2017 was the end after two albums and a soundtrack (mainly instrumentals) for a video game. Elena Tonra devoted herself to a solo career as Ex:Re, guitarist Igor Haefeli ended up in Bristol via the detour in San Diego, drummer Remi Aguilella in Portland/Oregon. But “Wish I Could Cross The Sea” at the end of Daughter’s new album stands for more than just a drummer who had to record his share remotely in Vancouver/Washington.
Tonra’s voice, in which ethereal presence is no contradiction, remains the main attraction
The reunited trio revolves around the great longing in twelve tracks, especially how to deal with it when it doesn’t come true (that’s supposed to be the norm), while those damned voices perform a “stereo mind game” in your head. But if there was a quiet longing for a little change behind the break, at least this has become reality. “Isolation”, delicately dabbed, is the closest to the good old Daughter despair, but already here hopelessness is no longer an option in more forgiving shades of gray.
The sound is more opulent, with brass and the strings of the 12 ensemble, without overpowering the intimacy. Tonra’s voice, in which ethereal presence is no contradiction, remains the main attraction. But she never stays alone for so long as she does on the gyrating “Neptune,” which builds to an imploring finale, while Tonra becomes one with the backing over the driving quaver of “Swim Back,” as if she really wants to go with the flow.
“Dandelion” and especially “Future Lover” have something almost playful for their standards. “Sweet nothings from the ghost in the room/ It’s so heavy when I think of you,” she sings. Between straight indie pop (“Be On Your Way”, “Party”) and something more experimental (“Junkmail”, “[Missed Calls]’), Daughter explore their options. Other bands should also take longer breaks – if they can come back that way.
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