Eight years on from their third full-length that just saw the beginning of this decade, Rhode Island noise zealots Daughters have kept it quiet in the studio, and have been keeping themselves busy out on the road. That is until now, as the Providence locals have excreted some more maniacally driven euphoria through the legendary Mike Patton’s Ipecac Recordings label. Although their title is referred to as “You Won’t Get What You Want”, what you will get is a fistful of delirium, hysteria and a lethal dose of dissonant precision.
One of the most noteworthy elements that Daughters have brought to this newer contribution to their discography is its length in comparison to everything else they’ve created in the past. This is an immediate indication that they have become just as experimental as they were with their 2010 self-titled. But, when looking at the tracks themselves, there is such a vast amount of difference between not just what’s been placed in “You Won’t Get What You Want”, but the entirety of what Daughters have produced over the years. City Song applies a lot of distorted electronic gallops similar to the sound of gunshots, that later develop into an 8-bit screech right before the rest of the band bust in some even more discomforting, scratches to their instruments. Long Road No Turns picks up a bit more speed with some grainy string arrangements in the mix, which is also where vocalist Alexis Marshall executes a more apprehensive delivery to his lyrical passages.
Satan in the Wait features a simple, yet ludicrous drum pattern which help construct layers upon layers of eerie guitars that get progressively unsettling behind the rhythm and meaty tone of the bass, and a nice spoken word section by Marshall. The Flammable Man and The Lords Song both turn up the lunacy in a faster pace, but they also get really cynical and accent more of schizophrenic nature end of the opus’s spectrum. While things start to slowdown in Less Sex, Daughters conjure up some extremely grainy and downtempo electronics, with Marshall’s pessimistic delivery in a more poetic form, much like it’s successor Daughter which also takes after the digital slices.
As the only song that reverberates the catchy ring to the album, The Reason They Hate Me doesn’t do much for the tentative side of Daughters, but it still inoculates enough effects to the guitars and electronics to keep it enticing enough for those that have preferred Daughters’ provisional efforts. Ocean Song winds up as Daughters’ longest piece to date, and the seven minute epic punctuates a wave of frantically disturbing production on the guitars, while driving some powerful percussion and inflects some even more frightening sensations that could really dominate everything that Daughters have fashioned in the studio. And finally, as the conclusion, Guest House acts as not just a superior finale to “You Won’t Get What You Want”, but it also embodies itself as a sort of recap of everything that listener had witnessed, but without any revisited sections from any of the previous tracks.
Alexis Marshall relies less on his coarse screaming throughout the record, but his vocal presence alongside the instrumentation capture a plague of unsettling temperaments that sound very panicky and perhaps, claustrophobic. The composition between all the guitars, bass and drums also carry a wallop of experimental aggression and chaotic dynamics that don’t go overboard or fly off the handle when it comes to the effects or drive within the recordings. Daughters pursue more disorder than belligerence, in which case, sets the overall tone for the LP more naturally. While there may be a bit of fury in the lyrical sense of Marshall’s performance, he steps towards a more paranoid, despondent and even dark approach in this case.
It isn’t absolutely mandatory to get to know Daughters’ past efforts before listening to this fresh, abrasive piece of production. So long as you have exchanged pleasantries with a noise-inspired wall of sound or even just some traditional hardcore music, “You Won’t Get What You Want” would be just as enticing and approachable for you as any other underground LP within the confines of your music library. That being said, the intricacies that Daughters have been well known for still remain as the meat and potatoes of their recorded personalities, as heard throughout this forty-nine minute frenzy of an experience. “You Won’t Get What You Want” shows that the band are still shining bright, and even after many years passing since their last studio release, they’re not afraid to get even more obscure for the listener to value this tsunami of audibly translated convulsions.
Pre-Order the Album Here: https://daughters.bandcamp.com/album/you-wont-get-what-you-want