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[dream-pop, indie-rock] (2022) Ethel Cain - Preacher's Daughter [FLAC] [DarkAngie]

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(2022) Ethel Cain - Preacher's Daughter [FLAC]




Review:
What happened to Ethel Cain?
Despite the gags, Hayden Anhedönia’s project didn’t disappear at all. Just check out her Twitter, where she’s
known to retweet memes her stans create and let off-the-wall, funny posts loose. Between last year’s monster EP Inbred
and a slated performance at Pitchfork Music Festival, Cain is on a brilliant ascent. “Inbred” solidified her
position as a force to be witnessed in American music as she wrestled with the uniquely Southern version of the American
dream that shaped her young life. The divinity of gospel, the audacity of heartland rock and the frankness of 2010s
Tumblr-era pop collide into an arresting narrative spectacle, portraying the experience of a woman who is intimately
familiar with depraved violence, the gospel and the strict social hierarchies of the South and the Plains. The EPs have
only revealed a portion of Cain’s lore, but on her whopping 75-minute debut LP Preacher’s Daughter, Ethel Cain, the
narrative figure and the musical sensation, manifests a breathtaking account of a woman, her mysterious partner and her
troubled family. Much as Inbred mangled Americana, ambient folk and slowcore into a terrifying sonic experiment,
Preacher’s Daughter is a sound all its own. Imagine what would happen if singers as familiar as Bruce Springsteen or
Nichole Nordeman were backed by Midwife or Sunn O))). The glamorous and aphrodisiac sound of Lana Del Rey is undoubtedly
there, but the thematic and instrumental elements on Preacher’s Daughter possess a weightiness and impulse away from
ironic glamorization of the American dream and toward outright criticism that render the comparison only so relevant. At
times the record throbs with a noisy, immersive intensity before transitioning into the kind of epic guitar solos that
decorated the cult of rock personalities in generations past. This collision of dark ambient and Def Leppard is uniquely
American in the best way conceivable. Cain painstakingly wrote and produced Preacher’s Daughter over four years with a
little instrumental assistance from collaborators Matt Tomasi and Colyer, the latter of whom will be joining Cain on her
first North American tour. The record opens on prologue “Family Tree (Intro)” with a murky recording of a Southern
preacher—the preacher’s identity is a matter of speculation among fans—extolling the significance of the mother as
an icon. Cain has an extensive history of playing with maternal iconography: The imprint through which she releases her
records is called “Daughters of Cain” and her social media handles are @mothercain, largely as an intentional and
playful entry into the cultivation of a stan community. Cain was fascinated by cults as a young child growing up in a
strict Southern Baptist household (whose own atypicalities have been described as “cultish”) and by the cult of
personality, first around the preacher and then around the pop star (Florence Welch proved an early influence). After
the intro, Cain moves into the most upbeat song on the record, “American Teenager,” a synth- and guitar-heavy track
with Springsteen-like curiosity around Americana, but even more biting criticism. Narrating the position of American
teenagers, drunk and dying, the song is a solidarity anthem, one in which teenagers are not called upon to reinflate the
vision of America the beautiful, but rather to advance camaraderie. “A House in Nebraska” is one of several slow,
sonorous ballads with cinematic, overwhelming imagery. The crashing piano chords, echoing toms and choir of guitars
penetrate the atmosphere while Cain relays the story of herself and a mysterious partner’s transient lives and the
horrors they endure. Whoever and wherever this partner is today is never revealed, but the pain of missing him and this
home base in Nebraska gnaws at Cain throughout. Cain’s vocal range, in tone and in emotion, is on broad display. Just
as compelling as the narrative is the bombastic instrumentation. The final minute of the nearly eight-minute ballad is
where the guitar solo begins, swaying powerfully with a sharpness and rhythmic capacity reminiscent of arena-rock stars.
The house in Nebraska itself returns on the softer, but just as poignant “Sun Bleached Flies,” the album’s
second-to-last track, another power ballad in which Cain laments her detachment from faith and community, pondering how
she will fight the demons that have marred her existence, how she will save herself from the pain of the past and
present. “Western Nights” also heavily features the tumultuous relationship with the anonymous partner, of which
desperation and fear are some of the most tangible features. At this juncture, Cain will stand by this partner through
anything, no matter how little she has left to give to a counterpart so unstable. “Family Tree” retains a
sludge-like intensity with outlaw country embroidered within as Cain reveals the deadly agency her persona wields.
Beyond just the tribulations of her relationship with her partner are clear undulations of strife within a complicated
family network, a genealogy marked by violence on all fronts. “Hard Times” refers to familial strife again,
particularly where Cain admits to fearing how badly she wants to emulate the fatherly authorities in her life who
brought her harm. After these reflections, Cain moves on to “Thoroughfare,” a country-inspired epic. The sprawling
track replaces the intensity of electric guitars with swelling vocals, reverberating drums and a cathartic whimsy.
Paring back to acoustic guitars and harmonica later in the song adds an intoxicating patina only matched by the
tambourine- and scat-led jam session that closes the song out. Single “Gibson Girl” ups the sexuality to a level
akin to Prince, but as Cain is quick to point out, sexuality on Preacher’s Daughter is often directly proximate to
violence and death. She utters matter-of-factly: “You wanna fuck me right now / You wanna see me on my knees / You
wanna rip these clothes off / And hurt me.” The song achieves a delicate mix of sultry and haunting. The haunt dials
up to 11 on “Ptolemaea,” the record’s heaviest track, recalling the circle of Hell in Dante’s Inferno reserved
for sinners who trespass against others in the home. At this moment, Cain is at her most scornful, hollering with horror
and anguish just as the guitars plunge into disarray and the occasional blast beat appears. “Ptolemaea” is
horrifying and awe-striking; it is Cain at her most rock goddess. Incantations dedicated to the Daughters of Cain, their
whore mothers, the children and more feel like the profound, disturbing utterances of a minister through whom the Holy
Spirit is coursing. After that pummeling climax, two instrumental compositions play back-to-back. They could not be more
distinct. “August Underground” is a doom-ambient track featuring low-register guitars, sirenic vocalizations and
fuzz that are reminiscent of Boris at their gloomiest. “Televangelism” features an iridescent piano, echoing as if
played in a cavernous midcentury church, and recalling Grouper’s Grid of Points. Towards the end, the piano is plagued
by tape hiss that highlights a certain artificiality to televangelism. The finale, “Strangers,” brings back the
preacher’s monologue, this time on the paradise awaiting believers in death. If there is anything Cain picked up from
her youth in strict Christian circles, it’s that endings are not always bad or permanent. An unhappy ending is not
necessarily bad, because at least the unhappiness is over, and perhaps, whether in paradise or rapture, something else
is coming. As a creative polymath, Cain’s universe has limitless potential—there is talk of additional albums, a
novel and a feature film. Closing this album, this chapter, this character profile is not something that requires
lamentation. As a whole, too, Preacher’s Daughter is nothing to lament—this record is a brutal achievement,
exhibiting Cain’s mastery for synthesis, for bringing disparate elements of ambient, slowcore, classic rock,
sexuality, violence and Christ into an epic package. The record is musically ingenious and emotionally jostling.
Already, Cain stands out as an innovative musician, but Preacher’s Daughter produces a crater-deep impact that
commands respect and attention. Where one may knock some of the power ballads for sameness, one might instead find
consistency, an album grounded in the artist’s inspirations and narrative mission that is, above all, tantalizing. It
is hard not to crave more. — Paste



         




Track
List:
01 - Family Tree (Intro)
02 - American Teenager
03 - A House in Nebraska.
04 - Western
Nights.
05 - Family Tree
06 - Hard Times.
07 - Thoroughfare
08 - Gibson Girl
09 - Ptolemaea
10 - August Underground
11 - Televangelism
12 - Sun Bleached Flies
13 - Strangers


Media Report:
Genre: dream-pop, indie-rock
Country: USA
Format: FLAC
Format/Info: Free Lossless
Audio Codec, 16-bit PCM
Bit rate mode: Variable
Channel(s): 2 channels
Sampling rate: 44.1 KHz
Bit
depth: 16 bits


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