Ethel Cain Releases Experimental Sophomore Album Perverts Blending Industrial and Slowcore Elements

Ethel Cain’s Perverts pushes musical boundaries, blends industrial noise and Americana to explore profound themes.

Ethel Cain, the musical alter ego of Hayden Anhedönia, has released her second studio album, Perverts, marking a significant departure from her acclaimed 2022 debut, Preacher’s Daughter. The new album, which debuted in January 8, takes Cain’s dark Americana roots and fuses them with industrial noise, slowcore, and ambient influences, creating a challenging yet thought-provoking soundscape.

Perverts Album Cover

Described as an exploration of self-gratification, self-loathing, and postmodern horror, Perverts builds on Cain’s reputation for introspective storytelling. The title track sets the tone with a warped rendition of the hymn “Nearer, My God, to Thee,” followed by 40 seconds of silence and the haunting line, “heaven has forsaken the masturbator.” Other tracks, such as the metallic “Punish,” juxtapose ghostly vocals with grinding electric guitar, while “Vacillator” delves into themes of pain and pleasure through poignant lyrics like “If you love me / keep it to yourself.”

Cain plays multiple instruments on the album, including the rare hurdy gurdy, and collaborates with Matthew Tomasi, who also worked on Preacher’s Daughter, and lo-fi artist Angel Diaz. Together, they craft an atmosphere of intense isolation, blending glacial tempos, layered reverb, and sparse yet impactful instrumentation.

Perverts Album Teaser

While Preacher’s Daughter garnered mainstream attention, in part due to the single “American Teenager,” Perverts pushes the boundaries of accessibility with its abstract compositions and experimental nature. Critics have praised its meticulous production and artistic daring, though its unconventional approach may alienate some listeners.

Cain’s decision to embrace such a bold, uncompromising vision underscores her commitment to redefining musical boundaries. Perverts challenges audiences to find meaning in its deliberate discomfort, solidifying Cain’s place as a boundary-pushing voice in modern music.