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Within the song "Miss America", listeners are placed inside a lodging near JFK airfield, as the musician learns the devastating news that her dad has cancer discovery. This UK-raised performer had been traveling America on her initial visit, drumming with group Kero Kero Bonito, and abruptly sadness takes over, coloring everything in grey. Unsteady piano and soft strings accompany dark reports emanating from the tour van: "Cattle farm and broke down shack / Shopping centers, illicit trades, anxious moments."

Her gentle singing are delivered in a deadpan style, yet this album's intensity stems from her keen penmanship—mixing stories, traditional phrases, and direct personal notes—along with unexpected maximalism. Not many tracks this year showcase stronger novelistic flair compared to "Shelly", a piece that depicts the killing of a deer and spirals toward a fuel-soaked confrontation, reminiscent of literary pieces lit by flickers of distorted strings. Tense, subdued sections with resonating, plucked strings move into grand refrains, and her voice digitally manipulated into something omniscient and menacing.

Listeners might already be familiar with the artist as a music creator, disc jockey, and contributor in groups like Caroline. Daughters' musical twists reflect her varied background. The opener "Sometimes" bursts in fanfare, as if an ensemble caught by surprise, while "Born Again Backwards" drastically ups the BPM with a punishing, stunning, looping percussion. Dense layers of audio, skillfully produced by a longtime partner, seem at once gnarly and ethereal, and her dark, magical thinking peak on highlight "Lambs", which momentarily becomes a swirling jig. "May your life never end in death," she pleads, exuding poignant dark comedy.