\t\t\t\t\t\t<\/p><\/div><\/div> \n\tAbrams\u2019 first two albums were delightfully introspective, her whispery bedroom vocals delivering her greatest secrets straight into your headphones over gentle instrumentation. At times, though, her songs ran the risk of sounding too similar, bleeding into each other both sonically and lyrically. She obliterates that notion in Daughter From Hell<\/em>, which she co-produced with Dessner, digging deep and experimenting more than ever before. The title track is a raw, devastating rocker, unlike anything else in her catalog, that\u2019s easily one of the greatest songs of her career. She simultaneously thanks her mother and apologizes to her for being a troubled teen, singing over fuzzed-out guitar: \u201cI was a pill, you swallowed me down\/They say that I got your mouth.\u201d<\/p>\n \n\tAbrams has taken enormous leaps with her vocals here, too. Listen to the way she soars across feathery octaves on \u201cGood Reason,\u201d or the way she goes full Adele on the chorus of \u201cMen Like You\u201d: \u201cGirl, I know men like youuuuuuu, youuuuuuu!<\/em>\u201d The cheeky \u201cMini Bar,\u201d co-written with her best friend, pop singer Audrey Hobert<\/a>, features the same conversational style as \u201cThat\u2019s So True.\u201d Only there are no dumb faces here \u2014 instead, we get hilariously relatable lines about going out (\u201cI\u2019m at the corner minimart\/Got 50 bucks and a brain cell\u201d) and social anxiety (\u201cI\u2019m at the party\/Is it just me, or do you feel insane?\u201d). It\u2019s this kind of charming humor and vulnerability that\u2019s gained her all those devoted fans, who show up to her concerts<\/a> wearing bows and white skirts, yelling the lines to every song.\u00a0<\/p>\n