, skillfully produced by a longtime collaborator, feel at once rough and spiritual, and her morbid, magical thinking peak in standout "Lambs", which briefly becomes a twirling jig. "May your life never end in death," Walton pleads, with heart-aching gallows humor.