Jennifer Walton's First Record "Daughters" Delves Into Sorrow and Style
In this track "Miss America", listeners find themselves in a hotel room close to JFK airfield, as the musician learns the devastating news of her father's illness discovery. The Sunderland-born artist was traveling the US on her initial visit, playing alongside indie band Kero Kero Bonito, and suddenly sadness casts a shadow, tinging all in grey. Faltering keys and soft orchestration accompany gothic dispatches emanating from the road: "Rural scenes and crumbling homes / Strip-mall, drug deal, panic attacks."
Walton's gentle singing are delivered in a deadpan style, yet the record's intensity arises from the sharp writing—mixing fiction, folksy sayings, and blunt personal notes—coupled with unexpected maximalism. Not many tracks recently showcase stronger storytelling style compared to "Shelly", a piece that depicts the killing of an animal and spirals into a fuel-soaked reckoning, reminiscent of literary pieces lit by glimpses of warped cello. Anxious, quiet verses featuring echoing, plucked guitar transition into grand refrains, and Walton's vocals digitally manipulated to become a presence all-knowing and sinister.
Listeners might previously know Walton from her work as an electronic producer, DJ, and member to bands like Caroline. Daughters' sonic turns reflect her diverse career. The opener "Sometimes" erupts with flourish, like an ensemble taken unawares, whereas "Born Again Backwards" drastically increases the tempo via a punishing, stunning, looping drum fill. Dense walls of sound, expertly produced by a longtime partner, feel at once gnarly and spiritual, and Walton's morbid, magical thoughts culminate on standout "Lambs", which momentarily becomes a twirling jig. "I hope your existence doesn't conclude with dying," Walton bargains, with poignant gallows humor.
