{"id":124542,"date":"2025-08-06T20:54:08","date_gmt":"2025-08-06T20:54:08","guid":{"rendered":"https:\/\/www.europesays.com\/us\/124542\/"},"modified":"2025-08-06T20:54:08","modified_gmt":"2025-08-06T20:54:08","slug":"ethel-cain-willoughby-tucker-ill-always-love-you-review-diy-magazine","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/us\/124542\/","title":{"rendered":"Ethel Cain &#8211; Willoughby Tucker, I\u2019ll Always Love You review \u2022 DIY Magazine"},"content":{"rendered":"<p>Willoughby, the title character of this second album proper from <a href=\"https:\/\/diymag.com\/artist\/ethel-cain\" class=\"ethel-cain-willoughby-tucker-ill-always-love-you-1834320\" rel=\"nofollow noopener\" target=\"_blank\">Ethel Cain<\/a>, first emerged on the sprawling \u2018A House in Nebraska\u2019 &#8211; a track featured on her 2022 debut \u2018Preacher\u2019s Daughter\u2019, which explored a troubled time gone by in the twisted semi-autobiographical world of creator Hayden Anhed\u00f6nia. The cut set the scene for Ethel\u2019s colossal downfall: soon, her fictional offshoot would meet her demise at the hands of a possessed newfound lover, set to be cannibalised, rotted and lost in the afterlife. By the end of album one, Willoughby represents a volatile sense of innocence. Here, following this year\u2019s doom-laden \u2018Perverts\u2019 (perhaps the musical accompaniment to Ethel\u2019s time in hell), Willoughby comes to life in the prequel to \u2018Preacher\u2019s Daughter\u2019, taking off the rose-tinted glasses of youth and painting an equally fraught picture of personal demise. Where \u2018Preacher\u2019s\u2026\u2019 saw Ethel running from her past, \u2018Willoughby Tucker, I\u2019ll Always Love you\u2019 drags us back there kicking and screaming, a deeply sombre and immeasurably powerful account of lost innocence. Its formula is familiar: a complex mix of epic instrumentals and hushed vocals, peppered with unexpected crescendos (not least in \u2018Fuck Me Eyes\u2019 &#8211; a brilliant companion to breakthrough track \u2018American Teenager\u2019, complete with a tantalising return to \u201880s synths and warped nostalgia, albeit somewhat more downbeat). \u2018A Knock At The Door\u2019 embodies an element of childlike wonder in its playful vocals, which swirl downwards as the final two epic compositions surge. \u201cPlease go easy on me,\u201d she implores on \u2018Tempest\u2019, before it erupts into a soft, soaring wall of noise, both relying on and lamenting her youth. At ten minutes in length, the track is an easy highlight in Hayden\u2019s growing repertoire of musical sagas, with \u2018Willoughby\u2026\u2019 culminating in the title character\u2019s departure, breaking the final thread to reality and sanity in a wave of beautiful sadness, love, longing and loss. As Ethel stands broken, forlorn and alone, Hayden rises stronger as one of the very best in storytelling and atmosphere.<\/p>\n","protected":false},"excerpt":{"rendered":"Willoughby, the title character of this second album proper from Ethel Cain, first emerged on the sprawling \u2018A&hellip;\n","protected":false},"author":3,"featured_media":124543,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[29],"tags":[171,975,67,132,68],"class_list":{"0":"post-124542","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-music","8":"tag-entertainment","9":"tag-music","10":"tag-united-states","11":"tag-unitedstates","12":"tag-us"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@us\/114983814022112570","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts\/124542","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/comments?post=124542"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts\/124542\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/media\/124543"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/media?parent=124542"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/categories?post=124542"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/tags?post=124542"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}