Before I was able to write this review I had to do some research. Now, I became acquainted with Daughters through there 2006 release Hell Songs, their first release through the Hydra Head Record Label. They were eccentric and often times sporadic, using bounding and sprawling guitar lines that flew all over the place. I felt a tinge of what is known as “grindcore,” a form of metal that prides itself with very short, very fast, very heavy songs. The feeling was there, but not as noticeable as to make an assumption to their past. Having done my research, at the behest of a friend who raved of grindcore goodness, and eventually finding their 2003 release Canada Songs off of the Robotic Empire Record Label, I was finally convinced of my lingering feelings. Canada Songs is full of great grindcore moments, while very few moments that shine through are reminiscent of the Daughters that I know today.
With a self-titled new release, again on Hydra Head, Daughters has called it quits. They will not be touring for this new record on account of Nicholas Sadler and Sam Walker leaving the band, with the former joining Fang Island. In their departure they have managed to crank out one more Daughters album, and the tone more poppy than before.
Daughters starts off with “The Virgin,” and you can immediately tell that this album favors the hooks and break-downs of metal much more this time around. The songs are much longer and the production is much better than on previous albums. There are no songs that are under two minutes in length, which is an immense shift from Canada Songs which did not have any songs over two minutes. Alexis Marshall’s vocals are still reminiscent of a mix between Isaac Brock of Modest Mouse and Aaron Weiss of MewithoutYou, a guttural yelping shout that hinges on hilarity. The change in the production of the guitars is quite noticeable in the second song, “The First Supper.” The guitars almost sound as if they have a life of their own, roaming and roaring throughout the empty spaces of the song. The third song, “The Hit,” seems to be a sarcastic remark at the poppy song structures they are producing. Self-loathing song names are not a new occurrence. “I Slept With The Daughters And All I Got Was This Lousy Song About Me,” off of Canada Songs proves this. Nevertheless, “The Hit” is a great song, and aptly named.
“Our Queens (One Is Many, Many Are One) starts off almost punk-ish until it bursts into a grind-y explosion of leaping and bounding guitars mathematically structured in insane ways beyond my comprehension. “The Dead Singer,” and “The Unattractive, Portable Head” are both slower song at longer lengths, almost reaching five minutes.
The Daughters new self-titled release is far from their grindcore origins. Their kinship with bands like The Locust and The Dillinger Escape Plan is far from relevant; instead, they have settled upon more accessible metal songs that are rewarding and wonderful in their own right. Pick up the last offer from this one of a kind band, it won’t let you down. I promise.
