With her dramatically dark blend of pop and gothic aesthetics, Ethel Cain may well be the most unusual pop star of her generation. On Willoughby Tucker, I’ll Always Love You, the second part of her planned trilogy, she weaves together religious imagery, violent fantasies, and sexual tension into a sweeping sonic drama. The production feels sacred – as if the album were recorded in a vast, echoing cathedral.
Conceived as a prequel to Preacher’s Daughter, the narrative is meant to begin five years earlier – a detail that remains mostly inaccessible without prior knowledge. Between epic ballads and eruptive peaks, Cain inserts numerous ambient interludes that end up disrupting the album’s flow. The final two tracks alone add up to nearly 25 minutes.
As overwhelming as the staging may be, the musical development often remains limited. Willoughby Tucker, I’ll Always Love You demands patience – for some, it may offer a rich atmosphere; for others, it may feel exhausting. The vision is grand, but at times the result feels unfocused.
