Jennifer Walton's First Record "Daughters" Delves Into Grief and Elegance

Within the song "Miss America", listeners are placed in a lodging close to JFK airport, where Jennifer Walton receives the heartbreaking news of her father's cancer diagnosis. The UK-raised artist had been touring the US for the first time, playing with indie band Kero Kero Bonito, and suddenly sadness takes over, coloring everything with melancholy. Faltering keys and hushed orchestration underscore gothic reports emanating from the tour van: "Cattle farm and broke down shack / Strip-mall, drug deal, panic attacks."

Her gentle singing are delivered in a deadpan style, while this album's intensity arises from her sharp penmanship—blending fiction, folksy sayings, and direct diary entries—along with unexpected maximalism. Few tracks recently showcase more potent novelistic style compared to "Shelly", which depicts the killing of an animal and descends toward a petrol-laden confrontation, reminiscent of written works lit by flickers of warped strings. Tense, subdued verses with echoing, plucked strings move into expansive refrains, with Walton's voice digitally manipulated into something omniscient and sinister.

Audiences may already be familiar with Walton as an electronic producer, disc jockey, and contributor in groups such as Caroline. Daughters' sonic turns reflect this varied background. The opener "Sometimes" bursts with flourish, like an ensemble taken by surprise, while "Born Again Backwards" drastically increases the tempo via an intense, beautiful, repeating percussion. Dense walls of sound, expertly produced with a longtime partner, feel both rough and spiritual, while her dark, magical thinking peak on standout "Lambs", a song that momentarily transforms into a swirling jig. "I hope your existence doesn't conclude with dying," Walton bargains, exuding poignant dark comedy.

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Jennifer Walton's First Record "Daughters" Delves Into Grief and Elegance

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