Daughters : Hell Songs
Providence, Rhode Island’s grindcore metalists Daughters have returned to making a mighty ruckus with their second installment Hell Songs, following their 2003 release Canada Songs. Produced by Andrew Schneider (Scissorfight, Cave In, Blue Man Group, Keelhaul), Hell Songs showcases fanatical grindcore moves with sonic stabbing similar to Anthrax and Slayer. Daughters’ compulsive chord stapling is irascible and shrewish, sharing the noisy approach of Mikaela’s Fiend and Botch.
Daughters display everything that is wrong in the world, revolting against normalcy and exposing what is kept hidden underneath. Daughters’ album cover depicts this premise for their songs, vocalizing the hidden emotions which being normal imposes. At first glance, the picture appears to be a normal period woman stroking a horse, but look closely and you will see a ghostly hand pointing its trigger finger up to her head. It’s her own hand wanting to release her from the agony of the picture perfect life that does not allow her to express passions burrowed beneath the surface.
Daughters’ songs are the story of revolting against normalcy, from the cryptic-toned vocals to the drug-induced state of the bellicose pops from the guitar effects and tapping. The slow motion of the vocals and guitar screeches on “Daughters Spelled Wrong” are eerie and act as a prologue to a film. The stapling drum loops on “Fiery” have a demonic presence dotting across the twisting guitar effects.
“Recorded Inside A Pyramid” has an Anthrax-like aggression with squeezing guitar pellets kneading into stringent torques that lead up into brutal outbursts. There is a sameness in the tracks “Feisty Snakewoman,” “Providence By Gaslight,” and “Hyperven Tilationsystem,” focusing on dramatically sarcophagus-pitched vocals, agitated guitar effects, and dissonance in the placement of the shrilled parts. Notes are emitted by instinct with a reactive circuitry like on “The Whisperer.” The strong bass lines are surrounded by straining vocals and screeching guitars. The center calms down to a softer, tantric tone but belts out into scratching guitar effects and reaming vocals. In order to like these songs, you might need to be able to identify with them, as the band composes songs with a personal meaning, with narrated stories, often cryptic and massively agitated.
Anthrax – Music Of Mass Destruction
Botch – We Are The Romans
Mikaela’s Fiend – We Can Driving Machine