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In the song "Miss America", audiences find themselves in a hotel room close to JFK airfield, as Jennifer Walton receives a heartbreaking news of her father's cancer diagnosis. The Sunderland-born artist was touring America on her initial visit, drumming with group Kero Kero Bonito, when abruptly sadness casts a shadow, coloring everything with melancholy. Unsteady piano and hushed strings underscore gothic reports from the tour van: "Rural scenes and crumbling homes / Shopping centers, illicit trades, anxious moments."

Walton's gentle vocals are delivered in a flat manner, yet the record's tension stems from her sharp writing—mixing fiction, traditional phrases, and direct personal notes—along with unexpected rich textures. Few tracks this year showcase more potent storytelling flair compared to "Shelly", a piece that depicts the killing of an animal and spirals toward a petrol-laden reckoning, reminiscent of written works illuminated with glimpses of distorted cello. Tense, subdued verses featuring resonating, plucked guitar transition to expansive choruses, and Walton's vocals digitally manipulated into a presence all-knowing and menacing.

Audiences may already be familiar with the artist from her work as an electronic producer, disc jockey, and contributor to bands such as Caroline. Daughters' sonic turns reflect this diverse background. The opener "Sometimes" erupts in fanfare, as if an ensemble caught unawares, whereas "Born Again Backwards" radically ups the tempo with an intense, stunning, repeating drum fill. Thick layers of audio, skillfully mixed with a longtime collaborator, feel both gnarly and spiritual, while her dark, magical thoughts peak in standout "Lambs", which briefly becomes a twirling jig. "I hope your existence doesn't conclude with dying," she pleads, exuding heart-aching dark comedy.