Preacher’s Daughter to Perverts: Ethel Cain’s Evolution in Sound and Story

After the release of her debut album “Preacher’s Daughter” in 2022, the supporters of Hayden Silas Anhedönia, more commonly known by her alter ego Ethel Cain, were itching for new music. Now almost three years later, her new EP “Perverts” has answered their prayers. Listening to and experiencing “Preacher’s Daughter” will not only deepen the listener's understanding of what Cain represents and Anhedönia’s evolution as a musical artist, but also enhance immersion in her new release, “Perverts.” 

Focusing on “Preacher’s Daughter,” there’s a shock factor when experiencing the album in full — it feels like listening to a screenplay. The story follows the character of Ethel Cain, a southern anti-belle suffocated by the weight of familial agony, Christian ideals and the expectations of the “American Dream”. Cain conveys these burdens through confessional lyrics and a haunting ambiance. As a wickedly twisted story about Cain’s destructive journey of self-discovery, the record takes the listener on a rollercoaster of emotions. These intense emotions range from hope and opportunity in “Thoroughfare” to deep-rooted fear and anguish in “Ptolemaea”. Cain’s production choices reflect a freedom in depravity while also imbued with cinematic ambition. “Preacher’s Daughter” follows themes of heartbreak, loss of faith, as well as  physical and mental abuse. These themes evolve in Cain’s latest EP, “Perverts,” diving deeper into spiritual longing, the search for transcendence, self-destruction and Cain’s grim acceptance of life. 

With a haunting investigation into distorted desires and psychological dread, “Perverts” feels like a continuation of Cain’s  exploration in “Ptolemaea” and “August Underground” from “Preacher’s Daughter”. The EP doesn’t just offer music — it immerses the listener in a visceral experience, one that taps into unsettling sensations and evokes intense, often uncomfortable emotions. With the title track “Perverts” being the first song on the album, the listener is immediately pulled into this suffocating atmosphere. It feels like wandering through a fog of uncertainty, where every sound seems to tighten the grip of dread, creating a sense of entrapment. Yet, within this oppressive darkness, fleeting moments of beauty rise to the surface — such as the hazy, alluring "Vacillator," or the mournful instrumentals “Etienne” and “Thatorchia”. Similar to “Preacher’s Daughter,” but in a more exaggerated form, “Perverts” uses long, drawn-out silences, buzzing hums and distorted noises, allowing listeners to fully absorb the sonic experience. The project's lore is as compelling as the sound itself, weaving in familiar religious imagery — such as a robotic voice stating "heaven has forsaken the masturbator" in the track “Perverts” — to underscore a pervasive sense of divine abandonment and inevitable sin. Throughout the record, Cain’s ethereal vocals float above the oppressive noise and lo-fi textures, remaining a constant staple. The prayer-like opening words of “Pulldrone” feel like a reflection of “Preacher’s Daughter,” but it soon dissolves into the mesmerizing drone of Cain’s hurdy-gurdy instrument, pulling listeners deeper into her warped world.

While “Preacher’s Daughter” focuses more on the life of Ethel Cain’s character, “Perverts” allows for broader interpretations. Attempts to decode the meaning behind the record reveal more about the listener than the album itself. While the EP can still be applicable to the story of “Preacher’s Daughter,” it does not necessarily have to be tightly bound to it. That’s partly why this record is so captivating and enthralling: the listener can experience the songs multiple times and create new meanings with each listen. Cain’s  compelling artistic vision has drawn her audience back in with the release of “Perverts,” leaving them disturbed, comforted or somewhere in between.