After eight years of waiting, the American noise rock band from Rhode Island, Daughters, finally released their fourth full-length album – and what a goddamn good one this is.
This record starts off with the track ‘City Song’, which sets the perfect mood with that eerie sound of the snare-drum and the slow layers of distorted noise that come with it. We reach halfway into the album, and another track that really stands out is ‘Less Sex’, for setting the pace back to what’s considered ‘normal’, which is a very much needed cool-down by this time. The closing track ‘Guest House’ is so perfect in every way; there’s no other way to put it. First time I listened to this, I went to sleep at night with Alexis Marshall’s painful voice screaming in my head: “I’ve been knocking and knocking…” and the haunting passages of “Let me in”.
The best word to describe this album is pure rawness. It’s so freaking intense and in your face, that as soon as you finish it, you’ll take a deep breath and think for a second, “What the f*** have I just listened to?”, and then you’ll press play again. It’s almost a 50-minute creepy experience to listen to, and there’s a lot of moments where it feels like you’re experiencing a horror movie soundtrack.
The combination of noise rock, with industrial noise and Marshall’s haunting vocals (that in a few passages are a reminiscent of Nick Cave), on top of all the layers of harshness, make this album an entire avant-garde experience to listen to. Certainly, the best full-length in Daughters’ discography, and arguably one of the greatest albums in extreme music ever made. A record that is going to be present in a lot of “Best of the Year” lists, including mine.
Words by Jose Cruz