In early 2020, through the emo-rapper Lil Aaron, an online collaborator, Cain was introduced to the staff of Prescription Songs, the independent music publisher and record label owned by the pop super-producer Dr. Luke. On her first trip to Los Angeles, Cain showed up at the company’s shiny building “looking like an absolute hillbilly,” she said. But her nearly manic creative energy and works in progress wowed them, and they offered her a deal.
“Inbred,” an EP that was Cain’s first official release last year, showed pop potential on arch, deadpanned tracks like “Crush” and “Michelle Pfeiffer.” But her enduring vision of “Preacher’s Daughter” was immovable, and Prescription promised her complete creative freedom even as it has tried to gently guide her career.
“Every person that I put her in the room with, she loved meeting them, but none of it felt authentic and true to her,” said Marlee Kula, Cain’s A&R executive at the company, who was responsible for setting up songwriting and studio sessions. “None of those ideas ended up making the record.”
That included Cain’s only meeting with Dr. Luke, a polarizing figure in the industry in light of his ongoing court battle with the singer Kesha over accusations of sexual abuse. (Cain said she didn’t know he owned the company until after she signed. “I’m not Googling CEOs when I’m eating a candy bar,” she said. “I was unemployed and it was a pandemic. I didn’t have the option to turn down money.”)
The two are unlikely to end up more intertwined. “He sent some music — God, I hope he doesn’t blacklist me for saying this — but he showed me some demos and was trying to do some stuff in his studio,” Cain said. “I was like, yeah, boss man, sure!”
“I went in the booth and I did some stuff,” she recalled. “He was like, simplify it, simplify it, stop doing so much embellishment! But I was doing the stuff that makes my music my music. He was like, make it catchier! And I was like, OK, this sucks. This is not going to work.”
Cain paused, considering her words. “Creatively, I have no need for him,” she said. “But I have no need for anyone.” https://www.nytimes.com/2022/05/11/arts/music/ethel-cain-preachers-daughter.html
When Anhedönia began uploading her music online, she connected with musicians like the singer-songwriter Nicole Dollanganger, known for nightmarish-dream pop, and Lil Aaron, a rapper who also grew up in a deeply Christian family. She opened for Dollanganger and gained followers with songs like the gossamer-light “Bruises.” Then Lil Aaron introduced her to some people at a publishing company called Prescription Songs. It was the middle of the pandemic, and she says she’d just lost her job doing nails in Tallahassee. The company offered her a deal, and Anhedönia took it — connecting her on paper to Prescription Songs’ owner, Dr. Luke, the producer Kesha accused of rape, psychological torment, and emotional abuse in a lawsuit she filed in 2014. (He vehemently denied her claims and countersued for defamation; Kesha’s cases were all dropped or dismissed, and this June, after a decade-long court battle, they reached a settlement in which Kesha said that “only God knows what happened that night.”)
Anhedönia knew who Dr. Luke was, but she says she wasn’t fully aware that he ran Prescription when she first signed. “I didn’t do a lot of digging until way further down the line,” she says. “I was like, ‘Oh.’ ” Once she knew, she continues, “I just decided, ‘I’m here now and can’t really go anywhere for a while. So I’m just going to mind my business and make my music.’ But if I had my choice, I would much prefer to do business with somebody else. I’ll just say that.”
The Prescription Songs deal came during a desperate time for her. “I was broke,” she says. “I was literally going to the hospital because I was malnourished, and I was passing out all the time. My landlord was sending me angry texts every day because I was behind on rent. I was like, ‘I need money,’ and I signed.”
She emphasizes that she’s been in charge of the creative process for everything she’s released through Prescription. (Dr. Luke isn’t credited on any of her songs.) For now, she’s focused on finishing the next few releases she needs to fulfill her contract. “We’re almost out,” she says. “But yeah, if I could go back in time and do it differently, I probably wouldn’t put my name on that paper.” https://www.rollingstone.com/music/music-features/ethel-cain-new-music-interview-1234807712/
being summoned into a room by your boss and willingly working on a song and releasing it are two different things. i delete comments because they’re usually falsified information that other idiots who don’t care about fact checking will read and run with. i’m not in the mood to deal with it and i’ll speak on it largely in time when i can without facing legal recourse. nobody chews out amazon employees for putting money in the pockets of jeff bezos. i do what i can within the constraints of my deal and i’m actively working on getting out of it. if you don’t like the label i’m on, imagine how i feel. https://mothercain.tumblr.com/post/689606132534312960/ok-i-get-not-wanting-2-b-associated-associated-w