Noise-obsessed band from Rhode Island, Daughters, might seem like a part of the recent series of half-hearted reunion shows or the string of overwrought ‘ten-year-anniversary-of-our-seminal-album’ tours that we bore witness to last year, but they’re not.
Sure, they had a heyday full of heavy touring, legendarily raucous live shows, and a few important albums from more than a decade ago. And, yes, attention spans dwindled and in 2008 the band went on a hiatus that seemed permanent to their fans. But last year, they released You Won’t Get What You Want to a wide range of praise. Like Daughters’ albums before it, their latest record is a push into new territory for the band, warping a collection of genres into the dark intensity of Daughters’ sound.
They’ve emerged from their time away with a newfound focus and a reenergized audience that wants to see shows that offer a diverse selection of bands. According to guitarist Nick Sadler, the band wouldn’t have it any other way. “In the group, it’s pretty easy for all of us to feel pessimistic or just sometimes bored if we’re playing a lot of shows with bands that sound the same,” he said. “It’s flattering because a lot of the group’s we’re lucky enough to play with now are much more than peers.”
Unlike previous albums, You Won’t Get What You Want was written primarily on a laptop in Sadler’s living room. The band spread out across the country during the hiatus, starting new bands, careers and families; getting together in the same room to hammer out the songs wasn’t be possible. Instead, Sadler helmed the project, sending ideas out via email and discussing in spurts. After years of producing the material that has come to define Daughters’ aesthetic, he wasn’t the first time that he or the other band members had adapted to a new style of writing.
“We all come at making music from a creative perspective,” Sadler said. “I don’t know if there’s anything truly experimental about what we’re doing, but trying to be creative and push ourselves comes first and everything else is built around that.”
In furthering their sound, yet again, Sadler and the crew integrate eerie synth layers and foreboding escalations of their trademark ferocity. Captivating narratives in the lyricism and otherwordly guitar effects conjure Daughters’ most tonally complete album, receiving acclaim from the worlds of rock, metal and post-punk. They landed at the tip of many year-end lists and their reinvigorated touring schedule even saw them play two sold-out shows at Bottom of the Hill late last year, with big names like Rhode Island’s Lingua Ignota and Seattle’s Dreamdecay. Sadler admits that the reception of their latest release has felt good, but is quick to add that the constant change and intensity will always be a apart of the group’s dynamic, regardless of praise.
“I’d like to play in a band that I would want to listen to, even if I were not in it,” Sadler said. “We try to defy our own expectations. There’s a common thread there, being that there is no common thread.”