Jennifer Walton's First Album "Daughters" Delves Into Grief and Style
Within this song "Miss America", listeners are placed in a hotel room near JFK airfield, where the musician learns the devastating update of her father's cancer diagnosis. The UK-raised performer had been touring the US for the first time, drumming alongside indie band Kero Kero Bonito, when abruptly grief casts a shadow, tinging everything with melancholy. Unsteady piano and soft orchestration underscore gothic reports emanating from the tour van: "Rural scenes and crumbling homes / Shopping centers, illicit trades, anxious moments."
Walton's soft vocals are delivered with a flat style, while the record's intensity arises from the keen writing—mixing stories, folksy sayings, and direct diary entries—coupled with surprising maximalism. Few tracks this year possess more potent storytelling style compared to "Shelly", which depicts the death of a deer and spirals toward a fuel-soaked confrontation, reminiscent of written pieces illuminated by flickers of warped cello. Anxious, subdued verses featuring echoing, plucked strings move into expansive choruses, and Walton's vocals electronically altered into a presence omniscient and sinister.
Audiences might already be familiar with the artist from her work as a music creator, DJ, and member in groups like Caroline. The album's sonic turns reflect her diverse career. The first track "Sometimes" erupts with fanfare, as if a string band taken unawares, whereas "Born Again Backwards" radically ups the tempo via an intense, stunning, repeating drum fill. Dense layers of audio, skillfully produced with a longtime collaborator, feel at once rough and spiritual, while Walton's dark, magical thinking peak in standout "Lambs", which briefly transforms into a swirling jig. "May your life never end in death," Walton pleads, exuding heart-aching dark comedy.
