To rescue Kahlo from the clutches of the corporate art market, we need to acknowledge the overt and covert political dimensions of the work, demands GAVIN O’TOOLE
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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
[u/ishouldgooutmore/CC]
If you can see past the relentless commodification you will be rewarded by enormously powerful work, suggests JENNY MITCHELL
CHRIS SEARLE revels in the one-off collaboration between an American polymath and a British Muslim, and detects the presence of their revolutionary forebear
GORDON PARSONS revels in an ebullient production of Shakespeare’s magical comedy
BRENT CUTLER welcomes a thoughtful analysis of the Erdogan regime, viewed through the evolving history of a neighbourhood in Istanbul
GORDON PARSONS regrets the price, but is dazzled by an outstandingly ambitious study of the way art restoration in particular, and culture in general was weaponised by the Nazis
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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