Music / You Won't Get What You Want

"This city is an empty glass..."

"That bastard had a head like a matchstick,
face like he was sucking concrete through a straw.
Some faces not even a mother can love,
says the spit and spatter of broken glass from above."

— "Satan in the Wait"

You Won't Get What You Want is the fourth studio album by Rhode Island Noise Rock band Daughters and their first album since their reunion, following what was originally their Grand Finale, their 2010 self titled album. While they were known in the past for countless harsh Miniscule Rocking Grindcore and Metalcore, this album saw them releasing much longer, harsher music than ever before.

This album was released on October 26, 2018 through Ipecac Records to massive critical success, most notably receiving the rare and coveted 10/10 from The Needle Drop, which no doubt helped fuel the success of this album.

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Tracklist:

1. "City Song" (5:55)
2. "Long Road, No Turns" (5:04)
3. "Satan in the Wait" (7:06)
4. "The Flammable Man" (2:09)
5. "The Lords Song" (2:45)
6. "Less Sex" (4:47)
7. "Daughter" (4:55)
8. "The Reason They Hate Me" (3:55)
9. "Ocean Song" (7:28)
10. "Guest House" (4:29)

Is someone troping in here or is it me?!

• Addled Addict: "Less Sex" takes a more abstract spin on the trope; the protagonist admits their addiction to something that is only described as "it", making the song feel both more ambiguous and more frightening as a result.
• Breather Episode:
  • "Less Sex" and "Daughter", while still terrifying in their own right, are less manic and harsh than the preceding and proceeding songs, with the former being a Downward Spiral-era Nine Inch Nails-esque song featuring Marshall's low, baritone singing voice contrasted to his standard mid-range shouted spoken-word heard throughout the rest of the album and the latter, while still having said spoken-word singing, is still slower in tempo and straight up groovier than most of the other songs on the album.
  • A case could be made for "The Reason They Hate Me" being this as well. While it's still rather abrasive instrumentally, the song actually follows a standard verse/chorus, verse/chorus, bridge, outro, formula.
• Concept Album: While there's no official story to the album except for "Ocean Song" and maybe a few other songs, the album can very much be interpreted as one.
• Darker and Edgier: Even though this band is no stranger to dark subject matter and noisy songs, this trope gets cranked up to eleven throughout the entire album, the end result being the band's absolute darkest, heaviest and scariest work to date.
• Downer Ending: "Guest House".
• Drone of Dread: See Last Note Nightmare.
• Epic Rocking: While not as extreme as many other examples of this trope, "Satan in the Wait" and "Ocean Song" extend beyond the 7 minute mark, which is incredibly long for a band whose past 3 albums didn't reach 30 minutes total (this album almost reaches 50 minutes).
• Last Note Nightmare: "Ocean Song" ends with nearly 2 minutes of dissonant and unsettling riffs.
• Lighter and Softer: By the most technical definition of this trope. Compared to their first two albums, this one at least contains some melodic moments.
• Lyrical Cold Open: "The Flammable Man".
• Madness Mantra: Too many to count.
  • "City Song": "This city is an empty glass."
  • "The Flammable Man": "I don't lie!"
  • "Less Sex": "I let it into my home/heart/head/bed."
  • "Daughter": "Knowing they'll die here or there."
  • "The Reason They Hate Me": "Don't tell me how to do my job!"
  • "Ocean Song": "To know, to see for himself, if there is an ocean beyond the waves."
  • "Guest House": "Let me in!", also one instance of the word "knocking" being said 7 times over and over.
• New Sound Album: This album sees the band moving further away from their Metalcore roots and into no wave and the more abstract side of Noise Rock.
• Nightmare Face: The Textless Album Cover is a ghostly white painted face with empty eyes floating in a black background.
• Sanity Slippage Song: The entire album.
• The Something Song: "City Song", "The Lords Song" and "Ocean Song".
• Surreal Horror: Incarnate, at least in musical form.

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"Ain't it funny how it works?
Someone's always got it worse!
They hit the ground harder than you."

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