Album Review

Daughters tear through the airwaves with new album | You Won’t Get What You Want

Okay, let’s get something straight – this year has been unbelievable for music, especially albums. It seems every month has at least a handful of records dropped that could take the number one spot for album of the year, and honestly? It’s making me hate 2018 a little bit, and here’s another contender – Daughters’s You Won’t Get What You Want.

After seven years of making the world believe that Daughters was defunct, the band return with a record that not only lasts four times as long as their debut, but it also really, really freaking good, and utterly terrifying. ‘City Song’ kicks off the record with six minutes of unease, as it’s pulsating ambience is met with the occasional crack of a snare drum, seemingly beaten at whatever pace it pleases. The drawl of the vocals do not offer any sense of comfort at all, as they spout lyrics that are frankly incoherent before forgoing all words and yelping instead. It’s an ominous descent into insanity, and as much as it unsettles, it’s brilliant too.

This is only explored deeper by ‘Long Road, No Turns’, which features an instrumental that features all of the worst traits in the best horror movies, and scalds and screeches it’s way against the pummelling drums and the again, insane vocals. It does retract a little in ‘Satan in the Wait’, which offers a more melodic approach that still comes with a shiver, before throwing itself into the wind once more with the frantic sound of ‘The Flammable Man’. Gosh, I need a lie down.

You Won’t Get What You Want is a fantastic album from Daughters. As mentioned before, this is easily going to land on the upper end of AOTY lists, and to be honest, any record that warrants Anthony Fantano giving a second 10/10 score in a year deserves that top spot. Daughters have produced something that’s forever haunting, and definitely provides some of the most heartracing, unnerving moments in recent times. There’s little respite from the mental exhaustion, but at least there’s some hint of groove in ‘The Reason They Hate Me’. Now, how about that lie down?

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