Demarco may not be a constant innovator, but hardly anyone is, and his ability to repeat with originality is commendable.
Admittedly, it’s a volatile cocktail. But here’s the rub: It works for him. It worked for him on 2, and it worked for him again on Salad Days. It should come as no surprise, then, that it works on Another One, maybe better than it’s ever worked before.
While – as with predecessor Salad Days – it can take time to delve beyond vocal affectations reminiscent of John Lennon on a fairground ride (or Julian Lennon, if you’re being cruel), once you do, this is a mini-album loaded with emotional integrity.
The surface of Another One is pure pleasure; underneath, it’s not quite so easy.
Another One is an album of love songs. They aren’t all happy, but the record escapes the pigeonhole classification of “the breakup album.”
Repeated listening makes it hard not to see the album as some sort of quasi-confessional mini-masterpiece, and if not that, at least another example of his increasing strength as a songwriter.
This slight deviation in sentiment for DeMarco is a noticeable and welcome one. It reinforces the fact that he isn't simply a joker, but a real creative talent with an undeniably infectious sense of humour.
‘Another One’ neither sounds particularly different to his last album, 2014’s ‘Salad Days’, nor does it give much indication of where he’ll go next; rather it does for ‘Salad Days’ what ‘Salad Days’ did for his previous album, ‘2’ – offers added richness and refinement to his very songbook style of writing.
Musically, it's no great departure from the world he created on Salad Days, but there's a feeling of listening in on an artist who is just coming into the peak of his powers, and the creative spirit behind these subtly charming songs is immediately apparent.
Another One is even more harrowing than Salad Days. The hazy production and wobbly guitar lines are still there, but DeMarco’s lyrics draw deeper into regret and how he could have done things better with his lover.
Ultimately, Another One doesn’t feel like a fully realised vision, but DeMarco clearly didn’t set out to produce a feature-length sequel to Salad Days. The man seems to possess a profound creative impulse, and it seems he’s keen to share the results with his fans.
It's like a novella, or a made-for-TV movie—something to chew on while we wait for the next major project.
Call it a low-stakes play, but Another One is a snapshot of an artist who's found his lane and continues to mine it for affecting, melodically spry material.
It’s more of his seemingly tossed-off guitar balladry, stretched-out and warbled like he recorded direct-to-rubber band instead of direct-to-tape, but this time there are fewer winks and stunts, just more of the DeMarco who wants to love you tender.
DeMarco’s continual output is as exciting as it is impressive. These eight tracks were written in less than three weeks between shows on a recent tour, and the continuity of surfer twang and synthesiser melodies are indicative of this.
What it lacks in ambition, it more than makes up for in songwriting ... What it lacks by way of revelation, it more than makes up for in satisfaction.
Another One is boldly vulnerable with little bitterness, an ultimate guide for how to incorporate dusting yourself off into your productivity instead of allowing it to derail you.
What Another One does provide - in abundance - is proof that DeMarco has the songwriting chops to back up his reputation as one of indie rock’s last true characters.
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.
As great as these new songs are, they’re also incredibly repetitive: the same riff, the same mood, the same shimmery guitar and the same words.
Unfortunately for DeMarco, all the ‘watery’ guitar-work in the world doesn’t disguise that these are wisps of songs that wear thin with their slack tales of his romantic endeavours
Very much enjoyed this, I felt like it embodied everything that Mac DeMarco music should. It puts nearly all the spotlight and focus onto the instruments, the guitars and drums, much more than his voice. This is exactly what I wanted from his sound.
Este es único disco de Mac (uno de mis artistas preferidos) sobre el cual me faltaba escribir alguna reseña. De hecho, antes reseñé los demos que el disco original.
No es mi preferido por el canadiense, pero es muy importante como transición para su discografía. Pues ya no vemos la juventud y la locura de “2”, ni la psicodelia veraniega de “Salad Days”, pero aún no llegamos al contenido altamente introspectivo ni la onda ... read more
The best on here is some of Mac's best, but there are a few moments that drag more so compared to the rest of his catalogue.
Probably his most consistent and quality album. He usually suffers from a lack of variation among songs, but the brevity of this project helps relieve the issue of the sound getting boring.
Top Tracks: The Way You'd Love Her, Another One, No Other Heart, A Heart Like Hers, I've Been Waiting for Her, Without Me
Bottom Tracks: My House by the Water
Favorite Tracks : Another One, No Other Heart, A Heart Like Hers
Least Favorite Track : I've Been Waiting for Her
1 | The Way You'd Love Her 2:36 | 80 |
2 | Another One 2:40 | 89 |
3 | No Other Heart 2:53 | 86 |
4 | Just to Put Me Down 3:18 | 78 |
5 | A Heart Like Hers 4:01 | 92 |
6 | I've Been Waiting for Her 2:47 | 77 |
7 | Without Me 2:57 | 85 |
8 | My House by the Water 2:34 | 71 |
#27 | / | Blare |
#27 | / | NME |
#27 | / | The Guardian |
#36 | / | Rough Trade |
#39 | / | Piccadilly Records |
#44 | / | Under the Radar |
#50 | / | Q Magazine |
#74 | / | Crack Magazine |