The sisters sing on Let It Go, which is almost an electro ballad, save for the heavy bangage in the chorus. Oh Diana dips into trance, Haute Mess (with Melbourne’s Ivan Gough) steers close to novelty EDM while Hey Ricky adds a welcome truckload of sass via vocalist Kreayshawn. They’ve also stepped up as producers here and also write the music on Rainham Road.īulletproof, sung by Swede Harrison Miya with beats by Nicky Romero, is a club banger in touch with its emotional side.ĭid We Forget mixes big drops with the Ellie Goulding-style vocals of Amba Shepherd. Their toplines add the human touch to electronic music, something for people to connect with not just fist-pump to. Some are collected on this overdue debut album that’s unashamedly commercial dance in the same throbbing, pulsating vein as Guetta. This beguiling little album is another feather in DeMarco's baseball cap, and will live on in his growing catalog, but you might want to head over to Queens for that cup of coffee before it's too late.Since then they’ve written for Kylie and Britney, become international DJs and drip-fed singles under their surname. It feels ephemeral and so, perhaps, is DeMarco's tenure in the watery little house where this music was made. On the final track, he pairs a lonesome, dark-toned synth against a backdrop of waves lapping at his rocky shoreline in what feels a bit like an instrumental love song to a place and time. The half-smirking irony that many critics have accused him of feels further distanced here as he continues to explore his capabilities as a songwriter and player. Befitting the record's amorous themes, DeMarco's overall tone here is sweeter and more tender than before, even on more lighthearted fare like the frisky faux yacht rocker "Just to Put Me Down," where he flexes a bit of Jerry Garcia-inspired guitar muscle. As a collection Another One hangs together quite well with the wobbly, synth-led title cut and the warm pop groove of the marvelous "No Other Heart" making for two of the album's biggest standouts. 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. The unique, heavily-chorused guitar tone and the laid-back grooves rooted in '70s soft rock support gently catchy melodies with intelligent lyrics that nimbly tread the line between heartfelt and wry.
A loosely themed concept album about love, with each song exploring a different emotion (longing, jealousy, frustration, joy), Another One bears the distinctive hallmarks that have, so far, come to signify a DeMarco release. Wasting little time on his follow-up, DeMarco quickly wrote and assembled this eight-song effort at his home on the southern shores of New York's Jamaica Bay in Queens. Beginning with 2012's Rock & Roll Nightclub, each release has been an improvement on its predecessor, with 2014's Salad Days landing atop many critic's year-end lists. As admired for his oddball antics (homemade videos wearing Michael Jackson and Homer Simpson masks, holding a contest for fans whose prize is $0.69 from his bank account, that invitation for coffee) as for his laid-back songcraft, DeMarco has become an unexpected indie hero with his own highly recognizable sound. In a not-so-secret message at the end of his 2015 mini-album Another One, Mac DeMarco offers up his home address in Far Rockaway, New York, inviting listeners to "Stop on by, I'll make you a cup of coffee." Four albums into his relatively young career, the transplanted Canadian has already earned a playfully eccentric reputation that mirrors his unconventional musical style.