BY TESSA SOLOMON
Canadian singer/songwriter Mac DeMarco has been adopted as the patron saint of art school stoners, but his deadpan poetry is too slippery for easy classification. DeMarco first established himself in Vancouver’s music scene under the moniker Makeout Videotape. After a successful international tour, DeMarco released the album-length EP Rock and Roll Night Club in 2012 under his own name. From there, his subsequent studio albums — 2012’s 2, 2014’s Salad Days, and 2015’s Another One — saw the ubiquitous usage of descriptive terms such as “slacker rock,” “guitar pop” and even DeMarco’s self-described genre of “jizz jazz.” The only consistent is DeMarco’s continuous creep towards poignant observations laced with his laconic, lazy instrumentals.
