Ethel’s Odyssey – Shrine (2026)
Like a phoenix rising from the ashes, The Elephant Room’s Ian Hand breathed life into his solo project, Ethel’s Odyssey. Combining bass guitar, drums and keyboards with samples of radio adverts, infomercials and “shows from a bygone era”, you are dragged into Ethel’s Odyssey’s twisted melodic journey. The discography begins with a self-titled, four-track EP in 2024, but we’re not interested in heading back two years. Today, we hit the play button on Ethel’s Odyssey’s new EP, Shrine.
Self-produced by Ian Hand, Shrine is a 14-minute (give or take) saunter through various types of rock music. It’s not one particular sound throughout the album, nor a single solid rock tone, but rather a versatile, innovative, eclectic experimental work of art. Moreover, listening to each track is not an audio experience but an immersive step into a sonic forest filled with fairies, imps and magical adventures.
Opening with the title track, Ethel’s Odyssey holds your hand and leads you onto a brightly lit path. An intriguing sparkle and little flutter of excitement take hold, but it doesn’t last. As the track continues, the drums beat more heavily, a bass guitar taps in the background, the keyboard shimmers, and what seems to be a fiddle or violin slips in with a haunting chill. While ‘Shrine’ ends with a definite close, the second track, ‘Nara’, opens like the music hadn’t paused – a shining thread already burning bright as the first note hits.
Softer, smoother and gentler, ‘Nara’ is that part of the sonic path where flowers smile, a light breeze ruffles your hair, fairies flit, a welcoming scent lingers in the air, and things feel grand. Confident in the positivity and empowering sensation of ‘Nara’, you take the next step to the track ‘Bullet Train’. Keeping to its title, listening to ‘Bullet Train’ is like being pushed forward into a run on, well, a bullet train. Drums crash, a bass picks up pace, and keyboards slide and pierce the song; a swerving turn from calm caresses in a fair sky to a hailstorm pouring down, bouncing off the ground, and sending you into a swirl of confusion.
Approaching the end of Shrine, Ethel’s Odyssey leads you to the last section of the path and adventure with ’8Bit Cafe’. It’s not the same refreshing breath as ‘Nara’, nor is it the pounding brush of ‘Bullet Train’; it’s a step into a synth-driven game of Tetris. Instead of walking straight ahead, you’ll probably find yourself turning about in the digital sound looking for that way out – at least that’s me. After two more minutes, the computerised, Nintendo-esque sound ends with a last chord pushing you to the “game over” sign.
My thoughts on Ethel’s Odyssey and Shrine? Certainly intriguing and a bit off-kilter, but I’m not so sure it’s my cup of tea. I do, however, recommend Shrine, eagerly urging people to experience Ethel’s Odyssey’s originality, innovation, and eclecticism.
Find out more about Ethel’s Odyssey on his Instagram and Spotify.
Listen to more avant-garde music on The Other Side Reviews Avant Garde playlist:
