By Eric Lewin
Postmodern music sure is ironic. �Progressive� bands such as Brian Jonestown Massacre, The Warlocks and the rest of the MySpace-endorsed shoegazers generally make their way by rethreading Velvet Underground�s effects and hypnotic hum, some pulling it off more ably than others. Even more ironic is that John Cale, Velvets� second-in-command behind Lou Reed, refuses to overtly borrow from his old band. Black Acetate has its influences, to be sure, but none of them hung out with Andy Warhol.
For better or worse, Acetate doesn�t dwell in the horrific for too long. Hell, it doesn�t dwell anywhere for too long. Cuts like �Gravel Drive� and �Satisfied� are undeniably beautiful, not to mention flavorful, when positioned next to rockers �Sold-Motel� and �Perfect,� which border on danceable.
Trying to outrun a monster legacy like Velvet Underground at all costs is an impossible task that Cale doesn�t attempt. While Acetate contains minimal elements of White Light/White Heat, it comes filtered through Velvet-inspired records such as Love and Rockets� Earth Sun Moon. A musician being influenced by musicians that he himself influenced? All this post-modernity is confusing, but it sure is fun. VS