Rhode Island's Daughters, featuring vocalist Alexis Marshall and guitarist Nicholas Sadler,
started out in the ferocious and concise tradition of grindcore:
Canada Songs (Robotic Empire, 2003) contains ten songs that are mostly
under a minute long (although at least The Ghost With the Most manages
to display a personality), and
the 23-minute mini-album Hell Songs (Hydra Head, 2006) is just a bit
Daughters (Hydra Head, 2010), containing eight full-bodied songs,
replete with melodic hooks,
marked a complete change of aesthetic and ideology.
The formidable sonic assault of Sweet Georgia Brown borrows from southern boogie as much as from Gun Club.
The Hit unveils a hummable guitar riff amid all the cacophonous fervor.
Nonetheless, the band remained viable mainly because of its flagrant abominations.
The explosive The Theatre Goer sounds like Led Zeppelin's Whole Lotta Love played by voodoo demons on fire.
The massive oscillating wall of sound of The First Supper is fueled by
dissonant synth surges and pounding drums with industrial overtones (echoes of
Cop Shoot Cop and
Type O Negative).
The anguished psychodrama of The Unattractive Portable Head does not even venture into punk-rock at all, and even throws a clapping dance beat and acid keyboards into the mix.
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