I would be happy to listen to it-and its parent EP-frequently for the rest of the decade. “A Heart Like Hers” is one of the best songs I’ve heard in 2015.
Despite its joyousness, there is a darker, sadder element to it too. But there’s something deeper there, something almost disturbing. His overuse of chorus and phaser effect on his guitars comes off initially as tacky. Mac’s albums can certainly be background barbecue music. Maybe he is for real and, if this is the case, we all should be listening to him. After listening to an ambient concoction of splashing water and semi-dissonant synth chords a la Boards of Canada, he concludes the EP with a surprisingly intimate moment: he rattles off his address and invites the listener to come over and have coffee with him. I was shocked when I listened to the final song on his new EP. First, his image doesn’t seem like a stunt. Is Mac kitsch? Something about him seems different. But those images were so pervasive in their music that it became impossible to take their music seriously. Those artists clearly had carefully cultivated images. I took exception to the Buffet comment and another more insulting comparison: Mac as the new Jack Johnson. I told her about his barbecue comments and she said that he’s the new Jimmy Buffet, writing breezy music that seems to be intent to help its audience just feel good. Maybe this is an issue about taste, maybe it’s not. I tried to explain the conflicting feelings I have about his music and how I can’t seem to articulate how I feel. My wife and I took a road trip this weekend and listened to his most recent album. Even the comments on his YouTube videos seem to be dominated by him, his friends, and even his mom. His most recent album is called “Another One,” an EP that followed an all-instrumental album called “Some Other Ones.” He has said repeatedly in interviews that his music is intended to be background music for a barbecue. He appears to be flippant about celebrity and his music. Maybe Mac DeMarco is a breath of fresh air because he doesn’t conform to how our favorite artists are supposed to act. Maybe our hipsterized music culture takes itself too seriously. But maybe the problem is with me, not him. Mac doesn’t seem to take himself seriously, let alone his music. Which is why I felt initially conflicted about the music of Mac DeMarco. It sounded like a Smiths song for the 2010s. Maybe it was the guitar effect or the sheer catchiness of the song, but I fell pretty hard for it. (Though I was admittedly charmed by how Mac’s mouth-gaping casualness seems so authentic…check out the side glance he gives at 30 seconds!) Then there’s Andy the guitarist and…who knows what’s going on with his look. Mac looks like he just rolled out of bed and threw on a hat and hoodie to hide the fact. I was further reluctant to like the music because of the look of the band here. I had been hesitant to embrace his music because of the amount of times I had heard his name mentioned in trendy music publications. Lastly, turn on the Chorus I effect to complete the sound.This video was my first exposure to Mac’s music. To set the vibrato speed, set the rate fader in the LFO section to 1.24 Hz with a delay time of 0.23. This controls the amount of pitch modulation, and finding the sweet spot is the key for many patches. Set the decay fader to 7, sustain to 0 and release to 5.5.įor the pitch vibrato, set the oscillator’s LFO fader (at the top-left) to 1.3. To create some movement in the patch, set the filter’s env fader (envelope modulation) to 2 and set the VCA switch to env, which will set both the filter and the volume to be controlled by the ADSR envelope. Set the main VCF filter’s frequency fader to 6 and resonance to 4, which will filter out some of the high-end, but still leave plenty of high-mids. Raise the HPF filter to halfway, which will filter out some of the bass-end frequencies.
ANOTHER ONE MAC DEMARCO GUITAR TAB PATCH
The patch can be created in TAL-U-NO-LX, a fantastic and inexpensive software emulation of the similar Juno synths.įrom the default setting, turn on the square wave DCO and reduce the sub-oscillator volume to halfway. The Chamber of Reflection lead synth was recorded on Mac’s Roland JX-3P, a vintage synth with a highly recognisable Roland chorus sound.
The melody and chords are interpolated from the Shigeo Sekito song The Word II, reworked with vintage synths. Chamber of Reflection stands out on Salad Days as the only song that replaces Mac’s signature chorused guitar with swirling layers of synthesizers.
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