Daughters – You Won’t Get What You Want

You Won’t Get What You Want (Ipecac) sees the welcome return of Rhode Island creatives Daughters: this being their first album since their 2013 reformation, and fourth in all. The band’s affinity for complex noise is undiminished yet has refined with age and experience.

The tension bursting from the onset of opener ‘City Song’ is almost unbearable: largely Industrial in concept, the build-up of Ambient Fuzz, crashing electronic pulses and a startled, poetic vocal not unlike Zack de la Rocha is sometimes enough to make you jump out of your skin. ‘Long Road No Turns’ follows: that Alexis Marshall delivery, a mix of lazy rap and alarmed statements, blending with jagged metallic shards and monstrous swells hammering into the skull. It’s hypnotic, bewildering yet compulsive listening.

The eerie wailing and sinister beat of ‘Satan In The Wait’ is compelling, while the piano chords of the bridges are a delightful, tuneful contrast. The manic Mathcore of ‘The Flammable Man’ and ‘The Lords Song’, meanwhile, the latter reminiscent of The Fall with heightened angst, demonstrate the incendiary nature of the album’s shorter tracks.

Whatever the style, the edginess provided by the sharp undercurrents of Electronica courses through each track. ‘Less Sex’ is a brooding, often sparse effort which is enlivened by piercing blasts of noise and evokes VAST’s more disturbing, early material. The more chaotic ‘Daughter’ sees a return to the anxious vocal and a Country twang which gives way to a clashing medley of sounds and heart-tugging keys: while the discordant ‘The Reason They Hate Me’ is undercut by a more organic, rollicking beat which will fill gig floors everywhere.

‘Ocean Song’ has the kind of title suggesting wispy melodies and delicate rhythms, but that just ain’t Daughters’ style. A slow, purposeful beat there may be but the agitation is there, lurking in the corners, and emerges with tightly-twanged strings and bursts of hair-raising synth. Closer ‘Guest House’, meanwhile, keeps the teeth firmly chattering with its horror soundtrack feel, frenetic power and Marshall’s deranged screams.

While no awards will be given for the band’s musical prowess or for their ability to craft profound epics, that fact only serves to confirm the vitality of Daughters. Much as the frightening Idles are lauded as the Indie-Punk saviours of the world, so this remarkable quartet should be held aloft for its energised, urgent and emotive sound which makes this album an essential experience.