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Within this track "Miss America", listeners find themselves in a lodging close to JFK airfield, as the musician receives a heartbreaking update of her father's illness discovery. This Sunderland-born artist was touring the US on her initial visit, playing with indie band Kero Kero Bonito, when suddenly sadness takes over, tinging all in grey. Faltering keys and soft strings underscore dark dispatches emanating from the tour van: "Cattle farm and broke down shack / Strip-mall, drug deal, panic attacks."

Walton's soft vocals come across in a flat manner, yet this record's tension stems from the sharp writing—blending stories, traditional phrases, and blunt personal notes—along with surprising rich textures. Not many tracks this year showcase stronger novelistic flair compared to "Shelly", which describes the death of an animal and spirals into a petrol-laden reckoning, reminiscent of literary pieces illuminated by glimpses of distorted cello. Anxious, quiet sections featuring echoing, strummed strings transition into expansive refrains, with Walton's vocals electronically altered into a presence omniscient and sinister.

Audiences might previously know Walton from her work as an electronic producer, disc jockey, and contributor to bands such as Caroline. Daughters' sonic turns reflect this diverse career. The first track "Sometimes" erupts with flourish, like an ensemble caught unawares, whereas "Born Again Backwards" drastically increases the tempo with an intense, stunning, repeating drum fill. Thick walls of sound, skillfully mixed with a long-term collaborator, feel both rough and spiritual, while her dark, enchanted thinking peak in standout "Lambs", which briefly becomes a swirling dance. "May your life never end in death," Walton pleads, exuding heart-aching dark comedy.