siLLy puPPy After the tiny little declaration of existence from the 2002 debut EP that only clocked in under five minutes, the Providence, Rhode Island based DAUGHTERS emerged the following year with their official debut album CANADA SONGS which nearly tripled the playing time of just over 11 minutes long but yet despite the short playing time found the band evolving significantly and packing in as much activity as a warehouse of fireworks exploding in the night’s sky.

It didn’t take much time at all for DAUGHTERS to carve out their own niche in the core arenas of the metal underground. While staunchly retaining their grindcore roots, this band of naughty noise makers pummels through ten tracks at breakneck speed incorporating punk infused core elements with technically laced progressive time signatures run amok with a rather avant-garde process of adding the playful interplay of timbres, tones and tempos with brief moments of psychedelia.

Possibly the mathcore version of Between The Buried And Me, right from the opening track “Fur Beach,” DAUGHTERS carpet bombs the listener with a dizzying array of musical elements tucked away in every blistering guitar riff led cadence that include bizarre mercurial stylistic changes within the technically steeped potpourri. The winning team of Alex Marshall (vocals), Jon Syverson (drums), Pat Masterson (bass) and Jeremy Wabiszczewicz (guitar) display an uncanny instrumental tightness as if they are telepathically connected.

While DAUGHTERS were clearly in the noisecore section of the music store, they were much more as they deftly crafted melodic constructs that unfolded within the context of chaos tantamount to taming a seemingly untamable multiple-alarm fire in a munitions factor that explodes in harmonious and orderly ways. Crazy chaotic guitar swirls coalesce into freaky pseudo-melodies kept staple by oscillating rhythmic stability, atypical no wave atonalities nihilistically creep into the nooks and crannies. Surreal sounds effects ebb and flow unpredictably.

For those who are not familiar with the bombastic origins of DAUGHTERS may be shocked to hear how crazy these early recordings are compared to the more chilled and detached feel of the modern fairly metal-free albums like “You Won’t Get What You Want” sound. This debut is a live wire of excess energy that attacks like a lightning bolt from the sky and you, the listener, are the lightning rod to receive the full electrical shock. This is only for the most hardcore extreme metal addicts out there. Listen with caution but don’t be surprised if you actually start liking this!

siLLy puPPy With an errant disregard for niceties and general aberrancy, the Providence, Rhode Island based DAUGHTERS debuted in 2002 not as the neo-no wave and industrial sensation that they have become known for but rather as a punk infused mathcore noise making unit that formed in the ashes of the grindcore band As The Sun Sets where vocalist Alexis S.F. Marshall, guitarist Jeremy Wabiszczewicz and drummer Jon Syverson all played together.

After the addition of Pat Masterson on bass, the new group reconvened as DAUGHTERS and released this debut EP only three days after their official formation. At a mere 4 minutes and 13 seconds, this tiny four track vinyl 7” was more like a declaration of existence rather than a bona fide release but nevertheless displayed a new more technical infused evolution that moved beyond the As The Sun Sets experience.

The track titles pretty much tell the whole story: “Hello Assholes” (1:00), “Flattery Is a Bunch of Fucking Bullshit” (1:35) “A Room Full of Hard-ons and Nowhere to Sit Down” (0:31), “My Stereo Has Mono and So Does My Girlfriend” (1:07) as they display extreme contumaciousness punk infused hostility alongside a rather humorous display of irony.

Even at this early stage DAUGHTERS was already displaying a trait that allowed them to stand out from the other bombastic noise based acts in the core subs of metal. While the members were just as capable of cranking out the caustic guitar and bass riffs with pummeling percussion and hostile screamed vocals, the extra touches elevated DAUGHTERS to a higher status.

Tucked into the swirling salvoes of grindcore outbursts are intricate progressive touches that allow the riffs to shape shift with extreme time signature deviations coupled with more surreal softer passages that take a 180 from the frenetic cannonade of relentless orotundity that pummels the senses. While a mere blip on the greater music scene, this eponymously titled debut EP nevertheless sowed the seeds.

At this point DAUGHTERS weren’t too different from other technically infused mathcore bands like Botch, Car Bomb, Psyopus, Behold… The Arctopus or The Dillinger Escape Plan but somehow they managed to infuse a little of their own personality into these tiny turgid eruptions of unbridled energy. An interesting start for those who want to go back to the origins.