Acetone: I’m still waiting. Album Review – Warungku Terkini
All of the record goes on in this way: a quiet quest for the silver linings that come with continuing, in spite of the struggles. This is the last record Acetone would self-produce, and the lessons of their Vernon Yard tenure serve them well. Everything is mic’d so closely that it often feels as if you’re resting your head on Hadley’s snare or Lightcap’s amplifier, that they’re whispering to you as Lee sorts through notebooks of soft blue feelings. Acetone chafed at subgenres, “slowcore” in particular. But Acetone is both apogee and access point for the form, its effortless sense of melody turning its shuffles and sways into vortices.
It is tempting to reduce Acetone’s end and even existence to Lee’s suicide—“to [overwrite] creative and contingent decisions with a fatal trajectory that seems both inescapable and unverifiable,” Drew Daniel of Matmos writes in this set’s empathetic and incisive liner notes. But Acetone’s final album, 2000’s York Blvd., suggests that they had already reached their cruising altitude, that they were now gilding a wonderfully gray lily. (Prime Cuts, a newly compiled potpourri of demos, lost tracks, and live recordings, confirms that sense.) Vapor enlisted Eric Sarafin, who had previously mixed several Ben Harper records, to helm the sessions, while Acetone brought in Jason Yates to add subtle organ lines. Lightcap even plays trumpet. Much of that old crunch returns alongside a dash of outright soul, both marketing hooks in waiting. But the best songs, like “Stray” or “One Drop,” are archetypal Acetone: methodical drifts toward a future that may not even exist.
York Blvd. begins with “Things Are Gonna Be Alright,” a sunnily titled song for a country still lingering in the afterglow of “You Get What You Give.” But it was a feint for a tune that, like Acetone’s music at large, soon went quiet and dark. “You may try and try again/Not to be unsatisfied, just squeezing by one more time,” they sing as the riff ricochets repeatedly, vaguely peppy despite what’s coming. “But how long do you go on/Believing things are gonna be alright?”
As with most things Acetone ever made, it is simultaneously disarming and unsettling, a balm for the ears that also registers as a lump in the throat. Hearing Lightcap and Lee sing those lines now, it’s hard not to grieve the way it all went down for Acetone, their striking music lost to the shuffle of major labels and ephemeral trends. At least you can hear it now, in this box of absolute treasure salvaged from the collective cultural jetsam of the ’90s.
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