Hayden Anhedönia’s Ethel Cain alter ego happened as an escape from a very tortured teenhood. Raised in a strict and oppressive Southern Baptist neighborhood in Florida, after which at 16 popping out as homosexual, and later a trans lady, Anhedönia discovered launch by imagining life as a celebrity diva. Explaining to Pitchfork how she grew to become Cain, she says: “That fanatical delusion was undoubtedly the stepping stone and I’m simply cussed sufficient to have really tried to make it occur.”
Anhedönia has launched a string of more and more spectacular singles in recent times, together with the dream-pop haze of Gibson Woman and the brilliantly noirish Lana Del Rey-isms of Crush. Her debut album, Preacher’s Daughter, launched this month, is her boldest assertion but, taking in components of alt-rock, gospel, pop (most notably on the standout American Teenager) and nation, all refracted by way of a southern gothic prism, with recurring themes of small-town ennui, poisonous relationships and demise.
Now residing in a deconsecrated church in rural Indiana, it’s clear that Anhedönia’s Baptist upbringing nonetheless casts a protracted shadow. “I've a bizarre relationship with placing faith in my artwork,” she says. “I’m to date faraway from it now, however contemplating that’s actually all I knew for my complete life, it’s undoubtedly the primary supply of inspiration.”
Preacher’s Daughter is out now
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