photo credit: Reid Haithcock
With You Won’t Get What You Want, Daughters may have just released one of the best rock albums in this decade. This album is a catastrophic earthquake of emotion and terror and is ready to destroy everyone who listens to it.
Music changes and evolves constantly. Over the years, artists, bands, record labels, and whole genres will move and sweep along different soundscapes, atmospheres, and whole cultural movements. Before this latest record, the last the world heard of noise-rockers Daughters was in 2010, with their frenetic and electrifying self-titled third album. Daughters are a band that, since their 2003 debut album Canada Songs, have molded and shaped their sound into many different subgenres of rock and metal. Their aforementioned debut album was a blistering eleven minutes of chaotic grindcore. From there, they moved into a longer (albeit not by much) twenty-three minutes of raw and unapologetic mathcore with their second album Hell Songs.
To evolve their sound so rapidly over such a short period is quite an achievement. As such, it can be argued that not many fans or critics alike were really prepared to hear what a new album would sound like after a mammoth eight years. And now we arrive at You Won’t Get What You Want, Daughters’ fourth studio album.
Album opener City Song alludes to the listening experience that is about to be had with this album. A swirling, minimalistic monster, it is a song punctuated by devilish synth-distortion, a spoken word drawl describing an apocalyptic world delivered by vocalist Alexis Marshall and jackhammer-like snare drums, all culminating into a cacophony of noises and instruments that teeter on the edge of losing all control, but are kept back from falling into a chaotic abyss. City Song is in itself a microcosm of the whole album. You Won’t Get What You Want does not have the frenetic energy or brightness of previous Daughters releases; this is an album that revels in the dark, taking joy in recounting all negative aspects of human emotion.
While delving into the darkness of humanity, the band also take a journey through a surprising amount of genres. You Won’t Get What You Want has elements of the noise rock soundscape that the band explored on the previous album, but also stirs into the melting pot a serving of some of the heaviest industrial to come out in years. But, the band do not let up there. Here, the pot is spiced with elements of harsh noise, metal-core, and even blues and shoegaze. There are not many places where this album won’t go to give the listener the most unforgiving experience it can conjure.
After City Songs comes Long Road, No Turns, the third single to come from the album. Drummer Jon Syverson describes the song in a perfectly succinct way: “I feel dizzy listening to it. I feel dizzy playing it”. That dizziness comes from the drastic soundscapes that create this whirring monster of a song. Droning guitars, frenetic, staccato synths, lurching and undulating drum patterns and Alexis’ shouted, emotive drawl echoes over the track, his voice cracking and becoming more and more strained over the track, perfectly encapsulating the ongoing paranoia and hopelessness of the protagonist of the song. As mentioned prior, there is no real escape from this album. Be prepared to go on a horrifying aural journey.
However, that horror doesn’t just come within the brutalising instrumentation and timbres found on the album. In many cases, a sense of unease and nervousness is attained through more surprising avenues. The album allows a respite from its hostility on the song Less Sex. Starting with a racket of noise, the song transforms into a haunting, blues number, accompanied by a blue-inspired vocal performance from Alexis. Bass and synth reverberate at the back of the song, building the tension, until the song explodes into a blur of guitar feedback, sweeping back out to allow the song to build slowly again, ready to deliver its monstrous, wall of sound. These surprising moments are what make this album truly special.
But do not be mistaken by a song like Less Sex as it is clear that this album is ready to assault the ears. The Flammable Man sees the band somewhat return to their metalcore roots, while also updating that often tired sound, managing to make arguably one of the decade’s best metal songs. The last two songs of the album, Ocean Song and Guest House, see the band utilise their instruments with such aplomb, creating wails and noises that did not seem possible from guitars and basses. These no-wave and post-rock epics bookend what is an epic listen, and one that is definitely overwhelming on a first listen.
However, after initially making the plunge into this album, it becomes clear that this is more than a typical industrial or noise rock album. Daughters find so many different avenues on this album to create dismay and despair, yet still keep the listener on their toes. It is debatable whether there is any real downtime on this album, anywhere for the listener to really lose interest. Though this might not be an album for your average music listener, it is certainly one that should be listened to by anyone with an interest in heavy music. With You Won’t Get What You Want, Daughters have created a milestone in rock music. This is an album that will be looked on for years to come as a seminal piece of noise rock, one that will define a generation and influence many that come after it. This album is an apocalyptic whirlwind. Get taken up in the eye of the storm and experience one of the best albums in rock. – Charlie Leach (@YungBuchan)