The first album in almost a decade from the abrasive and uncompromising Rhode Island quartet sees them taking things to another level. You Won’t Get What You Want was released a few days before Halloween, and rather fittingly it’s one of the most genuinely terrifying albums that you’re ever likely to hear.
Although there was nothing particularly ear-catching about their first two albums Canada Songs and Hell Songs, it was their self-titled third which generated the most interest. Evolving beyond their mathcore roots by adding influences such as noise rock and hardcore to their sound, it was also thought to be their last after the band split following a bust-up a year prior to its release.
Their previous three albums were fairly brief affairs, clocking at at 11, 23 and 27 minutes respectively. Almost double the length of its predecessor at 48 minutes, You Won’t Get What You Want it uses the additional time brilliantly adding elements of industrial, electronic, art punk and no wave into the mix.
Striking an almost perfect balance between its more manic and subtle moments, the album begins with bleak opener ‘City Song’. Sounding like Scott Walker at his darkest mixed with Suicide, it sets a very menacing tone with its punishing beat and the vocals of a man in absolute despair before ratcheting things up close to breaking point towards the end.
‘Long Road, No Turns’ is more direct but just a frightening, with a nightmarish processed guitar, tribal-like drums and unhinged vocals where Alexis S.F. Marshal states that he doesn’t “know what to say when people come apart.” Carried by a heavy bass line before turning towards a more melodic guitar hook, ‘Satan In The Wait’ builds patiently over a once unimaginable length of seven minutes.
The next two tracks sees them reverting back to type with the blistering pairing of ‘The Flammable Man’ and ‘The Lords Song’, before things take a welcome breather. The introspective ‘Less Sex’ begins the second half and finds them channelling Nine Inch Nails via Nick Cave with what is arguably the albums finest moment and a track of the year contender.
By no means mellow, ‘Daughter’ serves as a bridge into the closing three tracks with its Gothic guitar tones and basic bass groove. The industrial punk style of ‘The Reason They Hate Me’ is probably the most straightforward track on the album, propelled forward by the sort of piercing guitar tone that helps make You Won’t Get What You Want such a terrifying listen.
At seven-and-a-half-minutes ‘Ocean Song’ is their longest ever track and features a relentless, Swans-like finale that leaves you wondering whether you can take much more (in the best way possible). ‘Guest House’ serves up exactly what you want with an onslaught of guitars, pounding drums and agonising cries of “knocking and knocking and knocking and knocking… let me in!” before closing out gently with synthetic horns and strings.
Even if Daughters are not a band you would normally gravitate towards, You Won’t Get What You Want deserves every ounce of praise that it gets and should be heard regardless and tastes. Not only is it one of the best (and rather unexpected) comeback albums in recent memory, it’s an album that is as genuinely terrifying as any piece of music or horror movie could ever hope to be.
‘You Won’t Get What You Want’ is available now via Ipecac