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Within this song "Miss America", listeners find themselves in a lodging close to JFK airport, as Jennifer Walton learns a heartbreaking news of her father's illness discovery. This Sunderland-born artist was traveling America for the first time, playing alongside group Kero Kero Bonito, and suddenly grief casts a shadow, coloring all with melancholy. Faltering keys and hushed orchestration accompany gothic dispatches from the tour van: "Rural scenes and crumbling homes / Shopping centers, illicit trades, anxious moments."

Her soft singing come across in a flat manner, while the album's intensity stems from her keen writing—blending fiction, traditional phrases, and blunt diary entries—along with surprising rich textures. Few songs recently possess stronger storytelling flair than "Shelly", a piece that describes the death of a deer and descends toward a fuel-soaked confrontation, reminiscent of literary works lit by glimpses of warped cello. Anxious, quiet sections featuring resonating, strummed guitar transition into expansive choruses, with Walton's voice electronically altered to become something all-knowing and sinister.

Listeners might already know Walton as an electronic producer, DJ, and contributor in groups like Caroline. Daughters' sonic turns draw on this varied career. The first track "Sometimes" bursts with flourish, like a string band caught by surprise, while "Born Again Backwards" radically ups the tempo with an intense, stunning, repeating drum fill. Thick walls of sound, expertly produced with a long-term collaborator, feel at once gnarly and ethereal, and her dark, enchanted thoughts peak in standout "Lambs", which momentarily transforms into a swirling dance. "I hope your existence doesn't conclude with dying," Walton pleads, exuding poignant dark comedy.