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Within the song "Miss America", audiences are placed inside a hotel room near JFK airport, as Jennifer Walton learns the devastating update of her father's illness diagnosis. The UK-raised performer had been traveling the US for the first time, playing with group Kero Kero Bonito, when suddenly grief takes over, tinging all in grey. Faltering keys and soft orchestration accompany gothic reports emanating from the tour van: "Cattle farm and broke down shack / Shopping centers, illicit trades, anxious moments."

Her soft singing are delivered in a deadpan manner, while this record's tension arises from her sharp penmanship—blending fiction, traditional phrases, and blunt personal notes—coupled with surprising maximalism. Few songs this year showcase more potent storytelling style than "Shelly", which depicts the death of an animal and spirals into a fuel-soaked confrontation, reminiscent of literary pieces illuminated by glimpses of warped cello. Anxious, quiet sections with resonating, plucked strings move into grand choruses, with Walton's voice digitally manipulated into something omniscient and sinister.

Listeners might already be familiar with Walton from her work as an electronic producer, DJ, and contributor in groups such as Caroline. Daughters' musical twists draw on her diverse background. The opener "Sometimes" bursts with fanfare, as if an ensemble taken unawares, while "Born Again Backwards" drastically ups the BPM with a punishing, stunning, looping drum fill. Dense layers of audio, expertly mixed with a longtime collaborator, seem both rough and ethereal, while Walton's morbid, enchanted thinking culminate on standout "Lambs", which momentarily becomes a twirling dance. "I hope your existence doesn't conclude with dying," she bargains, exuding poignant dark comedy.