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Review: Mac DeMarco’s Here Comes the Cowboy Is Weighty and Understated

DeMarco has a knack for composing simple yet alluring melodies that feel weighty and timeless.

Here Comes the Cowboy
Photo: Coley Brown

Over the course of his seven-year career, Mac DeMarco has proven his songwriting prowess to be both transportive and alchemic. With his fourth album, Here Comes the Cowboy, he once again invites us into his idiosyncratic, hazy world but grounds the album with concrete ruminations on longing and remorse that are sonically stripped down and understated. DeMarco embodies the solitary and resilient figure of the cowboy throughout, divulging moments of clarity and vulnerability alike with an unshakeable stoicism.

DeMarco has a knack for composing simple yet alluring melodies that feel simultaneously weighty and timeless. But while his previous work suggested a flair for embellishment and drama—like the lavish “Chamber of Reflection” and otherworldly “Moonlight on the River”—Here Comes the Cowboy is decidedly more reined in. The forlorn “Heart to Heart” simmers with tension, its restrained use of synths entwining carefully around DeMarco’s plaintive vocal: “To all the days we were together/To all the time we were apart.”

Throughout the album, spare arrangements foreground DeMarco’s lyrics and vocals. On “K,” his voice’s proximity to the listener is as palpable as the crystalline plucking of his acoustic guitar. At several points, DeMarco relinquishes control over his voice, sacrificing pitch precision for ardent expression, like when he lets out an animalistic howl on “Finally Alone.”

For all its reflections on regrets and love lost, Here Comes the Cowboy also exhibits DeMarco’s eccentric sense of humor, which has been sorely absent in his recent work. On the closing track, “Baby Bye Bye,” his playful falsetto is accompanied by a zany slide guitar before bursting into crazed laughter and a funk breakdown that recalls the spirit of David Bowie’s “Fame.” In spite of the album’s earlier solemnity, DeMarco bids a tongue-in-cheek farewell as if to assure us that he hasn’t lost touch with the slacker rock goofball of his “Ode to Viceroy” days.

A handful of tracks scan as underdeveloped or incomplete. The three-minute title track plods along sedately—the only lyrics being its four-word title—with DeMarco’s deadpan delivery scanning as more vapid than charming. On “Choo Choo,” he’s lithe and energetic, but without a breakdown, the numbing funk groove peters out. Although elsewhere the album benefits from his light-handed instrumentation, the structural one-dimensionalities of these tracks harbor too many empty, open spaces, yielding songs that flatline. Like 2017’s This Old Dog and 2015’s Another One, the album doesn’t represent a progression so much as a broadening of what DeMarco has already proven himself to be capable of as a songwriter.

Label: Royal Mountain Release Date: May 10, 2019 Buy: Amazon

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