'Another One' doesn't attempt anything new. These songs have a charm that's aching and amiable In no way has this release just been thrown together - in a lot of ways, it feels more cohesive than Salad Days actually did Print edition onlyĪnother One continues to flex DeMarco’s unique gifts for phrasing and double meaningsĭeMarco has created some of his most uncanny music, the sort of melodies that seem to have been around forever but were only created a few months ago His lysergic balladry and hangdog puppy love have an unbeatable effortlessness. The album's thematic cohesion and DeMarco's unfussy, uncomplicated songwriting is reliably gratifying It’s DeMarco’s plea for mundanity, but the occasionally brilliant results - both in the crisp production and brave sincerity - counteract the point It's like a novella, or a made-for-TV movie-something to chew on while we wait for the next major project If you like DeMarco, you'll like Another One. While the record musically and thematically aligns itself a little too closely to its predecessor, that would be a stronger critique if the formula didn’t continue to work so effectively Now that he’s put his sensitive side on display, it’s difficult to be anything but totally charmed Mac might just be one of the hardest-working and most down-to-earth guys in rock n’ roll. Golden, brushed and burnished songs that largely explore the traditions of heartacheĪnother One plays like a short conversation with a heartbroken DeMarco
Enough of the same to keep fans of the original happy, with just enough new stuff to make sure it never feels like a rehash or remake Just eight tracks, it’s over far too soonĪnother One is a great sequel to Salad Days. To be able to write with universality is the mark of a songwriter’s ambition growing, and here Mac DeMarco is transitioning into one of the best around Joy and despair waltz together like old friendsĭeMarco is a master at finding the silver lining in every dark cloud Repeated listening makes it hard not to see the album as some sort of quasi-confessional mini-masterpiec There is also plenty of charm, and as usual, convention is rarely adhered to There is plenty of songwriting skill on show, with expressive execution. But mine a little deeper, and all of a sudden, Another One is the most technically refined album DeMarco has produced His guitar is constantly shitfaced, and production always sounds like it took place in a sock. Lastly, turn on the Chorus I effect to complete the sound.Sort by ADM rating Sort by most recent reviewĪnother solid entry into an esteemed and well-loved catalog 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 BPM 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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