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In this track "Miss America", listeners find themselves inside a lodging near JFK airfield, as the musician learns the devastating update of her father's cancer discovery. The Sunderland-born performer had been traveling America on her initial visit, playing alongside group Kero Kero Bonito, when suddenly grief takes over, coloring all with melancholy. Unsteady piano and hushed orchestration underscore gothic reports from the road: "Rural scenes and crumbling homes / Strip-mall, drug deal, panic attacks."

Walton's soft vocals are delivered in a flat style, while this record's intensity stems from the sharp writing—mixing fiction, folksy sayings, and direct diary entries—coupled with surprising maximalism. Few tracks recently showcase more potent storytelling flair than "Shelly", a piece that depicts the death of an animal and spirals into a petrol-laden reckoning, reminiscent of literary pieces illuminated with glimpses of distorted cello. Anxious, subdued verses featuring resonating, strummed strings transition into grand refrains, with her vocals digitally manipulated to become something omniscient and menacing.

Audiences may already be familiar with Walton from her work as a music creator, DJ, and contributor in groups such as Caroline. Daughters' sonic turns draw on her diverse background. The first track "Sometimes" erupts in fanfare, like an ensemble caught unawares, while "Born Again Backwards" drastically ups the tempo with a punishing, beautiful, looping drum fill. Dense walls of sound, skillfully mixed with a longtime collaborator, feel both gnarly and spiritual, while her dark, enchanted thinking peak on highlight "Lambs", a song that momentarily transforms into a swirling jig. "May your life never end in death," Walton bargains, with poignant gallows humor.