Daughters' track-by-track guide to new album You Won't Get What You Want

(Image credit: Reid Haithcock)

Noise rock has been enjoying something of a renaissance in 2018, with innovative and – most importantly – ear-shattering releases crawling out of each of the genre's far-flung corners. It makes sense, then, that leading the movement's resurgence should be Rhode Island scene veterans Daughters

Having pedalled their horrible racket since 2002, after a series of hiatuses and line-up shifts, the band have finally returned with much-anticipated fourth album, You Won't Get What You Want. Brutal, claustrophobic, queasy and all the better for it, guitarist Nick Sadler calls it "a decided effort to reference both my admiration for and my influence from, film composition and other minimalist music, along with a few moments of self-reference."

Here, Alexis S.F. Marshall (vocals), Jon Syverson (drums) and Samuel M. Walker (bass) talk us through the album one song at a time. They've even put together a making of video to take you through the album's gestation, which you can check out in the middle of the page. Listen to the album in full at the bottom of the page.

City Song

Alexis: "Our journey begins. Eight years later and we re-enter on a slow burn. I wasn’t exactly sure how to fill the verses and decided to take a minimalist approach. The words came together in the final moments, and with secondary tracks and good deal of groans, grunts and the like, we were able to create an intriguing, ominous and foreshadowing opening."

Long Road, No Turns 

Jon: "The third single from the record, here the listener is exposed to five minutes of sea-sick droning guitar fashioned over a broken ‘disco’ drum pattern. I feel dizzy listening to it. I feel dizzy playing it. Should be a fun listen for everyone?"

Satan In The Wait 

Alexis: "One of the longest tracks on the record; Satan... was recorded at an earlier session. It would be shelved, dusted off, then ultimately resurrected. The original vocal track, which was much more formulaic, was abandoned after time allowed for some continued listens and the discovery of a new approach: verses in the form of a fluid narrative. The melody in the chorus lends a false sense of optimism, only to spend the final two minutes under a dark, heavy wave."

The Flammable Man

Jon: "For all those times my mom has asked me 'Son, is this actually real music?', here’s another one for the pile. Oh, and to answer your question, Mom: Probably not. That said, you can still headbang to it, so that should count for something."

The Lords Song

Jon: "This was one of those songs that almost seemed to write itself. Maybe it did? I can say with great certainty that this song truly sounds like Daughters... until it doesn’t. 

There is a decent chance the inspiration here came from one of those used car dealership TV commercials where some lunatic is desperately trying to sell you every car off his lot regardless of your current financial status. 'Duke Lickkit Toyota' or 'Bush Clippins Nissan' needs you to come on down! There’s also a decent chance that none of that is actually true."

Less Sex

Alexis: "This was one of the first songs that came together. I approached it with a bit of a blues measure. I tried to say a lot with a little on the lyrical end and I think the narrative is much more captivating as a result. A great deal of layers were added before we closed the book on it, creating a rather lush and uneasy atmosphere. One of my favourites on the record."

Daughter

Alexis: "I think of this song as the quietest person in the room, with the most interesting backstory. The rolling drums give the entire track a sinister air. The narrative is metaphorical, but once the veil is lifted, the bones reveal one of the most personal songs I’ve composed lyrically."

The Reason They Hate Me

Alexis: "A complaint, an expostulation, a critique on the abuse of critique. We all enjoyed the path this song was carving through the sessions. A lot of fun to compose, as well as play. Reason is a new kind of different for us. It’s brimming with an industrial feel. It’s simply a gratifying listen."

Ocean Song

Sam: "Repetition and routine, a life of laissez-faire years. Is there any actual escape from the everyday?  This song elaborates on a pattern of crushing and common boredom. Sink in, you’ll be here a bit."

Guest House

Sam: "One of the more overtly cinematic pieces of music on this record, Guest House accomplishes a feeling that is entirely new for our band. It was one of the last songs to really come together in the days before recording and I can’t picture the record without it. As much stranger-danger-anxiety as tape will allow, it does not soothe."

You Won't Get What You Want is available now via Ipecac Records.

Briony Edwards

Briony is the Editor in Chief of Louder and is in charge of sorting out who and what you see covered on the site. She started working with Metal Hammer, Classic Rock and Prog magazines back in 2015 and has been writing about music and entertainment in many guises since 2009. Her favourite-ever interviewee is either Billy Corgan or Kim Deal. She is a big fan of cats, Husker Du and pizza.

Latest in
Queen posing for a photograph in 1978
"Freddie’s ideas were off the wall and cheeky and different, and we tended to encourage them, but sometimes they were not brilliant.” Queen's Brian May reveals one of Freddie Mercury's grand ideas that got vetoed by the rest of the band
Mogwai
“The concept of cool and uncool is completely gone, which is good and bad… people are unashamedly listening to Rick Astley. You’ve got to draw a line somewhere!” Mogwai and the making of prog-curious album The Bad Fire
Adrian Smith performing with Iron Maiden in 2024
Adrian Smith names his favourite Iron Maiden song, even though it’s “awkward” to play
Robert Smith, Lauren Mayberry, Bono
How your purchase of albums by The Cure, U2, Chvrches and more on Record Store Day can help benefit children living in war zones worldwide
Cradle Of Filth performing in 2021 and Ed Sheeran in 2024
Cradle Of Filth’s singer claims Ed Sheeran tried to turn a Toys R Us into a live music venue
The Beatles in 1962
"The quality is unreal. How is this even possible to have?" Record shop owner finds 1962 Beatles' audition tape that a British label famously decided wasn't good enough to earn Lennon and McCartney's band a record deal
Latest in Features
Mogwai
“The concept of cool and uncool is completely gone, which is good and bad… people are unashamedly listening to Rick Astley. You’ve got to draw a line somewhere!” Mogwai and the making of prog-curious album The Bad Fire
The Mars Volta
“My totalitarian rule might not be cool, but at least we’ve made interesting records. At least we polarise people”: It took The Mars Volta three years and several arguments to make Noctourniquet
Ginger Wildheart headshot
"What happens next, you give everyone a hard-on and then go around the room with a bat like Al Capone?!” Ginger Wildheart's wild tales of Lemmy, AC/DC, Guns N' Roses, Cheap Trick and more
Crispian Mills and Bob Ezrin
“We spent seven months on David Gilmour’s boat and almost bankrupted ourselves. But Bob encouraged us to dream big”: How Bob Ezrin brought out the prog in Kula Shaker
Buckethead and Axl Rose onstage
Psychic tests! Pet wolves! Chicken coops! Guns N' Roses and the wild ride towards Chinese Democracy
Ne Obliviscaris
"Exul ended up being recorded at 10 different studios over two and a half years." Ne Obliviscaris and the heroic story of their fourth album