In less than a quarter second into the album the vocals come in. Most albums start with an instrumental intro. Mac just dives right in singing. He’s got something to say, and he isn’t going to wait to tell you or sugarcoat it any bit. In less than ten seconds into the album his falsetto comes out, reminiscent of a jazzy chamber singer. The whole album has a jazzy feel to it, in addition to the overarching lo-fi psych-guitar pop feel. I’ve read a few attempts to try to come up with a genre for Mac Demarco from “Slacker Rock” to “Jizz Jazz.” I’m not particularly one to genre-pick. I recommend you listen for yourself and try to come up with your own kooky genre name.
Salad Days benefits from the relatively new return of vinyl. People are now more often listening to records as a whole instead of just singles. This is good because Salad Days does not really have any standout singles that are begging for FM stardom (if that even exists anymore) but it just sounds so darn fantastic listened to as a whole. This is probably what he was going for, anyway. The album flows as one continuous unit.
This is Mac’s third album after “Rock and Roll Nightclub” and “2.” He has been able to effectively mature as a musician and songwriter without going crazy genre hopping or changing his sound completely. Listening to a new Mac Demarco album feels like seeing someone after summer break in school growing up. They are still the kid you like so much, but a little older, little wiser, and filled with new tricks and tales to tell. My favorite tracks are “Salad Days” and “Picking up the Pieces” but I more seriously recommend the entire album as a whole.
Salad Days is best enjoyed on the porch on a clear summer day, where your only worry in the world is whether or not your cigarette ashes will fall into your Miller High Life.
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