• Mac Demarco Rock And Roll Nightclub
• Mac Demarco Rock And Roll Night Club Download Torrent
• Mac Demarco Rock And Roll Night Club

• Rock and Roll Night Club is Canadian recording artist Mac DeMarco's debut mini-LP. It was recorded in 2012 in DeMarco's Montreal-based studio Jizz Jazz Studios.
• Mac DeMarco - Rock and Roll Night Club. Download your purchases in a wide variety of formats (FLAC, ALAC, WAV, AIFF.) depending on your needs. Listen to your purchases on our apps. Download the Qobuz apps for smartphones, tablets and computers, and listen to your purchases wherever you go.
• McBriare Samuel Lanyon 'Mac' DeMarco (born Vernor Winfield McBriare Smith IV, April 30, 1990) is a Canadian singer-songwriter, multi-instrumentalist and producer. DeMarco has released six full-length studio albums, his debut Rock and Roll Night Club (2012), 2 (2012), Salad Days (2014), Another One (2015), This Old Dog (2017), and Here Comes the Cowboy (2019).
• Rock and Roll Night Club, an EP by Mac DeMarco. Released 2 January 2012. Genres: Lo-Fi / Slacker Rock, Hypnagogic Pop, Bedroom Pop. Featured peformers: Mac DeMarco (writer), Josh Bonati (mastering), Ryan McCardle (design, layout), Evan Prosofsky (photography), Thursday Friday (photography).

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Rock and Roll Night Club is Canadian recording artist Mac DeMarco's debut mini-LP. It was recorded in 2012 in DeMarco's Montreal-based studio Jizz Jazz Studios and released through Captured Tracks on March 13, 2012.

Composition[edit]

Rock and Roll Night Club combines elements of American soul, chopped and screwed music, glam rock, 1950s rock and roll, garage rock, new wave and Captured Tracks' signature jangleguitar pop sound.^[3][4][5][6]Pitchfork's Evan Minsker opined that, lyrically, 'it's probably safe to assume that at least 80% of Night Club is laced with a meta joke that nobody's in on except DeMarco,'^[2] and No Ripcord described his performance on the record as resembling a 'hopelessly romantic swinger.'^[4] DeMarco himself said Rock And Roll Night Club was a joke as well, saying that he was being 'intentionally sketchy' in making what Elliot Sharp of the official site for Red Bull described as 'over-the-top', 'conceptual', 'kooky', and overall 'a trashy, sleazy rock album that celebrated rock's trashy, sleazy core.'^[5]

DeMarco's vocals on the first rough half of Rock and Roll Night Club were analyzed to be an impersonation of Elvis Presley.^[8][5] The first two songs, which No Ripcord compared to Charlie Feathers, 'are both written in the point of view of a heartthrob whose eyes are dead set on his girl, whether he wants to play games with her, have an intimate night, or even make mental annotations on her country girl style.'^[4] The Peter Sagar co-written^[1] 'Baby's Wearing Blue Jeans' was called by Allmusic's Fred Thomas a 'weird denim-fetish anthem', containing clean guitars and muffled drums in its instrumentation.^[7] The exact same vocal melody and soft singing is later brought into 'One More Tear to Cry', which Thomas analogized as a Lou Reed song produced by Ariel Pink, and then ^[7] 'European Vegas', a song in which DeMarco 'pleas his baby to stay one more night while a jangly chord chimes in with a dash of sorrow,' according to No Ripcord.^[4] 'Vegas' likewise reflects 'One More Tear's use of slight variations of the same melody as the previous tracks.^[7] Thomas opined that 'instead of being an annoyingly repetitive conceptual misfire, the identical melodies work in DeMarco's homespun glam thug sonnets in an if-it-ain't-broke kinda way, lending different shades of the same color to their respective songs.'^[7] However, a new melody is introduced on 'She's Really All I Need', a track which was lyrically compared by Loud and Quiet to Pavement.^[8] and instrumentally containing wobbly guitar riffs and 'beachy' percussion, as well as the absence of DeMarco's distorted vocals.^[7]

Mac Demarco Rock And Roll Nightclub

Some say 'Moving Like Mike' is about Brooklyn Based Video Editor 'Doc' Mike Kutsch, but it is most likely an out-of-key 'dork-fest ode' to Michael Jackson that restores the overall vibe of the LP, after the 'She's Really All I Need'-induced departure.^[7] The album's standard track list is closed with the Lou Reed-style funk song 'I'm a Man',^[8] Initially titled 'Eyeballs', DeMarco said he was trying to write about a man's lifestyle in Montreal with the song.^[9] The bonus track 'Only You', lifted from the Makeout Videotape album Ying Yang was described by Thomas as near towards a modern take on indie rock, and sounding like a worn-out cassette demo recorded by the band Deerhunter around the time of their third studio album Microcastle.^[7] The song forms a Duane Eddy-esque twangy guitar line into a 'garage stomp' by the time its 'dark, seductive chorus' comes in.^[4] Minsker describes the two bonus tracks, 'Only You' and 'Me & Mine', as the 'biggest surprise' of the album, comparing the two tracks to Real Estate and emphasizing the contrast of these two songs with the rest of the album. However, Minsker later resolved that there is a relatively small difference between the 'goofy creep' who sings about 'the boogie woogie woman lookin' my way' and the 'straightforward crooner' who sings 'I'm done crying over her.'^[2]

Recording[edit]

All of the tracks were recorded on a TASCAM 244 Portastudio 4 track cassette recorder except for one track, which was recorded on a Fostex VF-80. The recording took place in a Montreal apartment that Demarco and his girlfriend shared. The vocals and drums were all recorded with a Shure Beta 58A. The guitars and bass were all Direct input into the 244. The recording made extensive use of the 244's pitch control, Demarco described this to Tapeop Magazine: 'I was trying to make a Ramones record... I thought, 'I'm going to do basic power chord riffs, I'm going to do solos, and I'm going to do it really fast.' It turned out I'm awful at it. When I slowed things down it was like, 'Ah, now I've got something'. Demarco also used a method of track summing to record more than the 4 track limit: 'I learned to ping-pong the 4-track too, so I would do three tracks, bounce it to one, do another three, and hopefully the song would be done by then'. Bouncing the tracks degraded the signal resulting in generation loss. This contributed to the sludgy lo-fi sound of the record and was partly inspired by the techniques of Joe Meek's I Hear a New World. Mixing was a challenge due to the limitations of the 244. For the guitars Demarco often turned the parametric equalizer up all the way and adjusted the gain to remove the bass and provide a space for them in the mix. Extreme panning was also used to separate the channels. An Alesis MicroVerb 4 was used for effects on guitars and vocals. ^[10]

Critical reception[edit]

At Metacritic, which assigns a weighted mean rating out of 100 to reviews from mainstream critics, the album received an average score of 79 based on 5 reviews, which indicates 'generally favorable reviews'.^[11] Fred Thomas of AllMusic opined: 'Rock and Roll Night Club is a confusing record, but not a mess. On the contrary, it's so deeply calculated that the intentions and possible motivations of its songs are likely to be lost on most. This would be a problem if the good songs weren't so incredible and strange and the weak ones so immediately forgettable.'^[7]

Track listing[edit]

All tracks are written by Mac DeMarco, except where noted.

Personnel[edit]

Adapted from the liner notes.^[1]

• Mac DeMarco – vocals, guitar, bass guitar, drums, percussion, keyboards, composer
• Maddy Glowicki – background vocals on 'European Vegas'
• Josh Bonati – mastering
• Ryan McCardie – cover design, layout
• Evan Prosofsky – cover photography
• Peter Sagar – co-writing on 'Baby's Wearing Blue Jeans'

Release history[edit]

References[edit]

1. ^ ^abcRock and Roll Night Club (Back cover). Mac DeMarco. United States: Captured Tracks. 2012. CT140.CS1 maint: others (link)
2. ^ ^abcdMinsker, Evan (April 10, 2012). 'Mac DeMarco: Rock and Roll Night Club EP'. Pitchfork. Retrieved February 12, 2014.
3. ^ ^abcWolfson, David (April 19, 2012). 'Album Review: Mac DeMarco – Rock and Roll Nightclub EP'. Beats Per Minute. Retrieved February 12, 2014.
4. ^ ^abcdefgRodriguez, Juan Edgardo (April 13, 2012). 'Mac DeMarco: Rock and Roll Night Club – Music Review'. No Ripcord. Retrieved February 12, 2014.
5. ^ ^abcSharp, Elliot (October 29, 2013). '2 Sketchy Days With Mac DeMarco'. Red Bull. Retrieved September 20, 2015.
6. ^Lindsay, Cam (April 3, 2012). 'Mac DeMarco Rock and Roll Night Club'. Exclaim!. Retrieved September 23, 2015.
7. ^ ^abcdefghijThomas, Fred. 'Rock and Roll Night Club – Mac DeMarco'. AllMusic. Rovi Corporation. Retrieved February 12, 2014.
8. ^ ^abcdeStubbs, Stuart (July 2012). 'Mac Demarco – Rock'n'Roll Nightclub'. Loud and Quiet. Archived from the original on February 25, 2016. Retrieved September 20, 2015.
9. ^'An Interview with Performing Artist Mac DeMarco'. Seagate Technology. September 18, 2012. Retrieved September 22, 2015.
10. ^'Ben Berke and Jay Mamana - Varispeed and Beyond'. Tapeop. Retrieved 22 September 2017.
11. ^ ^ab'Reviews for Rock and Roll Night Club by Mac DeMarco'. Metacritic. CBS Interactive. Retrieved April 6, 2014.
12. ^Joyce, Collin (March 14, 2012). 'Mac DeMarco – Rock And Roll Night Club'. The 405. Archived from the original on March 4, 2016. Retrieved September 20, 2015.
13. ^ ^ab'Rock & Roll Night Club'. Amazon.com. Retrieved February 12, 2014.
14. ^ ^ab'Rock & Roll Night Club Vinyl'. Amazon.com. Retrieved February 12, 2014.
15. ^'Rock and Roll Night Club'. iTunes Store. Retrieved February 12, 2014.
16. ^ ^ab'Rock and Roll Night Club'. Amazon.com. Retrieved February 12, 2014.
17. ^'Release 'Rock and Roll Night Club' by Mac DeMarco - MusicBrainz'. MusicBrainz. Retrieved April 10, 2015.
18. ^'Rock and Roll Night Club'. Amazon.com (in German). Retrieved February 12, 2014.
19. ^'Rock and Roll Night Club'. Amazon.com. Retrieved February 12, 2014.
20. ^'Rock and Roll Night Club Ep [Vinyl Maxi-Single]'. Amazon.com (in German). Retrieved February 12, 2014.
21. ^'Rock and Roll Night Club Ep'. Amazon.com (in German). Retrieved February 12, 2014.
22. ^'Rock and Roll Night Club'. Amazon.com. Retrieved February 12, 2014.
23. ^'Rock and Roll Night Club [VINYL]'. Amazon.com. Retrieved February 12, 2014.

External links[edit]

• Rock and Roll Night Club at Discogs (list of releases)

Wherever you go, you’ll find friends of Mac DeMarco. From LA to Joburg, start chatting with someone about the East Coast music scene and have them tell you, “Oh yeah, Mac let me crash on his couch/bought me a beer/gave me his spaghetti recipe. He’s a good dude”.

The only difference being that in Japan he’s universally known as Ma-ku whereas in Australia we drawl Macdemahhhko.

This week marks the fifth anniversary of Mac’s debut mini-LP Rock and Roll Night Club. A revisit shows what integrity there is to the world of wavy guitars, and flat, funky drums that the Canadian has built.

What was it about Rock and Roll Night Club which shot Mac DeMarco to fame? 5 years on, we take a look at the lascivious debut record from the gap-toothed crooner.

As is typical for young artists, DeMarco tried out a variety of styles on the mini-LP, but the seeds of the sound he was to settle into on Salad Days and Another One are planted on tracks like She’s Really All I Need and Me and Jon Hanging On.

And not in tone alone. DeMarco’s lyricism was fermenting into what we consider quintessentially Mac: wry, indelicate, unfailingly sweet.

Interestingly, a contemporary Pitchfork review of the album paints DeMarco as a fairly dark figure, using the word “sleaze” or one of its variants six times in as many paragraphs, while another reviewer called him a “sexpest”.

Certainly the album showcases a dirtier side to the musician’s style; in earlier tracks like One More Tear To Cry his vocals are tamped down and slicked out, lending the singer the air of a rocker’s caricature rather than that of a genuine, earnest emoter.

The eponymous track itself is, content-wise, much more stylised and distant than the songs we’ve come to most closely associate with DeMarco.

“Cruising in the moonlight / heading downtown / Looking for some fast love / gotta get down” is miles away from the philosophical “Hey man, heard you were your brother’s keeper / That can’t be, judging by the way you treat her / Oh no, you’ve done it again / No use when you already know how it ends” from 2014’s Treat Her Better.

Retrospectively, however, the analysis of DeMarco’s musical persona as “creepy” seems broadly misplaced. His musical roots with Makeout Videotape are softly tinged in psychedelia, while Ode to Viceroy reiterated a sardonic stance.

Thus, what some took to be darkness peeping through on Rock and Roll Nightclub may simply be weirdness and a sense of humour. This is underscored by the fact that, to emphasise the sinister undertones of the album, the most twisted story the Edmonton Journal were able to dig up was about Mac getting drunk and publicly sticking his drumsticks up his bum.

It’s funny to think that at the time listeners found the radio announcer shtick which intersperses the songs on Rock and Roll Nightclub serial-killer freaky. Today it seems more like an ironic take on 80s-90s albums like Toshigi Kadomatsu’s On The City Shore or the Reservoir Dogs soundtrack.

How could a guy that puts such an obvious Beatles homage in Me and Mine as the final track to his debut mini-LP be a dark dude?

In fact the word ramshackle is a much better summation. Certainly, in light of his refined output today, Rock and Roll Nightclub seems like a shotgun blast; by the time he was to release Salad Days he had drastically narrowed his sonic brand.

Later he was focused on personal and specific stories, was happily pushing chorus and vibrato effects on his guitar, and employing the more folk-based structures he had experimented with in the latter half of this first record. In so doing, he cut out the glam-rock creep factor that listeners were picking up on.

DeMarco would come to be known as an artist who consistently projects a chill, goofball persona, and expresses earnest sentiments without cliché.

So, understanding the intertwining of his cult of personality and the evolution of DeMarco’s music is absolutely key to unravelling his commercial success. There isn’t much, stylistically-speaking, to separate a song like European Vegas with one from Boys Age’s 2012 debut, or labelmate Juan Wauters’ North American Poetry in 2013.

All three owe some allegiance to the low-fi sounds of R. Stevie Waters, Sonny Smith and their ilk; that kind of odd, bedroom-based, personal folk-rock music. And yet the others haven’t been able to springboard from their debuts in the same astronomical way as the Canadian. Rock and Roll Nightclub serves as a reminder of the tenacity and astute intuition it must have taken to distil his current style.

This image of being everyone’s best friend must be increasingly difficult to maintain as Mac breaches the indie atmosphere and seems to venture ever deeper into the dark realms of mainstream success.

Mac Demarco Rock And Roll Night Club Download Torrent

The fact that the gap-toothed crooner still has most people stuck on him speaks not only to the fact that he genuinely is a decent guy. It’s also thanks to his being able, over the space of a few short years, to funnel his sound from the slipshod garrulousness of Rock and Roll Night Club to something much more particular.

You can call it the Mac DeMarco brand, or you can think of it as a better-represented, more honest version of his real, chill self. How you see it depends on how cynical you are. And whether you’ve ever tried his very good spaghetti recipe.

Mac Demarco Rock And Roll Night Club