it's happening to everybody
why i think ethel cain's new album 'Perverts' is perfect
“As I went there through the long, long wood, I felt no-thing and I was no-thing and I was at ease. The grey ash trees and their mottled plumage were as one with each other, curving and branching to form a ceiling overhead…”
Hayden Anhedönia, better known as Ethel Cain, writes in her accompanying piece that is meant to be read in tandem with her newly released album, Perverts, where she takes a bold step into uncharted sonic territory, showcasing a mature and introspective side we haven’t seen much of before.
Being one of the most dedicated and enigmatic characters to come out of the music scene as of late, Ethel Cain amassed a devout cult following after the release of her 2022 album, Preacher’s Daughter—a cautionary tale detailing the downfall and death of her persona, who she sings under, Ethel Cain. She blends a mix of alternative and Christian influences, mastering the Southern Gothic aesthetic not only with sound, but with imagery, feel, atmosphere.
This new album, though, has none of the same auditory elements that Preacher’s Daughter had. It’s weird, subversive, and insubordinate to expectations set by its predecessor, deliberately eschewing familiar melodies and themes in favor of something far more experimental and challenging. Perverts marks a bold flight into new, uncharted territory, this evolution showcasing her relentless pursuit of innovation, refusing to stay within the confines of what’s comfortable or expected.
A nine track, hour and a half long drone of pink noise and crunchy vocals takes our hand into the world of the deep human psyche, exploring the darker, often unspoken corners of our experiences. Hayden is analyzing the tension between religious devotion and self-gratification, inviting listeners to confront their own vulnerabilities.
Starting off strong with the self-titled track, Perverts, we are smacked with a gritty lo-fi rendition of “Nearer, My God, to Thee” amidst crunchy and glitching radio effects. It’s unsettling, a gnawing feeling begins at the base of your spine and creeps up as the twelve minutes pass by, a welcome for what’s to come.
This is 100% a crowd sifter for her music. If she is one thing, it is a lover of sound and composition, which is an affinity I can’t say all her fans share or care about. Hayden has grown increasingly frustrated with her crowd over the last few years, detailing constantly on social media about how she wishes she could be taken more seriously. And I don’t blame her. There’s nothing like creating a dark-Americana opus that you poured your heart and soul into, just for a bunch of teenagers on the internet to turn these personal and intense lyrics into meme content. Her fans have a habit of meme-ifying everything she shares, says, or does, so creating an album for the true audiophiles was a smart move to play.
She is refining her audience, deliberately crafting an album that is less about broad appeal and more about connection with those who understand and appreciate her vision. By taking risks, she isn’t just creating music for the masses; she’s curating a community of listeners who resonate with her sound and narrative style.
With Perverts, Hayden is stepping firmly into the realm of serious, respected musicians. She has such a meticulous attention to detail, from the layered production to the evocative lyrics, demonstrating her clear intention to elevate her craft to the most interesting of levels.
It’s an album that demands attention, not just for its content, but for its artistic ambition. Perverts is the least accessible part of Ethel Cain’s sound, full of esoteric and haunting philosophies, fragmented and scorned vignettes, and I couldn’t be happier to experience the auricular dream as a fan since the Inbred era.
There’s a sense of impending doom you feel while listening to this, the anxiety riddled in with the repetitive ambient noises, building towards a crescendo that you think will make everything fall apart, but perhaps it never even comes. It takes a sense of perseverance to get through—not because it’s tedious or bad in any way—but solely based on the fact that it’s preternatural, uncommon in the music industry, not the typical run of the mill radio tunes you turn on during your commute to work.
It’s eerie, purposefully uncomfortable, a sonic slowcore journey that I can’t quite call a joyride, though I am completely obsessed with the concept, the composition, and the precedent this sets for future projects.
Perverts marks a significant departure from the elements that defined Ethel Cain’s earlier works. While the atmospheric, dreamy (now, nightmarish) qualities remain, there is a sharper edge to this album—a boldness that speaks to her evolution. This project feels like a statement, a declaration that she is not content with resting on her laurels, but is driven to continually redefine her artistic identity.
Ultimately, Perverts is a perfect encapsulation of Anhedönia’s vision. It’s not just an album; it’s a cohesive (and uncanny) project that stands as proof to her artistic integrity and envying ambition. For fans and newcomers alike, this album solidifies Ethel Cain’s place as a force to be reckoned with in the music industry. Forever and always.
I would follow her into the dark forest any time, hand in hand, with a creepy chorus singing us off. You need to listen to this album, more than once too.
“The cautionary tale is the fool’s errand, and I am no fool. I am as my hands are; twisting in on themselves and bursting at the seams. I can-not contain the ache for sensation, just as I could not contain the grief as I fell, nor the agony as I crawled my way back to this rocky countryside, and lo! I am on my way there again now. I am, I am, I am! But I will not tell you the visceral details, as you already know them. You all do.
It’s happening to every-body.”
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I’ve only dabbled in Ethel Cain’s music but I saw the new album came out when I was driving home past midnight last night. I put it on, top to bottom, and was spooked and in stupor. This was an amazing breakdown!