EWAN CAMERON picks out two fascinating music shows, fusing the Korean, and the Celtic, with the modern
The sound of self-loathing
EWAN KOTZ tunes into a chilling and subversive album that speaks for a splintered US, its political apathy and complicity in war-crimes
Ethel Cain performing at Gunnersbury Park in London, August 2023
[u/ishouldgooutmore/CC]
BENJAMIN POTHIER suggests that Palaeolithic cave paintings in Spain point to the ceremonial use of hallucinogenic flora
The bard confirms that the right has a humour bypass, and replays the English Revolution on period instruments
MARIA DUARTE and ANDY HEDGECOCK review Sunny Dancer, Tony, Songs of Forgotten Trees, and The End of Oak Street
JOHN GREEN relishes a powerful and moving drama that explores the lived realities of west London’s Punjabi community
MARTIN HALL welcomes a plea for greater compassion between believer and non-believer via the framework of philosophical enquiry
Perverts
Ethel Cain
(Daughters of Cain)
PERVERTS is not an album. Or, at least, that’s what Floridian singer-songwriter Ethel Cain (Hayden Anhedonia) claims of her latest studio effort — despite its 90-minute runtime. Perhaps this is to distance it from the notably more accessible indie rock that has garnered her a cult following.
Here, Cain swaps breezy guitars for unnerving industrial ambience. Perverts is no easy listen — and in no way is this unintentional. Cain’s disillusionment with a fast-growing fanbase has long-indicated a desire to subvert expectations and experiment with underground influences.
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