Robert Christgau's CONSUMER GUIDE (Village Voice) Honorable Mention

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NASHVILLE SCENE
What's striking about this New York band is the supple way they glide between styles in and outside the punk idiom, despite recklessly changing gears from song to song. Though Daughter seem to have little intention of achieving an overall sense of coherence, they do. And they do so intuitively, almost casually, as if they're not trying at all. Their grafting of rap to metallic hardcore breathes with distinction and freshness, and their debut, Skin, bounces as much as it grinds. Though the album bears the contemporary stamp of beefy production values, Daughter revisit the feel of vintage punk, successfully creating a sense of nostalgia with a modernized spin. On the more skate-worthy songs, they sound appropriately amateurish and loose, yet piston-tight on others; the individuality in Nicole Lombardi and Mary Louise Platt's shared yowling places them in a long line of barking hardcore vocalists. Skin is the first rock release on avant jazz label Aum Fidelity, which, considering the band's adventurousness (they even try dub), isn't much of a surprise. -Saby Reyes-Kulkarni

ROCKPILE
Daughter is built around the shamelessly aggro core of M.L. Platt and Nicole Lombardi's brawling vocal swats.
Their lyrics sound like they've been skullfucking underground literary legends in needle-mined slums.
'Skin' alternates between all out broken-bottle punk, while tracks like "Hands In The Pants" would do
Salt 'n Pepa proud. People are often hostile to the punk/hip hop hybrids, and rightfully so. Fortunately,
Daughter's blunt-soaked aggression makes bands like Sum 41 look like amateurs who gave a lot of A&R
handjobs to get a record deal. - Terry Sawyer