Radiant Relaxation That Redefines Regularity 

With his fifth studio album, the Canadian singer-songwriter who most patrons of indie-pop know, Mac DeMarco, provides listeners with a drastic shift from what his zealous fans are likely used to at this point, namely, whiny lyrics, psychedelic vibes and production on the same scale as that of a grand orchestra. What listeners of Five Easy Hot Dogs are left with is straight instrumentals, nothing of what people have become familiar with, nor something that follows what he’s mostly been doing for the duration of his honorable career. 

Here, and uniquely here, DeMarco strands his listeners; he’s left them out of the picture, only able to find comfort in what comes out of the blue, as well as in what comes straight out of left field. However, it is not disorienting. Rather, it brings a brilliant light to the facets of his creative wisdom and the brevity with which he’s always seamlessly delivered his tremendous expressions of artistic cohesion to the world. 

For this beast of the genre, the primary focus of this album seems to be all about liberating soulful rock, releasing it out of the cages it’s constantly being ensnared in, especially during the age of today’s music. That newfound freedom is in full effect. It is worth mentioning that, through titling each song in the way that he does, DeMarco celebrates certain locations and what he was met with upon indulging in his clear passion — that is, making music — in each distinct spot. 

Gualala, a town in California, shares its title with two tracks, one becoming a sequel to its predecessor. On both songs, listeners are treated to calm and soothing sounds that echo many of the other pieces, serving as part of the overall vision. It is instrumental central, and just as it is throughout, the variety present takes one to an array of different places, as the sounds challenge one another in a playful manner. 

Having “Gualala” as the leader hints at what awaits once the album’s listened to in its entirety. To give a spoiler, what it is, is an ear-pleasing consistency that’s instrumentally beautiful. Particular shifts in the aforementioned song feel like snowflakes falling from the sky, or raindrops gently plopping one’s face. 

Speaking more to the components that connect, “Chicago” helps listeners get a feel for the hustle and bustle of the actual city itself, making it aptly named. Images of city folk walking down the condensed streets and speedy cars passing by through the wind loom over all the music like a promising cloud of relaxation. It makes one want to dance along. 

“Gualala 2” is tropical in nature. It’s elegiac, coming as something that would definitely fit into a solemn Western movie, perhaps over a shot of a group of indignant cowboys on horseback. Considering that description, at the same time, because the sounds just work together to convey the feeling of drifting through outer space, it takes on an undeniable cowboys-and-aliens tone. 

Things become bizarre from time to time. On some songs, a sound resembling a kitchen timer’s is hearable, while on others DeMarco supplies his audience with regal-sounding instrumentation, like on “Victoria.” What must be remembered, however, is that those evocative sounds aren’t limited to merely a handful of tracks. 

Instead, they’re here to stay, and everything is always complimenting something else. It’s music helping out music, and there are evident cycles of adaptation. Sometimes they’re eerie, and sometimes they’re melancholic. Classification aside, there’s an elegance that’s as steady as waves born of the sea coming to and going from a desolate shore. 

DeMarco’s prowess as a skillful guitarist shines through and upholds the frenetic movement of the album. A few bits of jazz sprinkled throughout and with the album’s being incantatory and hypnotic again and again, an indisputable buildup of nothingness dominates. DeMarco clearly exploits that tension, creating something that shies away from mundaneness.