Another one mac demarco lyircs crack#
Speaking of which, we can all find out where he lives now, if you listen all the way, all 20-odd minutes, to the end of Another One (or maybe thanks to the crack investigative journalism displayed on many a Prominent Music Website’s newsfeed). Even - especially - on an album as unambitious (And why the fuck should it be? The dual tyranny of profundity and novelty, misleading as they so often are, is eminently rejectable.) as this one, Mac’s personality/persona stitches the pieces into something perplexingly wholesome and all his own, right down to the quick message at the very end. Authenticity? I don’t even know what it means, and I haven’t defragmented myself well enough to not be taken in by Mac’s shit I believe it, even though I “know” it’s not real (or because simplicity = “earnestness”?). But it works mostly because of how completely our whole emotional and mental lives are infiltrated and constituted by fragments absorbed from every encounter with “culture.” He’s working on seams of meaning implanted in us, that we have but didn’t choose. Not that there’s no precedent in his earlier material - like “Down on my hands and knees/ Begging you please,” from 2, for example - but Another One comes close to a kind of perfection in simplistic obviousness - “Feeling so confused/ I don’t know what to do” or “Will she love me tomorrow/ I don’t know/ Don’t think so.” Trite as it might sound like it ought to sound, there are few times when unexpected changes in perspective somewhat unbalance things, and the obviousness is peculiarly effective. While the instrumentation gives the impression of self-bricolage, made up of materials from Mac’s own private collection under a particular washed-out filter, the lyrics derive from common property, things like fragments of old clichés and easy rhymes. But the changes in sound are minor compared to the similarities in the songwriting the guitar chords and melodies, the songs themselves feel reassembled from his own pre-existing (admittedly quite recognizable) repertoire of licks and runs.
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These split not quite evenly between woozy and out-of-focus synth-led sad songs and deceptively upbeat guitar-led sad songs Mac’s distinctive guitar sound has shifted very slightly, now twangier and more plastic, with less chime and space than earlier material, still less the fuzzy haze of his Makeout Videotape days, and the measure of plunky electric piano has been significantly upped. The slightly doleful love songs are now all about girls instead of cigarettes, weird bits of quasi-sincerity and worry washed up on the shore and/or left out too long in the sun. There’s scarcely a trace of other previously assumed “Mac” personas, like the pitched-down sleaze of Rock and Roll Nightclub, or Salad Days’s nostalgia and platitudinous but plausible advice about not worrying, etc. It might only contain eight songs, but as well as filling the gap between full-length releases, it’s further proof of his musical genius.Another One finds “Mac” mostly wearing the one mask - more role than substance 1 - of lovelorn melancholia, blurrily animating the most egregious clichés with a certain warped and oddly believable charm. Without Me is a touch different for DeMarco plodding synths create an unruly ethereality, making it sound like something you might waltz to at a sci-fi themed ‘80s wedding.Īnother One isDeMarco’s fourth album in as many years.
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(For those who missed the story a few weeks ago: final track My House by the Water contains details of DeMarco’s address, and in the lead up to album’s release he invited anyone who listened all the way to the end over for a cuppa.) Given his laid back demeanour, it’s no wonder so many people recently turned up to DeMarco’s New York house for coffee. Take for instance the first single and title track, which is loosely arranged and very easy listening.
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Throughout Another One, there’s a nod towards the dream-pop stylings of Beach House and the like. It starts with The Way You’d Love Her, which finds DeMarco ruminating, “The river keeps on rolling/ Knowing all the time she’ll never understand just what it means to love her/ The way you’d love her.” This is just some of the dulcet poetry DeMarco unfurls across the release. Similarly, DeMarco’s lyrics continue to lament issues of the heart - in fact the whole mini-LP revolves around love and heartache, but that’s OK. Another One picks up where Salad Days left off, with the same jangly guitars, tight riffs, whacked-out synths and lazy vocal delivery. Mac DeMarco’s latest offering is exactly what you’d expect from the wistful Canadian goofball, and it’s bang on.