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MAC DEMARCO - SALAD DAYS
ARTIST:
TITLE:
Salad Days
LABEL:
CATNO:
CT193LP
STYLE:
FORMAT:
Vinyl record
DESCRIPTION:
Indie Rock & Downtempo Electronica - This is his second album proper, featuring more of that incredibly casual and personable crooning that he's built his career on. DeMarco is the sort of musician who seems to be enjoying himself so much that it's difficult not to get swept up by it.
With his 2012 debut, 2, Canadian songwriter Mac DeMarco offered the world a look into his dazed but brilliant mind's eye, his songs landing somewhere between a hallucinogenic re-imagination of '70s soft rock, oddball outsider jams, and laid-back indie fare. The tunes were somehow both tuneful and antagonistic in the subtlest of ways, and DeMarco easily shifted between characters of the stoned joker and sincere balladeer, playing each remarkably convincingly. Salad Days picks up where the strange vibes of 2 left off, brightening the production and shying away from Mac's more insane impulses for a clearer picture of his immensely cracked idea of what pop music is. By this point, DeMarco's guitar sound is becoming one of his signatures. Mellow, snaking, busy lines of chorus-drenched leads intertwine and chime over the top of thoughtful, sometimes restrained chords. This guitar work shows up at its most melodic on tracks like "Let Her Go" and the standout "Blue Boy," and appears in a more jagged form on mellow rockers like "Goodbye Weekend." DeMarco has his feet in a bevy of styles on Salad Days without coming off scattered, including the brittle '80s R&B synths of "Chamber of Reflection" and the channeling of songwriting greats like John Lennon and Ray Davies elsewhere. The title track goes so far as to sport some "la la la"s that could have been lifted directly off The Kinks Are the Village Green Preservation Society. Absent from this album are both the highly contrasting moments of dreamy-eyed indie rock and wobbly, Ween-indebted weirdness that came through more sharply on 2. With songs touching on themes of maturation, life in the public eye, and good old-fashioned romance, DeMarco has trimmed the fat both musically and conceptually on Salad Days, turning in a streamlined picture of his musical development. With more memorable tracks and a slightly more accessible feel, the album is less distracted and more tuneful than before without losing any of the freewheeling spirit that made his songs and persona so attractive in the first place.
With his 2012 debut, 2, Canadian songwriter Mac DeMarco offered the world a look into his dazed but brilliant mind's eye, his songs landing somewhere between a hallucinogenic re-imagination of '70s soft rock, oddball outsider jams, and laid-back indie fare. The tunes were somehow both tuneful and antagonistic in the subtlest of ways, and DeMarco easily shifted between characters of the stoned joker and sincere balladeer, playing each remarkably convincingly. Salad Days picks up where the strange vibes of 2 left off, brightening the production and shying away from Mac's more insane impulses for a clearer picture of his immensely cracked idea of what pop music is. By this point, DeMarco's guitar sound is becoming one of his signatures. Mellow, snaking, busy lines of chorus-drenched leads intertwine and chime over the top of thoughtful, sometimes restrained chords. This guitar work shows up at its most melodic on tracks like "Let Her Go" and the standout "Blue Boy," and appears in a more jagged form on mellow rockers like "Goodbye Weekend." DeMarco has his feet in a bevy of styles on Salad Days without coming off scattered, including the brittle '80s R&B synths of "Chamber of Reflection" and the channeling of songwriting greats like John Lennon and Ray Davies elsewhere. The title track goes so far as to sport some "la la la"s that could have been lifted directly off The Kinks Are the Village Green Preservation Society. Absent from this album are both the highly contrasting moments of dreamy-eyed indie rock and wobbly, Ween-indebted weirdness that came through more sharply on 2. With songs touching on themes of maturation, life in the public eye, and good old-fashioned romance, DeMarco has trimmed the fat both musically and conceptually on Salad Days, turning in a streamlined picture of his musical development. With more memorable tracks and a slightly more accessible feel, the album is less distracted and more tuneful than before without losing any of the freewheeling spirit that made his songs and persona so attractive in the first place.
PRICE:
£22.99
RELEASED YEAR:
SLEEVE:
Mint (M)
MEDIA:
Mint (M)
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Last FM Information on Mac Demarco
Please note the information is done on a artist keyword match and data is provided by LastFM.
Mac DeMarco (born Vernor Winfield MacBriare Smith IV in Duncan, BC, on 30 April 1990) is a Canadian singer-songwriter, multi-instrumentalist and producer. DeMarco has released eight full-length studio albums, his debut Rock and Roll Night Club (2012), 2 (2012), Salad Days (2014), Another One (2015), This Old Dog (2017), Here Comes the Cowboy (2019), Five Easy Hot Dogs (2023), and One Wayne G (2023).
During high school DeMarco was in several bands, including indie rock band The Meat Cleavers, alternative R&B group The Sound of Love, and post-punk band Outdoor Miners.
He released a self-produced album, Heat Wave, as a part of the indie rock project Makeout Videotape in 2009.
In early 2012, he released an LP titled Rock and Roll Night Club. Then later, one of his most successful albums, 2.
In 2014, DeMarco released Salad Days.
On July 8, 2015, DeMarco released a 9-track instrumental album titled Some Other Ones.
Later in 2015, specifically in August, DeMarco released his mini-LP, Another One.
In 2017, DeMarco released This Old Dog.
On March 5, 2019, DeMarco announced his fourth studio album, Here Comes the Cowboy and shared the first single off the album, "Nobody". The album was released on May 10, 2019 on Mac's Record Label.
On September 7, 2020, DeMarco was featured on a collaboration with English artist Yellow Days, entitled "The Curse".
On January 20th 2023, DeMarco released his seventh and instrumental album, Five Easy Hot Dogs. Then later on April 21, released his longest album which featured 199 tracks, titled One Wayne G. Lasting over nearly nine hours, it contains tracks spanning over five years of DeMarco’s work to show how much he has progressed as an artist. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.