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In the song "Miss America", listeners are placed inside a lodging near JFK airport, as Jennifer Walton receives a heartbreaking news that her dad has illness diagnosis. This Sunderland-born artist had been traveling the US on her initial visit, drumming alongside indie band Kero Kero Bonito, when suddenly sadness casts a shadow, tinging everything in grey. Faltering piano and soft orchestration underscore dark dispatches emanating from the road: "Cattle farm and broke down shack / Shopping centers, illicit trades, anxious moments."

Her gentle singing are delivered in a flat manner, yet this record's intensity stems from the keen penmanship—blending stories, traditional phrases, and blunt diary entries—coupled with surprising rich textures. Not many tracks recently showcase more potent storytelling flair than "Shelly", a piece that depicts the death of a deer and spirals toward a fuel-soaked confrontation, reminiscent of literary pieces lit with glimpses of warped strings. Anxious, quiet sections featuring resonating, plucked strings transition to expansive choruses, with Walton's vocals electronically altered to become a presence all-knowing and sinister.

Audiences might previously be familiar with the artist as an electronic producer, disc jockey, and contributor to bands like Caroline. Daughters' sonic turns draw on this diverse career. The first track "Sometimes" bursts with flourish, like a string band caught by surprise, while "Born Again Backwards" drastically ups the BPM with an intense, beautiful, looping percussion. Dense layers of audio, skillfully mixed by a long-term partner, feel at once rough and spiritual, while her dark, magical thinking peak on standout "Lambs", which momentarily transforms into a swirling jig. "I hope your existence doesn't conclude with dying," she bargains, exuding heart-aching gallows humor.