You Won't Get What You Want by DaughtersRelease date: October 26, 2018
After eight years away the prodigal Daughters return with the snotty provocation You Won’t Get What You Want. See now, that kinda depends there don’t you think? Are we talking about a general life rule or just this new record? Turns out what they’ve brought for us here is a weighty slab of bruising, intelligent noise rock. Maybe we didn’t know we wanted it, but here’s plenty to enjoy about it all the same.
They stick with the defiant shrug of the title as the album opens with a minute and a half of tense drone and isolated drum beats before ‘City Song’ crashes fully into motion. An insomniac headache beset by aural hallucinations and moans, its final minute twists its electronic pulse into squealing crumpling shapes. It screeches to a halt leaving Alexis Marshall sleep mumbling while wide awake. ‘Long Road No Turns’ is a more pummeling attack, a nauseous swirl, relentless anxiety. ‘Flammable Man’ and ‘The Lord’s Song’ bring short blasts of horror scree, grating guitars and synths on stun.
It’s tempting to ignore the band’s history but the weight of it and the resulting confrontation of expectations is right there in the album’s title. So here goes, like plenty of other people I discovered Daughters through their last, self titled, album by which time the band had already fallen apart. It’s a good record, if you don’t know it, check it out. It seems that their falling out was in large part down to actual ‘musical differences’ about the record rather than the traditional euphemism for “I hate your guts and wish you all dead” we’re used to. Although there’s bound to have been some of that too. It hasn’t really taken eight years to patch things up either, everyone was friends again by 2013. It’s taken them five years to make this album because life, illness, jobs and other bands got in the way.
The first track to appear ‘Satan In The Wait’ is a seven minute epic steadily churning forwards. Marshall declaims a tale destined to unravel over multiple listens while being pushed down into the track by a bright, circling synth line. The other tune trailing the record, ‘The Reason They Hate Me’, is a more down the line noise rock rager with a pleasing shot of Jesus Lizard punch and swing about it. “Don’t tell me how to do my job” Marshall snarls as the synths mutate into screaming metal seagulls. Elsewhere ‘Daughter’ is more spacious and cinematic, a jazz noir mood eventually overtaken by horror soundtrack synth. The menacing deep pulse and noise bursts of ‘Less Sex’ even has something almost Depeche Mode about it weirdly enough.
On the closing ‘Guest House’ the pounding drums, desperate vocals and claustrophobic wall of noise gives way once again to ominous waves of synth. For the most part You Won’t Get What You Want is an intense and breathless ride through dark and unfamiliar neighbourhoods. Honestly, if you liked their last album and you wanted a new one then, despite protestations, this pretty much gives you what you want.