Daughters - You Won't Get What You Want
Oct 30, 2018
For never having heard a single song by Daughters before, I am utterly glad I decided to give them a shot with You Won’t Get What You Want. Shouts out to Brad Taste for hyping this album up and bringing hot new music to my attention.

I won’t be able to speak very much on the growth and transformation of Daughters, seeing as this is my personal introduction to them. All I will be able to comment on is the actual sound and content within this album, which will include aspects such as lyrics, tone, aesthetic, and a general feeling the music provides to me, and I’ll just say right now that feeling is a very good one.

This album is a dark, heavy, loud, industrial cut. You won’t really know what to make of this album on first listen, and the intro track City Song doesn’t give you the warmest welcome. In fact, the ever present snare drum over the quiet but rapid heartbeat bass and an inability to recognize when the beat actually starts and stops serve more as a “WARNING! DO NOT ENTER!” sign on the front door to the house of this album. This song lets you know what you’re in for going forward. Abrasive and hectic loud noise. If you aren’t into that, turn away at this point, but if you have a will stronger than the average normie, please do go on and experience helpless death in the form of what might be considered music.

Long Road, No Turns just fucking uppercuts you right in the jaw, and you feel like you’re just falling on your ass in slow motion, and even in this slow motion state, everything around you is super hectic and crazy, and you feel dizzy and nauseous. The main guitar part you hear throughout the song should be considered annoying by someone like me who gets tired of simple repetition, but at this point in the album at only the second track, we realize exactly what sort of industrial we are receiving in this album. The outro on this song feels like you’ve entered a haunted house, and as it fades out, you feel doomed, and you know you will never return.

So, Satan in the Wait is where the album shows its more accessible and easygoing side. Normie listeners would be glad to finally arrive at an audible melody and music that isn’t so loud and abrasive. Ironically, this is one of the low points on the album for me, but that isn’t to say that I dislike the song at all. I just feel, after multiple listens of this album, the main reason I am coming back to it is for the more loud and busy bits. This song certainly maintains the sinister aesthetic of the album and has an amount of catchiness to it, so I definitely don’t hate it.

The Flammable Man picks up the pace again, body slamming you with ear piercing, swooning guitars paired with crunchy and mean bass. We get this really messy and glitchy noise break before the outro puffs its chest out and instills the fear of murder within you.

The Lords Song is a spectacular hammer-in-fist pissed banger that, even with its electronic bits, manages to feel like a band playing together as opposed to hyper on-the-dot production that you usually get from this kind of release.

Less Sex, as you can guess, is another near miss for me, as it isn’t exactly what I personally want in the album. The bluesy hummy guitar sounds great, though, and the glistening but piercing electronics that rain behind the track make for a pleasing listen. You need to understand that me thinking this song is a low point does NOT mean that I do not like the song, and it in no way disrupts the album. In fact, these slow moments really just feel like a necessary pit stop on your way to Hell. This ride has been very soul crushing, and we deserve a bit of a slow ride for a minute. Close to the end, we get some chordage, which is a nice climax after the very monotone straightforwardness of the track until this point. It’s like you didn’t know this whole time your were listening to a build-up, and it has a nice effect.

So, Daughter is interesting, because upon first listen, I found this song underwhelming, and as it is a slower paced song, I should be finding it a low point, right? This actually ends up being one of my favorite tracks on the album. It’s slow because it’s brooding in its own anger and sadness. I love the guitar tones in this track, and the ever present and disturbing samples.There is so much going on in this track, but we stay on message the whole time, letting you feel comfortable in the chaos. Declarations of “Knowing they’ll die here and there” as the song closes out feels like a blanket being wrapped around you that doesn’t keep you warm at all, as a demon kisses you good night.

Of COURSE The Reason They Hate Me is a highlight, dummy! Listen to those polyrhythms! Listen to that club/disco feel blended perfectly with those stabbing guitar parts. This song is a juggernaut, and it’s not too long or experimental for the average listener. This is definitely a song to try to lure someone into listening to this album. The vocals in this song are also more understandable and accessible than they are in other songs. The vocals don’t feel very redundant on this track, even though they began to feel redundant generally on the album quite a while ago.

Ocean Song is fan-fucking-tastic. The aesthetic that the guitars and sliding bass over the twacked out drums make for very hypnotic and primal meditativeness. The “run, go” refrain adds a layer of anticipation to the track. I would also like to add that during this review, I went back and briefly listened to some of Daughters’ previous material, and I think this new album is just vastly different in sound and aesthetic. Such a large contrast.

Guest House is a very unique closer to the album. It starts off wild and aggressive, making you think initially that this is going to be an awkward closer, but then we get a cinematic vibe as the song approaches its end. This song does more than just close the album out, it kicks you in the spine on your way to the exit. It leaves a memorable impression on the listener.

I obviously have certain qualms with this album. You may have noticed I haven’t spoken too much about the vocals, or lyrics. This is because of all the layers to these songs, the vocals might be my least favorite, as they don’t always have a completely thorough effect as they should, such as in the song Long Road, No Turns, where the vocalist cries “so don’t play along, or play a part”. It just feels weak and tired. I think I would like something a bit more angry and loud in this section, personally. Also, seeing as this is an industrial release, we couldn’t have an album this long and meaty without pieces of the repetitious parts becoming redundant or draggish. Also, there is talk about a present narrative” located within the lyrics. I do not perceive this narrative at all, even after about 10 listens. However, I don’t feel I need to have anything very deep lyrically with this album. I’m listening to this for it’s chaotic and noisy brain melting aggressiveness. These are my most major issues with the album, but they don’t hurt the album in a large degree at all. This is still a very solid record, and I think it’s a must listen for the year 2018.

So, despite minor hiccups when it comes to vocal delivery, I think this is a very fantastic album. You Won’t Get What You Want shows us a very proper approach to noisy industrial mathcore, while also serving to kick original fans of the band right in the jaw with a fantastic addition to their discography. Do not let this album slip past your fingers, mates. Allow yourself to be absolutely violated by Daughters.

Best: Long Road, No Turns | The Flammable Man | The Lords Song | Daughter | The Reason They Hate Me | Ocean Song | Guest House

Worst: Satan in the Wait | Less Sex
1 Comment
Nov 2, 2018
awww thanks for the shoutout :)
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More Reviews by AnalVape
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Daughters - Hell Songs
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Daughters - Canada Songs
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