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Within this track "Miss America", listeners are placed in a hotel room near JFK airport, where the musician receives a devastating news that her dad has cancer discovery. The Sunderland-born artist was touring the US on her initial visit, drumming with indie band Kero Kero Bonito, when suddenly grief takes over, coloring everything with melancholy. Unsteady keys and soft orchestration accompany dark reports emanating from the tour van: "Cattle farm and broke down shack / Shopping centers, illicit trades, anxious moments."

Her gentle vocals come across with a flat style, yet the record's intensity arises from the sharp penmanship—mixing fiction, traditional phrases, and direct diary entries—along with surprising rich textures. Not many songs this year possess stronger storytelling flair compared to "Shelly", a piece that depicts the killing of a deer and descends toward a fuel-soaked confrontation, reminiscent of written works lit by glimpses of warped cello. Tense, subdued verses featuring resonating, plucked strings transition into grand choruses, and Walton's vocals electronically altered to become a presence omniscient and sinister.

Audiences might previously be familiar with Walton as a music creator, DJ, and member in groups such as Caroline. Daughters' sonic turns reflect this varied background. The first track "Sometimes" bursts with fanfare, as if an ensemble caught by surprise, while "Born Again Backwards" drastically increases the tempo via an intense, beautiful, looping percussion. Thick layers of audio, expertly produced by a long-term collaborator, feel at once rough and spiritual, and Walton's dark, enchanted thoughts peak on highlight "Lambs", which briefly becomes a swirling dance. "I hope your existence doesn't conclude with dying," Walton bargains, with poignant dark comedy.