The First Record "Daughters" Explores Grief and Elegance

Within the track "Miss America", listeners find themselves in a hotel room near JFK airport, where the musician learns a devastating update of her father's cancer diagnosis. This UK-raised performer had been touring America for the first time, playing alongside group Kero Kero Bonito, when suddenly grief casts a shadow, tinging everything in grey. Unsteady keys and soft strings accompany gothic reports from the road: "Rural scenes and crumbling homes / Shopping centers, illicit trades, anxious moments."

Her soft singing are delivered with a deadpan style, while this album's tension stems from her keen writing—mixing stories, traditional phrases, and direct personal notes—along with unexpected rich textures. Few tracks this year possess stronger storytelling style compared to "Shelly", a piece that describes the killing of a deer and descends into a petrol-laden confrontation, reminiscent of written works illuminated by flickers of warped strings. Anxious, quiet verses featuring echoing, plucked guitar move to grand choruses, with Walton's voice digitally manipulated to become a presence all-knowing and menacing.

Audiences may previously know the artist from her work as an electronic producer, DJ, and contributor in groups such as Caroline. The album's sonic turns reflect her diverse career. The first track "Sometimes" erupts in fanfare, like an ensemble taken unawares, while "Born Again Backwards" drastically ups the tempo via an intense, beautiful, looping percussion. Dense walls of sound, expertly produced by a longtime collaborator, seem both rough and ethereal, and her morbid, enchanted thinking culminate in highlight "Lambs", which momentarily transforms into a twirling dance. "May your life never end in death," Walton bargains, exuding heart-aching dark comedy.