MARIA DUARTE recommends a remarkable study of the friendship between a Palestinian and a Pakistani, broken by a hostile state
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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
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MATTHEW HAWKINS rakes through un-fancy words and flair-free summaries to find who and what might be flamboyant
PETER MASON is exhilarated by an exciting, well-considered and historically minded tribute to the great Trinidadian instrument
Reducing historical lives to ‘male’ and ‘female’ roles, we lose the nuance of those lives and a clearer understanding of past societies, suggests CLAIRE ISABELLA GILMOUR
CHRIS SEARLE relishes the genius of pianist Alexander Hawkins, his many ensembles, and his new album
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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