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In this track "Miss America", audiences are placed in a hotel room close to JFK airfield, as the musician receives a heartbreaking news of her father's illness discovery. This UK-raised performer had been touring America for the first time, drumming alongside indie band Kero Kero Bonito, when suddenly sadness casts a shadow, coloring all with melancholy. Faltering keys and hushed orchestration accompany dark reports from the road: "Rural scenes and crumbling homes / Strip-mall, drug deal, panic attacks."

Her soft vocals come across with a flat manner, while this album's intensity arises from her sharp writing—mixing stories, traditional phrases, and blunt personal notes—coupled with unexpected maximalism. Not many tracks recently possess more potent novelistic style than "Shelly", a piece that describes the killing of an animal and spirals toward a fuel-soaked confrontation, reminiscent of written pieces illuminated with glimpses of distorted cello. Tense, quiet verses with resonating, strummed guitar move to expansive refrains, and her voice electronically altered to become something all-knowing and sinister.

Listeners may already know Walton as an electronic producer, disc jockey, and contributor in groups like Caroline. Daughters' musical twists draw on this varied background. The first track "Sometimes" erupts with fanfare, like an ensemble caught unawares, whereas "Born Again Backwards" radically ups the BPM with an intense, beautiful, looping drum fill. Thick walls of sound, expertly produced with a long-term collaborator, feel both rough and ethereal, while Walton's morbid, enchanted thoughts peak on highlight "Lambs", a song that briefly becomes a twirling dance. "I hope your existence doesn't conclude with dying," Walton bargains, exuding heart-aching dark comedy.