In 2023, the concept album Preacher’s Daughter launched singer Ethel Cain into mainstream success. The record is a masterclass in storytelling and production, as Cain utilises an array of genres and sounds to deliver a heavily layered tale. So, fans were surprised when they received Perverts, Cain’s latest studio release. The album is the complete antithesis of its predecessor, relying heavily on instrumentals, occasionally accompanied by sparse, faint vocals.
Perverts is composed of nine tracks, each with a run time of six to ten minutes. It is not to be sung along to or danced to. However, it appears that this denial of accessibility was Cain’s intent. In a music industry dominated by hooks optimised for TikTok, measured in catchiness and lyrics tailored for relatability, Perverts stands as a perfect subversion. In this album, Cain reclaims creative control. In a world of listeners desperate to map lyrics onto their own lives, she forces them to sit, listen, and ponder over her every word.
The album begins with the eponymous track ‘Perverts’, where Cain immediately breaks into a lullaby, as she softly sings “Nearer, my God, to Thee”. Her vocals are beautiful, yet eerie, building up a sense of impending horror which is accentuated by the lack of backing instrumentals. All of a sudden, the listener is sprung into complete silence before the second part of the song commences. It is clear, already, that Cain is eliminating her passive listeners. This is a calculated move from Cain, who has too often seen the celestial, anthemic sound of her music prioritised over its intended meaning. The most notable of these cases was when former US president Barack Obama shared that the anti-war, anti-patriotism anthem ‘American Teenager’ from Preacher’s Daughter was, ironically, one of his favourite songs of 2022.
As the album continues, an all-consuming love is detailed, reminiscent of Preacher’s Daughter, wherein she is cannibalised by her lover. In ‘Housofpsychoticworm’, she repeats the simple line “I love you” in her distorted, ominous-sounding voice, hypnotising the listener as she draws them into her haunted house, as depicted on the album’s cover.
Religion and death are recurring thematic elements on the album, tying Perverts to its predecessors as defining characteristics of Cain’s projects. These themes, deeply rooted in Southern Gothic traditions, underscore her continued exploration of personal trauma, religious imagery, and existential struggles, which have become hallmarks of her storytelling and artistic identity. However, the spooky, spectral sound of Perverts serves as a stark contrast from any of Cain’s previous work, with her popularity stemming from her original sound composed of shimmering guitars, propulsive rhythm and heavenly vocals.
The project employs an array of vocal effects, but the inclusion of Cain’s raw, angelic singing on the closing track, ‘Amber Waves’ brings the album full circle. This moment not only ties the project together but also serves as a poignant reminder of her vocal brilliance and emotional depth. Although her work has taken on an entirely new form, it remains deeply evocative as a lingering experience.
Words by Zahra Hanif