Canadian singer-songwriter Mac DeMarco cemented his place in indie history with his 2014 release Salad Days. Over a decade later, its popularity still refuses to fade. Now in his 30s, DeMarco remains in a Chamber of Reflection, exploring themes of heartbreak, the meaning of home, and letting go of material possessions in his self-produced album Guitar.
Shining sets the tone for the rest of the album with its raw, strained falsetto—though DeMarco hits similar notes more comfortably later in Nightmare. Shining delves into heartbreak and the struggle to distract your mind from an ex: “Can’t stop my heart from wondering.”
Sweeter follows, with a melody not far removed from Shining, mirroring the emotional shift from longing to the tentative hope of a new relationship. He sings, “This time I’ll be sweeter.”
The fifth track, Terror, stands out as a clear highlight. The sound thickens with layered electric and acoustic guitars, underpinned by a plodding bass. For me, it’s the poetic, almost morbid lyrics that truly clinch it. The song paints DeMarco as a ghost who’s lost his soul, even while he admits to being “terrified of dying, the old gift we all receive.” There’s a haunting, gothic quality to this track that really resonates.
Above – Mac DeMarco 2025.
Despite its title, Rock and Roll is one of the album’s mellowest songs. The lyric “look right past the back of a club” might nod to his 2012 track Rock and Roll Nightclub. A much-needed guitar solo breaks up the monotony of similar chord progressions, bringing character and a playful, nonsensical section at the end.
Having recently moved from LA back to Canada, DeMarco lets us into his more reclusive mindset on Home: “These days I’d much rather be on my own.” The track carries a bluesier, richer sound, especially from the bass, setting it apart from others. Punishment follows naturally, touching on the idea of relinquishing material possessions to preserve the soul—a theme especially relevant in today’s consumer-driven world and music industry.
I think the album would’ve benefited from placing the instrumental half of Holy earlier on, just to break up the flow. As much as I enjoy DeMarco’s hazy tranquillity, the recurring melodies and chord progressions cause some fatigue toward the end. That said, Rooster introduces more interesting harmonies and vocal variation, which come a little late in the 31-minute runtime.Still, Guitar stays true to DeMarco’s scrappy authenticity. At this point, he has nothing left to prove as a musician. That said, the album feels quite samey at times—some tracks could use a bit more meat on their bones. More than anything, though, his sullen, dreamy voice will always take me back to being 16 again.