No one could have predicted what Florida-born singer-songwriter Ethel Cain has brought to the table with Perverts, the follow-up to her 2022 debut album, Preacher’s Daughter. Better known by her Ethel Cain character, Hayden Anhedönia’s independent rise came as a result of garnering a cult following—dubbed the Daughters of Cain—in line with her Southern Gothic visuals and presentation that quickly distinguished her from an ever-crowded contemporary folk scene.

After singles such as “Strangers” and “American Teenager” propelled her to new heights, Anhedönia published The Consequence of Audience, a short story in which she describes dark liminal spaces born out of the natural world. The story served as a fitting precursor to the project, perfectly capturing its soothing yet sinister nature.

In addition to not continuing the Ethel Cain story that began on Preacher’s Daughter, Perverts is the response to Anhedönia’s newfound success, taking a creative leap away from the folk and alt-pop music she became known for and experimenting with soundscapes ranging from the soothing to the abrasive.

Singular production style

At times, distorted but always amplified by reverb, the production style on Perverts is unlike anything likely to be released in the near future. While Anhedönia is no stranger to longer runtimes, the opener and title track quickly put any previous efforts to shame with a 12-minute ambient experience that’s the stuff of nightmares—in the best way possible.

The distant rumbles and eerie breaths are the kind you’d hear in a Mica Levi composition, with dreadful drones in the background adding to the suspense that remains omnipotent on the project. Five minutes in, an industrial horn dominates the production, beginning a hostile takeover completed when its electronic pulses encompass “Perverts” in the final stretch.

Not all of Perverts is powered by noise and harsh electronic textures. Although beginning similarly to the many experimental tracks, “Onanist” strikes a balance between the fragile and the corruptible, where the soft vocals contrast the grainy instruments so heavily distorted it’s near impossible to make out what they were initially. Prior to the climax, the piano first heard on “Punish” returns and lifts Anhedönia’s voice up, allowing her to take full attention despite the constantly shifting instrumental.

Immersive from start to finish

If not for the staggering production, the contents of what Anhedönia sings/speaks about on the project are enough to garner even the most morbid of curiosities. “Pulldrone,” as its name would suggest, has drones at the song’s forefront, first beginning in the far background of the production but growing louder as “Pulldrone” reaches the 15-minute mark.

The lyrics “I have always possessed the insatiable need to see what happens inside the room” echo the previously released short story, hinting at an overarching narrative similar to the one told in Preacher’s Daughter but fueled by riddles and contradictions. This song, in particular, explores selflessness and selfishness, with Anhedönia at first implying she’s reached a level of enlightenment but soon ditching that for desires like “I want to know what God knows.”

Even though “Pulldrone” is just one track out of nine, the puzzling lyrics first resonate emotionally before bringing you back for repeated listens to grasp the themes at play on Perverts fully. That ability to draw listeners back in, even for songs far exceeding the average runtime, goes to show the chokehold Anhedönia has on her corner of indie music.

Written and produced by Cain

Like Preacher’s Daughter, everything on Perverts is written and produced by Anhedönia herself. From the single “Punish,” it was evident that her imprint would be all over, whether it be the hauntingly beautiful piano ascending and descending with emotion or the barely distinguishable vocals echoing like ghosts in the night. The fuzzy guitar in the second half ties everything on “Punish” together, humming at the same volume as the intensifying vocals before fading out and leaving the piano alone.

As for the experimental material on the project, very few artists are operating on the same level. The electronic roars on “Thatorchia,” like many instruments across Perverts, are hard to pinpoint. However, that’s far from a flaw, as it only cements Anhedönia as the kind of artist interested in furthering what’s musically capable above all else.

For anyone worried she may venture too far into experimental work, the song’s gradual descent into a guitar crisp in quality signals a still strong interest in creating music as accessible as it is booming, with individuality hard to come by nowadays. But for now, Perverts is an uncompromising effort unafraid of disturbing listeners yet pulling them in regardless due to the sheer audaciousness of the project.

Words: David Sosa

Visit Ethel Cain on her Instagram and website to stay updated on new releases and tickets to potential shows.