Daughter appears at the Queen Elizabeth in support of 'Not To Disappear,' the new full-length release from the London-based trio: singer/guitarist Elena Tonra, guitarist/producer Igor Haefeli and drummer Remi Aguilella.
Date/Time: Nov 25 2016, 8:00 pm to 10:00 pm
Vancouver, Queen Elizabeth TheatreCost: $29.50
Find tickets: here
Produced by Igor Haefeli and Nicolas Vernhes (Animal Collective, Deerhunter, The War On Drugs), 'Not To Disappear' finds Daughter evolving in interesting ways. Recorded in New York, at Vernhes' studio in Greenpoint, Brooklyn, there are the usual intricate dynamics at play -- Tonra's gauzy, fragile voice, delivering powerful, anguished words detailing her inner turmoil, fusing seamlessly with Haefeli's tight, melodic guitar sounds and Aguilella's rolling drums -- but the sound, oozing with depth and resonance, feels infinitely richer. It's properly intoxicating stuff: "Numbers" soars and swoops through exhilarating crescendos, as Tonra recites the song's mantra -- "I feel numb/I feel numb in this kingdom" -- over and over; and "Fossa," like some majestic convergence of Radiohead and Sigur Rós, is possibly one of Daughter's most euphoric moments yet.
Haefeli has spoken previously about wanting to expand the band's sound into increasingly widescreen realms, and 'Not To Disappear' duly bigs it up; this time, there's distinctly more dramatic ebb and flow, as quiet intimacy lurches into thrilling kaleidoscopic expanses, noticeably more epic and ambitious in scope than the Daughter of just a couple of years ago. "To me, music is like a very fragile Jenga," he says. "You move one piece, then you have to move another piece to balance it. Elena is much more of a 'pure' artist -- for her, it's always about capturing the 'moment'. In that way, we're polar opposites, but I think that's what brings some of the magic to it."
Magic is right: this time, Daughter feel like an entirely new, different and increasingly fearless proposition, the alchemy of their music -- more resonant and emphatic, even louder in places -- somehow doubly alluring. They go flat-out and turn up the volume throughout, as Haefeli's beefed-up, majestic guitar lines surge and reverberate with renewed urgency and purpose, cut through by Aguilella's unflinchingly muscular, red-blooded drumming -- all of it gilded by a gorgeous electronic undertow.
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