With his 18th solo studio album, the Velvet Underground cofounder is still exploring new sounds—and finding new faults with a world gone mad.
Andy Warhol took the band under his wing, paired them with the Germanic ice queen Nico, and made them part of his performance art “happenings.” Warhol would project his films onto the group while the superstars of the Exploding Plastic Inevitable danced and acted out S&M scenarios. Cale says he found the Factory “freakishly enjoyable.” He had an affair with Edie Sedgwick, took all the drugs, and adopted Warhol’s relentless work ethic: “You just get your nose down and off you go.
The album addresses our collective contemporary insanity but also includes odes to Marilyn Monroe and his old bandmate Nico. But MERCY doesn’t capture the full scope of Cale’s frantic creativity during the pandemic. “He began writing new songs as if it were the only thing keeping him alive,” says his longtime manager and coproducer Nita Scott. “I think the pandemic shifted something inside of him and it came tumbling out.” “I ended up with 70 or 80 songs,” Cale says.
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