Mac DeMarco's newest solo effort, Salad Days, would have you believe he’s a man stuck in time. The album effortlessly blends together elements of genres from ’60s pop to hip-hop. The vapid, high-pitched guitars and generic hip-hop drum kit set the scene for a unique listening experience.
Salad Days’ title track starts the album and sets the tone for the rest of the record. DeMarco’s idiosyncratic vocals are immediately showcased, as are the quick, staccato-like guitar and drum parts that become mainstays for the rest of the album.
The first time Demarco really expands his sound is on “Brother.” Here, Demarco slows things down and stretches them out, almost as though he’s just trying to see what he can do with the song. From here on out, Demarco switches back and forth between wispy, soft ’60s pop songs and synth-filled explorations of other sounds. “Passing Out Pieces” features a great synth-horn part, but the best example is definitely “Chamber of Reflection.” Coming near the end of the album, “Chamber of Reflection” starts with a harsh keyboard and just kind of goes on from there.
“Chamber of Reflection” is aptly titled in that it’s the only song that delves into DeMarco as a whole. While many of the other songs on the album deal with his thoughts and feelings on women and other subjects, “Chamber of Reflection” is the only one that isn’t boilerplate, and that sincere quality makes it one of the best tracks on the album.
Demarco’s biggest strength, though, has to be his easy blending of genres. “Salad Days” starts with a guitar and drum part that could’ve been taken from The Beastie Boys, but his vocals and lyrics would sound more at home in a Byrds song. It’s not even difficult to see “Goodbye Weekend” as an early Rolling Stones tune—such is his talent.
Salad Days offers a diverse and panoramic view of music in general, and it’s catchy to boot. Give it a shot.
Grade: A
