When a band takes a prolonged break in between albums it’s not hard to expect that they have either gotten lazy, or are working on a masterpiece. It’s also hard to not to expect such a masterpiece from a band which revolutionized your musical taste as an adolescent. And for a band prone to evolution like Daughters, the wait for this self titled album was almost painful.  But like a pending dose of morphine Daughters delivers in a way only they can. Anyone familiar with the group can recall their departure from the grindcore scene by completely cutting out the throaty screams of Alexis Marshall to be replaced exclusively with a southern preachers drawl. ‘Hell Songs’ their second album showcased a sound which proved to be a segway to where they now reside. If there is one thing Daughters proved on this album is you can be insanely heavy with out the tell tale sounds of metal. The things left out on this album (wild banshee screams, shredding guitar solos ect)  make it all that much better. The constant pounding of guitars cranked to ten, dissonant as can be, sludgy distorted bass, machine gun drumming as played by a bridge troll, and of course the signature Alexis Marshall vocal accompaniment. One is left with an image of a drunken reverend, strapped to a nuclear bomb, half singing, half shouting warnings of an impending Apocalypse. If I was to rate this album, I’d give it 100 cans of toxic waste of of 100, but since we don’t do that here at Bluegrassish, here is one of our co-founders iceonthetrail to break down this mutated Mona Lisa track by track.

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