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In the song "Miss America", audiences find themselves inside a hotel room close to JFK airfield, where Jennifer Walton receives a heartbreaking news of her father's cancer discovery. This UK-raised artist had been traveling America for the first time, drumming alongside group Kero Kero Bonito, when abruptly sadness takes over, tinging everything in grey. Unsteady piano and hushed orchestration accompany dark reports from the tour van: "Cattle farm and broke down shack / Shopping centers, illicit trades, anxious moments."

Her gentle singing come across with a deadpan manner, yet this album's intensity stems from the keen penmanship—mixing stories, folksy sayings, and blunt personal notes—coupled with unexpected maximalism. Few tracks recently showcase stronger novelistic flair compared to "Shelly", which depicts the death of an animal and spirals into a petrol-laden confrontation, evoking literary works lit with glimpses of warped cello. Anxious, quiet sections featuring echoing, strummed strings move into grand refrains, and Walton's vocals electronically altered into something omniscient and sinister.

Listeners may already be familiar with Walton from her work as a music creator, disc jockey, and member to bands like Caroline. Daughters' sonic turns reflect her varied background. The first track "Sometimes" erupts with flourish, as if an ensemble taken by surprise, whereas "Born Again Backwards" drastically ups the BPM via an intense, stunning, looping drum fill. Dense layers of audio, skillfully produced with a long-term partner, seem at once rough and spiritual, and her morbid, magical thinking peak in standout "Lambs", which momentarily transforms into a swirling dance. "I hope your existence doesn't conclude with dying," Walton pleads, with poignant dark comedy.