Deep, dark and mysterious, Gracie Abrams’ new album Daughter from Hell is here for all of us who love a little musical angst. After several thrilling years of dropping hits like ‘That’s So True’ and performing alongside artists like Taylor Swift and Olivia Rodrigo, Abrams’ third studio album continues to define her own artistry within the lane of folksy, stripped-back acoustic pop. Daughter from Hell takes the self-deprecating angle of a girl whose insecurities hold her back from living life to the fullest.
Through sixteen bombastic tracks, Daughter from Hell revolves around coming-of-age themes like love, family and loss. Its title comes from Abrams’ belief she was a difficult child to raise, and summarises that her imperfections make her unworthy of real love. This makes each song heavy and heartfelt, but truly relatable for many of us who similarly battle those negative voices in our head.
Opener ‘Hit The Wall’ is an instant highlight, mixing bubbling electronic synths with more traditional, simple pianos. “I’m a crack in the pavement, I’m a slipknot”, Abrams sings sweetly, before unveiling a flurry of metaphors determining her place in the world as just slightly askew. Her view of herself as failing before she’s even started litters the record’s moody tone and lyricism.
Much of Abrams’ pessimism comes from failed past relationships, which are a prominent topic across Daughter from Hell. ‘Death Wish’ uses upbeat plucked guitars and a light, flowing vocal melody to juxtapose the weight of believing true romance only exists in fantasy. Its dreamy lyrics rush ahead of the daunting knowledge that it will probably end in disaster, a “gateway drug” that will only eventually lead to burning “bridges and cities” and “ash on the ground”. Later, tracks like ‘Mews’ and ‘Sober’ work to understand the dragged-out nature of relationships ending when they cannot meld reality to the dream world love so often begins within.
Similarly, ‘The Knife’ uses flowery language and rich guitars to explore how past lovers can stick with you so closely over time. Abrams’ ex lingers with her only to “ruin my life, flatten my days and (wreck) my nights”. They are a “knife” stuck in her side, a metaphor which recurs throughout the album and weaves several songs together through imagery and allegory. It’s a particularly strong example of the top-notch production from Aaron Dessner, who frequently collaborates with Abrams and provides this album’s cleancut, definitive sound.
However, there’s more to Daughter from Hell than Abrams’ stories of love lost. ‘Men Like You’ is a tearjerker which appears to cover a friendship betrayal from another woman. Its chorus gains momentum in a way that harkens back to Abrams’ earliest releases like ‘21’, and its instrumentals sparkle in contrast to the bloodied storytelling.
Thematically, ‘Men Like You’ lyrically sets itself within the insulated world of Hollywood in a way that’s similar to single ‘Look At My Life’. This track shows off Abrams’ high, airy falsettos with a beautiful chorus that acknowledges how her rapid fame is harder to live with than she often lets on. Created alongside pop giant Dan Nigro, who produces for acts like Chappell Roan and Conan Gray, ‘Look At My Life’ asks fans to recognise the emotional spirals they don’t see behind the glitz and glamour of celebrity. “How long have I got in the hot light ‘till the shine rusts?” Abrams ponders, raising the question of if her chosen career path can ever be sustainable.
Even her relationship with her own family comes into question, as this album’s title track serves as a distorted apology to Abram’s mother for her turbulent teenage years. Kept simple with only intimate, reverbed electric guitars underscoring her words, Abrams concludes that for all of their fights and miscommunications, her mother is actually the very person she wants to become in life. Naturally, ‘Daughter From Hell’ as a song is core to the record’s themes of never being the perfect person. Its earnest lyrics convey Abrams’ relatable fear of hurting others against her own intentions.
Of course, there are also some more light-hearted moments, like the Audrey Hobert collaboration ‘Minibar’. First introduced as a live duet, here it’s is a solo number all about the awkward but memorable joys of going out. “I’ll eat the cake and the caviar/Break down the door like a bombshell”, Abrams sings over bubbly, rushing melodies. The catchy chorus makes for a sweet escape from the album’s otherwise heavy material.
Abrams reunites with Marcus Mumford on ‘What If It’s Right?’, after their song ‘Badlands’ released on Mumford and Sons’ album Prizefighter earlier this year. Together, their vocal performance is expressive and earnest, exploring the age-old curiosity over if something in life is painful because it’s necessary. Sweet, subtle guitar licks detail the track in unique contrast to the intentionally layered, robotic vocals.
Plus, the short and sweet cut ‘Imaginary Friend’ projects a warm, brighter tone, thanks to a co-write from Abrams’ partner Paul Mescal. It’s followed by ‘Afflictions’, a ballad which appears to cover how their relationship promotes Abrams’ own healing, as she learns to be open and vulnerable with someone new.
But after these brighter moments, Daughter from Hell quickly drags the listener back down to reality on ‘Humming’. This song covers the darkness of today’s political reality. Abrams’ generation cannot escape the war, famine and climate change destroying our planet, and thus indulge in drugs and delusions to cope with these horrors. “Every kid I grew up with has lost their childhood house,” Abrams observes. “No way to make sense of it, it’s why I’m making sound.” ‘Humming’ escalates into wordless, wailed vocals backed by Bon Iver’s Justin Vernon, a finale which sticks with you long after the song’s end, as Daughter from Hell guides the audience to mellow and eerie ‘Cold Goodbyes’.
Daughter from Hell never intends to be an easy listen. It’s heavy, haunting and heart-breaking, narrowing Gracie Abrams’ sonic world into a specific blend of folk and synth-pop that makes her lyrics the star of the show. This is an album that cuts to the bone, and every listen only reveals more to Gracie Abrams’ magic.
