Adam KennyStory of Ethel Cain
It wasn’t that long ago when we had from Ethel Cain. Earlier this year Ethel, who’s real name is Hayden Silas Anhedönia. They released their ambient project Perverts, which had taken on an a dreary and grim aesthetic in comparison to Preacher’s Daughter. An album which would fall into the category of alternative indie music with some pop influences scattered throughout. Both projects being quite adored both by fans and critics. On March 24th of this year however, Hayden announced just 3 months after Perverts was released that her sophomore album, Willoughby Tucker, I’ll Always Love You. A prequel to the narrative of Ethel in Preacher’s Daughter.
Southern Baptist Goth
Hayden’s southern gothic inspirations are a well known aspect of her music. Hayden whom is transgender has spoken and written about the social isolation, hate, transphobia and religious extremism that she was been both a witness and victim to. Hayden’s family were deep members of the Southern Baptist church with her father being a church deacon. The church however is where music began for Hayden. She was a member of the church’s choir just like her mother before leaving at 16 yrs old. Preacher’s Daughter marked an important arc in the story of Ethel. The album’s title being a direct ode to Hayden’s father it becomes quite clear and obvious that Ethel’s life and experiences are based on Hayden’s own.
With her new album, WTIALY (Willoughby Tucker, I’ll Always Love You), Hayden brings back some elements of Preacher’s Daughter sonically. Though she also introduces somedrearier drone aspects from Perverts. Narratively, the album’s concept is about Ethel and Willoughby, Ethel’s lover and the hate and vitriol they receive in their community. The storyline takes place before Preacher’s Daughter, before Ethel was cannibalised both literally and metaphorically by her abusive partner Isaiah. Hayden’s albums have always focused on a narrative that is driven religious symbolism. It’s the entire thematic and visual look as well as sound of her music.
Hayden’s writing and lyricism
Hayden’s writing and lyricism are never an issue in terms of depth, cohesiveness. There’s never any sort of indication that she’s not sure what to say. Going into this album, admittedly, Preacher’s Daughter and it’s storyline was not something I understood from listening alone. I did need to dissect the lyrics, but the music is above all else is my focus as it will be here.
The album starts off with “Janie”, which tracks in at 5 minutes. Each song on WTIALY is not shy of length. Not a single track is under 4 minutes. “Janie” is a great start. It’s a slow song that for the majority of the track has Ethel’s vocals with layered guitars. A refreshing start, as for as good Perverts was it is good to hear Ethel’s vocals in a more melodic tone. Willoughby’s Theme is where I believe we get a direct combination of Preacher’s Daughter and Perverts sound to make what is WTIALY. It’s an instrumental track that has the deep and palpable guitars that pair really well with some some keys. A great mixture of ambient and drone music with a melody that adds some relief to an already tense mirage of music.
Souther Gothic Synth Pop?
“Fuck Me Eyes” was actually one of the leading singles and veers into synth pop territory. Sonically, it’s quite catchy. Admittedly, in my opinion, whilst the contents of the lyrics are on topic the actual production and sound of the song sticks out the most. The song sounds less like it was crafted for this album and more like a bonus track for Preacher’s Daughter. Especially in contrast to “Nettles” which was another single for the album.
“Nettles” is an 8 minute slow burn that I’ve gone back to the most out of any track on the album. Hayden is in top form on this track. Vocally she’s on point where her voice has this tenderness and vulnerability unlike other tracks where she can come across as scorned. Instrumentally, the guitars bring much more subtlety and somberness than before especially combined with some slow drums and violins. A gorgeous and devastating track that I will go back to often.
Sluggish tracks drag down the pace
“Willoughby’s Interlude” is the complete opposite. Again, another instrumental track where I feel as though a weakness of the album appears. Both Hayden’s previous album were not shy of their length. Preacher’s Daughter was an hour and fifteen minutes, and Perverts was a chunky hour and twenty-nine minutes! WTIALY is the shortest of the three with an hour and thirteen minutes, yet to me it’s by far the hardest to sit through.
Preacher’s Daughter was much more melodic and chorus focused which made it easier. Perverts was a drone and ambient album which by nature means you are more than likely going to be doing something else while it’s on. With WTIALY I find that the genre blend can bring the album to a crawl. I found the album would get a decent pace going but would then be met with a disruption and it’s no necessarily the drone or ambient sections that does this, the length of the tracks can be difficult sometimes.
When it works, it works
“Dust Bowl” is a great example of what works on the album. A textured, gritty, and dark track that is thick in its atmosphere. Hayden’s vocals are the star here for me. Her vocals are what I missed on Perverts the most for as much as I do like that album. “Dust Bowl” the build up to line of “your daddy smoked in Vietnam” which introduces the hook of the track harmonising the last phonetic of a word. Simple, but it stays in my head for the day even when the album is over.
The final two tracks of the album make up for twenty-five minutes. “Tempest” being the former. It’s a ten minute track that carries over well from the instrumental track “Radio Towers”. It’s a slow burn track that builds up slowly over the ten minutes with Hayden’s vocals haunting the track until the great release of layered guitars that are drenched in dread and regret. “Tempest” doesn’t overstay its welcome. You barely feel the length if at all which can challenging with songs that are in need of buildup and tension, but Hayden does a great job of balancing everything out.
Waco, Texas where it all ended
The final track, “Waco, Texas” moves away from the darker and grittier slow burns and tries to lean into a more softer and more melodic sound in comparison to “Tempest”. A fifteen minute long finale that does pack a punch. Lyrically, even though the album is a prequel to Preacher’s Daughter, the aesthetic and emotion of the track are packed with regret and desperation that’s hard to ignore.
The story of Willoughby and Ethel seems to be drawn to a close here on this album with Ethel walking away with nothing but scars and regrets leading into Preacher’s Daugther where her faith will be decided in a gruesome and spiteful end. Although I do prefer “Tempest” amongst the final tracks, “Waco, Texas” does end the album well whilst also possessing some of the essence of what’s next to come in the story, that being Preacher’s Daughter with the keys ending out the track, much like how they start the album to come.
Overall
Willoughby Tucker, I’ll Always Love You had a lot to live up to as Preacher’s Daughter is an album that defined the Ethel Cain project for many people and was always going to be difficult to follow up. However, I think WTIALY did what it set out to do. It’s a great album with some really heartfelt moments that creates a haunting yet romantic atmosphere at times. I’m interested in is going to do next, as it seems as though the Ethel Cain project has drawn to some sort of a close, but who knows for sure except Ethel herself.
