Early cuts like “20191215” feature little more than acoustic fingerpicking, but by 2022, he’s picked up a harmonica and started toying with woodwinds. Taken in chronological order, One Wayne G offers a glimpse into DeMarco’s evolving process from 2018 and January of this year, as we see him adopt and abandon certain whims and trends. Where so much instrumental or ambient music that baits the streaming algorithm is anonymous to the point of feeling machine-generated, Mac’s giant box of loosies confronts you at every turn with the personality of its maker, for better or worse. While One Wayne G might look like a disposable afterthought, all unfinished drafts and near-identical file names, it’s hardly arbitrary or accidental. But DeMarco’s compilation thumbs its nose at the very market it taps into. On one hand, DeMarco’s instrumental turn, along with the listless shuffle-ability of One Wayne G, seems like a play for the ambient gold rush, supplying casual listeners with a limitless horizon of vibey busy-work soundtracks.
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