Album: John Cale <!-- none onestar twostar threestar fourstar fivestar -->

blackAcetate, EMI

Andy Gill
Thursday 29 September 2005 19:00 EDT
Comments

Your support helps us to tell the story

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.

The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.

Your support makes all the difference.

With 2003's Hobosapiens, John Cale played catch-up with contemporary digital recording technology, enlisting Lemon Jelly's Nick Franglen to help structure an enjoyable series of sonic collages, trance textures and trip-hop beats. In that context, blackAcetate: seems like a step backward, with Cale this time calling on funk expert Herb Graham Jr and alt.rock audio stylist Mickey Petralia to make a more mainstream contemporary rock/funk album. Which isn't to say it entirely lacks fascination, just that its low points are less redeemed by musical curiosity: the heavy psychedelic rock of "For A Ride" could be Echo & The Bunnymen, while the grizzled indie-rock stomp of "Perfect" has a distinctly Nineties cast. Things are better when Graham's funk influence plays a bigger part, with the febrile electro-soul of "Hush" recalling Jamie Lidell's recent work, and the opening "Outta The Bag" sounding like some mutant cross between Curtis Mayfield and The Neptunes. Between the poles of those basic rock and soul influences are spread a range of approaches taking in the gentle folk-rock apologia of "Gravel Drive", the throbbing bass pulse of the Zen-like "Satisfied", and the refurbished country-blues of "In A Flood". Furthest out of all is "Brotherman", a semi-improvised avant-techno exercise.

Join our commenting forum

Join thought-provoking conversations, follow other Independent readers and see their replies

Comments

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged inPlease refresh your browser to be logged in