It’s not a new question, but it is a pointed one: how do you follow up a debut album that catapulted you into the mainstream consciousness? If you’re Ethel Cain, you opt to do so by delving into the most impenetrable, experimental noise you can.
‘Perverts’ has been framed as a standalone project sitting outside the conceptual arc Cain established with 2022’s ‘Preacher’s Daughter’ and, equally, its nine songs trade out her Americana-rooted sound in favour of a 90 minute sprawl taking in drone, ambient and experimental electronics.
Almost nothing about ‘Perverts’ is accessible. From the opening 12 minute title track through to its closer Amber Waves, Cain utilises these compositions like atmospheric elements rather than to tell a story. Termed a “project”, it’s deliberately cut off in its own universe and has its own unique identity.
It’s unclear, though, what ‘Perverts’ is actually intended to be, other than a way of immersing listeners deeper in Cain’s world. In that regard, it’s quite extraordinary.
It’s not until the second track, Punish, that there’s anything resembling a recognisable lyric, but Cain’s voice is still very much a feature. Contemplative and introverted, tracks such as Housofpsychoticwomn are densely layered, while during the final moments of Etienne distorted guitars are glimpsed through the haze.
The difficulty with ‘Perverts’ is the inevitable comparisons it will get to ‘Preacher’s Daughter’, even if they’re entirely redundant given the context. There are no moments to rival that record’s screaming post-rock standout Ptolemaea, but it is still achingly vulnerable and, in a roundabout way, still extremely Ethel Cain.
Despite its ambient nature, and the accompanying risk that it becomes little more than background noise, ‘Perverts’ does still reward close listens and sustained attention with surprising depth despite its minimalist approach. It’s a fascinating departure, but likely one that will stick with only the most dedicated fans.
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