Today I’m happy to introduce my readers to a terrific band with an equally terrific name: a million rich daughters. Hailing from Chicago, they play an interesting and totally unique style of, in their own words – “garage/industrial/horror inspired alternative post-punk – music that transcends the typical boundaries of the observable universe.” That sounds about right. The band was founded by brothers Brett and Jake Grant, with Brett on vocals, guitars and synths, and Jake on drums. They were later joined by Matt Clepper, Rene Gutierrez and Taylor Ford, and just released their new EP Hidden Parents, which dropped November 15. After recording the album, Gutierrez and Ford left the band, and were replaced by bassist Josh Victor. Brett also has a solo project under the moniker brett.grant.5, and released his own EP disqui.etude this past June (which I reviewed).
The first track “Hitting Backspace” is a reworking of a song that was originally featured on disqui.etude. This time the mesmerizing track has been expanded by more than a minute, and gets a heavier full-band treatment. Starting off with moody, throbbing synths and shadowy bass chords, the music gradually builds into a spine-tingling crescendo of swirling jangly and psychedelic guitars, accompanied by harsh industrial synths and a deep, thumping percussive beat. Brett has a quirky, distinctive singing voice, and here he sings in a kind of plaintive monotone that grows more dramatic as the music intensifies. His vocals perfectly express the desperate feelings of being buried alive by the staggering weight of one’s problems: “It wasn’t like I anticipated facing all this in the time since yesterday. Sands keep falling. Feels like I’m slipping away, and trapped hitting backspace./ It wasn’t like I could keep up pacing, keep up pacing through the sands of yesterday.”
The next track “Love Me After” is a feast for the ears, and possibly my favorite on the album. It begins with an enticing mix of plucked guitar strings, delicate snare and a delicious little bass riff that really does it for me. Then a thumping drumbeat ensues, punctuated by jarring jolts of what sound to me like intensely amplified guitar chords. As Brett’s vocals enter the proceedings, the music explodes with equal measures of heavier guitars, synths and percussion. Brett passionately laments of a relationship heavily damaged by a long history of hurt and verbal abuse, yet still holding out hope that perhaps it can be salvaged: “Just like you said, I’m as good as dead, yet you call my words slander. One day we’ll break these goddamn mistakes. Maybe you’ll love me after?” The wailing guitar solo after the final chorus is wonderful.
“Melancholia” is a bit of a musical tour-de-force, as it takes us on a delightful four minute long sonic journey. The first part of the song features a frantic punk rock tempo, with rapid-fire riffs and pummeling drumbeats, all anchored by a killer bass line. At around 2:30, the song transitions to a languid, synth-driven melody, with crisp percussion and that lovely bass taking center stage. Eventually, the frantic punk vibe returns in the final chorus for a great, head-banging finish. The lyrics seem to be about not allowing yourself to be defeated by depression or the oppressive forces imposed upon us by others, and to instead speak up and fight for one’s rights: “If you feel like you’re captive in a boat with no captain, speak up! Well I can’t just forget it, and I’ll always regret it, come on. Melancholia’s passion is a pit of distraction, come on. Now we’ve lost all our assets and we can’t pay for access, speak up!”
“Truth Be Told” is another track from disqui.etude that’s given a fuller instrumental treatment here, with spooky synths, muscular thumping drumbeats and intricate layered guitars. The stabbing guitar chords add a dramatic touch to the mix to great effect. I think this remake nicely enhances the impact of the haunting lyrics that speak to feelings of misery and guilt over the death of a loved one. Brett’s heartfelt vocals are really moving as he sings “Truth be told, I never thought that you’d be dead. Truth be told, I just can’t get you out my head. Truth be told, I’ve been obsessing for so long, I’d give anything to write a different song. Truth be told, I should’ve been the one to go. Truth be told, this burden’s getting hard to hold.”
A million rich daughters dial the energy back up with “Possibly a Problem“, delivering furious riffs of jangly guitars and hard-driving rhythms. My take on the song’s meaning is that it’s about how as more aspects of ourselves and our past are revealed in the early stages of a new relationship, we fear the other may lose interest in us, given our shortcomings. In this case, alcoholism appears to be the possible problem: “Lost so many to elixir, don’t you disappear. I just want to make sure, if I’m sick again, be my cure. Possibly a small problem, but I just want to be your man.”
The title track “Hidden Parents” has a wonderful electro-psych rock groove, and I love the haunting lead melody. Once again, there’s a lot going on here musically speaking, with numerous tempo and melodic change-ups. At times the song has an 80s new wave vibe, only to later veer headlong into frenetic punk rock beats. Backed by dark, sweeping synths and aggressive rhythms, the intricate, multi-textured guitar work is fantastic. Brett’s distant, echoed vocals convey a vulnerable sense of desperation as he seems to be asking for forgiveness for the wrongs he’s done: “Oh things, have changed, the damage done. Oh look, at what, I have, become. Now I, am lame and most probably not sane. There is, no me, no in-between. There’s still, one thing, I want, to do. And what, I want is to get a little closer to you. Oh it’s always for you.”
I must admit that this was one of the most challenging reviews for me to write in my four years of doing this. Despite having only six tracks, there’s a whole lot to unpack in each song. Not being a musician, and having no music ability nor training of any kind, I sometimes have a difficult time articulating what I’m hearing. Hidden Parents is an experimental work, teeming with unconventional, ever-changing melodies, deep, often abstract lyrics, and loads of innovative, complex instrumentation that give it a compelling and fascinating sound. Indeed, Brett himself told me the album “is fucking weird; there’s a lot going on technique-wise in the music theory, as well as a lot of layers.” That’s for sure, and while it might not be everyone’s cup of tea, I think it’s brilliant.
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