After their second release, Dream in Tongues, two of Arms of Tripoli’s core members departed, leaving the other three band members at a crossroads. After a difficult discussion, George, Jaimie and Mike used their desire to persevere and began experimenting with fresh blood. Once they had solidified full-time replacements, they realized that the emotion of the previous situation had already inspired the songs for their third release. The bet paid off.
Daughters is a constant stream of open interpretation. These seven tracks do a great job of blending thoughtful structure with fulfilled harmonies. The bass and drums are tied in with one another, while the guitars work off one another in magnificent fashion. Chord changes can come at any time, or not at all. One can hear not only the individual influences of each musician, but how those independent elements circle around to produce one cohesive sound.
This record is full of confident and consistent riffs and feels ready to explode. These well-crafted tunes never go too far. They don’t climax and give in to what’s assumed. Crescendos are much more delicate and detailed than they are expansive and clichéd. They confidently hone in on their arrangements and dynamics and don’t quit. You’ll find your body and head nodding, but in a calm and collected manner.
The production acts as another member of the band, as it shows the the amount of ground covered by the new quintet. Even though the weight of the record is primarily drums, bass and guitars, subtle bits of percussion and keys are introduced, tightening the already locked-in pockets. An additional beauty of the album is its flow. Daughters isn’t interrupted by distractions or non-necessities. The final tune, “Cuddle and Hum”, dances around an infectious groove that gets stuck in one’s head before it’s even over; this operates as a teaser, leaving one to ask what more this lineup may be capable of. This is the sound of the new Arms of Tripoli: a beautiful breed of post-rock that is their own. (Drew Lundberg)