Distancing herself from the sounds she created in her previous albums, Ethel Cain delivers a journey of unease, distortion, and noise.

Released Jan. 8, “Perverts” is the latest EP from southern gothic folk pop musician Ethel Cain. The nine-song record has an hour and 29 minute runtime.

“Perverts” is best experienced alone, in a dark room that’s barely illuminated by moonlight and fog ruminating the surrounding area. Without any distractions, listen to the album in its entirety. The prevailing experience will take the listener to some dark places – if they’re willing to go there. 

The immediate reaction of any Cain fan will be how different it sounds from her preceding albums. Compared to the dreamy folk rock of “Preacher’s Daughter,” “Perverts” is much more of a concept album, with only three songs on the record providing a normal listening experience.

“Perverts” can be categorized as a drone album. Consistent tempos and recurring bridges are replaced with sustained chords that last the entire song, subtly molding itself to any modicum of noise. 

The first song on the album, “Perverts,” begins with an old Christian hymn. The purposeful and congenial hymn is immediately contrasted with nearly 11 minutes of meaningless noise. The only intelligible lyrics that can be heard is a repeat of the word “heaven”, although it’s surrounded by blaring sirens. 

The next track, “Punish,” is more akin to Cain’s usual sound, although it doesn’t shy away from any of the mature themes that embody Cain’s music. The song’s story tells of a pedophile who punishes themselves as a form of self-repentance.

Compared to the prior tracks, “Vacillator” has a brighter sound, consisting of powerful drums, soft piano chords and beautifully harmonized vocals. The lyrics tell the story of someone who craves emotional connection, but finds themselves unable to do so, whether out of fear of isolation or inadequacy. The recurring line at the end of the song “If you love me, keep it to yourself,” ties the meaning of the song all together.

The sixth track, “Pulldrone,” is arguably the most important track of the album. Being over 15 minutes in length, the track is also the longest. Throughout the track, Cain lays out the 12 pillars of simulacrum. These pillars, provided in spoken word format, detail the process a person can go through before they are entirely devoid of being. The remainder of the track, 10 minutes, is just the humming of a bagpipe. Still, the sound is incredibly powerful, mimicking the tonality of someone who is sobbing, until eventually it fizzles out, too weak to continue.

“Amber Waves” is the final track. It acts as a perfect resolution to the album, providing a depressing end to the story that the listener embarks on. It’s ethereal and somber.

On its surface, “Perverts” is a cavern of noise. The album requires almost a meditative listen to fully engage with its material. What the listener sees on the other side of their expedition is dependent on how far they’re willing to go.