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That’s right, the king of easy listening, Mac DeMarco, is back with album number three and it seems his level of maturity has been sufficiently upped. From the slightly ominous back alleys of his 2012 LP, ‘Rock and Roll Night Club,’ characterised by its barbarically baritone vocals, to the imaginatively titled ‘2,’ in which DeMarco had explored resolutely more melodic territory- it is clear that the Brooklyn based songwriter has upped his game on his third pursuit ‘Salad Days.’
On the surface, ‘Salad Days’ offers a romanticised, summer-infused perspective on that bluesy-stoner-rock genre the Canadian musician has seemingly got down to a tee. His laid back, “slacker” style is instantly addressed on the LP’s title track, with its quirky central riff and equally as wacky vocals in a track that owes much to that of the fifties rockabilly era, juxtaposed by angst ridden lyricism. ‘Jonny’s Odyssey’ corresponds, in a bluesy blur of lazy drums and a very vintage guitar line that oscillates throughout. Aside from the jerky instrumentals that are heavily apparent on the album, ‘Salad Days’ certainly beholds its fair share of romantic slow jams. Take ‘Brother’ for example, with its seductive opening guitars, steady drums and thoughtful lyrics. ‘Let my Baby Stay’ sounding equally as thoughtful, with a sparse instrumental paired with enough “ooh ah’s” to reduce the most robust of men to tears. Whereas ‘Treat her Better’ sees the British-Columbia native take on the role of a marriage councillor, with lyrics evoking that of a drippy love song- though the incredible choric guitar riff prevents the track from becoming too cynical.
Though DeMarco is primarily a master of the good old-fashioned guitar track, it appears he has been embracing a wider range of musical elements on certain tracks within this album. Such tracks include ‘Chamber of Reflection’ which could undoubtedly put up a good fight for the most credible four minutes of the entire LP. With a relatively simple keyboard sequence that sounds lavishly remarkable amidst the slow paced drums and superior, polished vocals compared with the majority of DeMarco’s easy-going, rough cut back catalogue. ‘Passing out Pieces’ also sees DeMarco stray from that predominant guitar sound, with chintzy synths and a vocal style claiming resonance of raw, nineties Britpop.
On the whole, I thoroughly enjoyed Mac DeMarco’s third helping of self-loathing and half-hearted love songs, though the LP is not something I would choose to listen to all in one go; unless of course I was looking for a soundtrack to my occasional teenage sobbing outbursts. Although no one can deny his capabilities when it comes to honest lyricism, and that beloved seven year old guitar he supposedly purchased for thirty dollars.
Written for PostMusicDepression.
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