Artist
Daughters
US mathcore/noise rock band
Providence, United States • Formed 2002
Daughters is a music group from Providence, United States, active since 2002. Their discography on Gatefold includes 5 records.
5
Albums tracked
61
In collections
2002
Since
Biography
Daughters was an American Mathgrind (early) / noise rock (recent) band formed in 2002, in Providence, Rhode Island, USA, after the break-up of As the Sun Sets. The band's current line-up consists of vocalist Alexis S.F. Marshall, guitarist Nicholas Andrew Sadler, drummer Jon Syverson, and bassist Samuel Moorehouse Walker. Daughters' early material was primarily described as grindcore while their later material has been described as noise rock.
The Arc of Daughters
The pivots — what forced Daughters to reinvent.
The 11-Minute Sprint
Canada Songs was the byproduct of the early 2000s Providence noise scene where speed was the only currency that mattered. Recorded at GodCity with Kurt Ballou, the album clocked in at roughly eleven minutes because the band was playing at a physical limit that couldn't be sustained. You hear the hardware straining under the weight of Sadler’s frantic tapping and Jon Syverson’s relentless, machine-gun percussion. It was a definitive statement that established them as the kings of the 'white belt' grindcore movement before they immediately abandoned it.
The Swung-Beat Pivot
When the band moved to Hydra Head for Hell Songs, they swapped the spastic technicality for a nauseating, rhythmic swagger. Alexis Marshall stopped shreiking and started using a warped, theatrical vocal delivery that sounded like a preacher losing his mind in a trailer park. The production opened up, letting the guitars sound like scraping metal instead of digital static. This was the moment they realized that slowing down and finding a groove could be significantly more unsettling than playing at 300 beats per minute.
The Industrial Resurrection
After a nearly decade-long hiatus and a messy breakup, the band returned with You Won’t Get What You Want and a massive shift toward industrial-grade dread. They moved away from the rock-club aesthetic and into cold, cavernous electronics and repetitive, hypnotic filth. The guitars started mimicking synthesizers and sirens, creating a wall of sound that felt suffocatingly heavy without relying on traditional metal tropes. It was a total sonic overhaul that proved the band was more interested in psychological horror than mathcore exercises.
Influences
- The Jesus Lizard — Marshall has repeatedly cited David Yow as a primary blueprint for his transition from screaming to his slurred, confrontational vocal style. You hear it most on Hell Songs, where the vocals sit uncomfortably close to the mic over jagged, rhythmic noise rock. It’s that same sense of unpredictable, drunken danger Yow perfected in the 90s.
- Birthday Party — The band’s mid-period swing and gothic theatricality are a direct line from Nick Cave's early chaos. The frantic, dissonant guitar work on records like Junkyard is the structural DNA for how Sadler approaches melody through abrasion. It’s the sound of blues-based rock being tortured until it breaks.
- Arab on Radar — As fellow Providence stalwarts, Arab on Radar’s high-pitched, abrasive 'skronk' was the local atmosphere that birthed Daughters. The dual-guitar interplay and the refusal to play a standard power chord come straight from the Skinner box of the Rhode Island noise scene. They took that local friction and polished it into something much more lethal.
- Einstürzende Neubauten — For their later material, the band looked toward the industrial textures and 'negative space' of early German pioneers. You can hear the influence in the way they started using non-musical sounds and percussive clanging to build tension on the final LP. It’s less about the riff and more about the mechanical atmosphere of the room.
- The Locust — In the early 2000s, Daughters toured heavily with The Locust, who were the gold standard for the spastic, costume-heavy grind they were initially part of. The sub-minute song structures on Canada Songs are a direct response to that scene's obsession with brevity and technical overkill. They had to play that fast just to keep up with the tour package.
Discography
Their records — most-collected first.
Related artists
Around the web
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