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Mac Demarco

Mar 19/2016


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For a guy that’s been tagged as being the face of the so-called “slacker-rock” genre, you’d be hard pressed to find someone that’s spent more time working on their craft than Mac DeMarco. Despite an endless tour schedule that’s taken him across the globe, he used a brief road hiatus last year to write and record the recently released mini-LP, Another One. We caught up with Mac in Vancouver to talk about the new album and finding the time to write.

G— You wrote and recorded Another One following an Australian tour last year. Did you have a clear idea coming off the road as to what you wanted to do in the studio?

Mac DeMarco— I had a couple scratch demoes, but nothing really. For me, when I decide that I want to do that kind of thing, I’ll just sit down; and if it works, it does, and if it doesn’t, I’ll give up.

G— I’d read that part of the motivation for writing the album was that you felt like you didn’t want to go too long without releasing new material.

MD— The release part doesn’t really matter to me. The amount that we toured and played Salad Days felt like beating a dog to death. So, by the time I went to go and record Another One, it was nice to know the band would have some new stuff to play. I feel like putting out one album or EP a year isn’t super crazy nowadays.

G— Being on tour so much, do you find yourself having to make time to write?

MD—I never really have time to do it when we’re out. I don’t write in hotel rooms or the van or anything. So, when I get home it’s the time to just do that stuff. It’s kind of nice. I’ll wake up, have a cup of coffee, and then I’ll go down and sit at the keyboard. It’s like a meditation period for me.

G— You’ve recorded all the instruments on your albums yourself. Is that an important part of the process for you?

MD— It’s just the way I know how to do it. I’m not opposed to collaborating with people, I’ve always done it on my own. I don’t have to bounce ideas off people or be like could you do it this way, y’know? Things progress in a slow way because I can only do so much on each instrument. But, I get better at recording. It’s like an arts-and-crafts-fun-time for me.

G— You also recently did a vinyl reissue of Makeout Videotape’s Jizz Jazz.

MD— Yeah, my friend from Toronto pressed 1,200 copies. Those went pretty fast, so they’re out there now. It’s really nice to see people give a shit about something released that far back.

G— Does it feel good that you can now give that album a bigger platform?

MD— In a way, yeah. I always kept the album up on Bandcamp where you could download it, along with all the other old recordings. I think that the kids who were interested in it, probably already had it. It’s funny though, I only wanted to do a really small run. People ask me why we didn’t press more, but I thought nah, let’s wait a couple years for that.

G— Your bandmates – past and present – have all been active in their own music projects.

MD— I think it’s cool that everyone’s got their own shit going on, it keeps everybody sane. If I was just like you belong to me, that might be fucked up. (laughs)

G— Has surrounding yourself with creative people played a role in your approach to writing music?

MD—I like to be around them when I’m out and about doing stuff, because it can give you that little spark where you go oh, I’ve got get home and do this. Seeing bands gives me that same feeling. But, when I get home, I won’t want to see anybody for a month.


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The meaning of Jazz Cartier’s Fleurever is rooted in duality. In the two years since his sophomore mixtape, Hotel Paranoia, the artist has had to “[battle] the balances of love and money, risks and rewards, right and wrong, or living and dying”, alongside coming to terms with the throes of wealth and fame. Subsequently Fleurever—or, as he calls it, his “third project”—explores Cartier’s personal growth in the years following. With his newfound maturity in tow, Toronto’s rising rap star is on course to start a music revolution—well, that’s the idea anyway. Georgie caught up with Cartier to talk about gratitude, the rapper’s personal transformation, and the driving force behind Fleurever. G—Can you tell us a bit about your latest album Fleurever and the inspiration behind it? JC—Most of the inspiration came from growth, and a bit from my departure from Toronto. A lot of the record was made in my last days in Toronto, and just having that cloud over my head and knowing that I’d be leaving soon—it was more so showing my affection for the city that pretty much shaped my sound. G—Did you have a vision in mind when you started writing this album? JC—For the most part Fleurever is just myself and my


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The Beaches

Named for the Toronto area they grew up in, The Beaches are a far cry from a placid day on the lake. Led by singer/bassist Jordan Miller—with her sister and guitarist Kylie Miller, guitarist/keyboardist Leandra Earl and drummer Eliza Enman-McDaniel—the Canadian four-piece burst out of Toronto with their 2018 debut, Late Show, and have since built up an aura of dissident swagger. Taking home this year’s Juno for Breakthrough Group of the Year, the all-fem rock quartet is bringing grunge, gloss, and 70s glamour to a predominantly male genre. Georgie caught up with Leandra to talk about the band’s latest music video, taking charge of their music, and three simple ways to keep women in the industry. G—Did you grow up together in Toronto? LE—Yeah, I met the girls in high school. Jordan and Kylie are sisters, so they’ve known each other a bit longer, but they grew up with Eliza in Toronto’s Beaches area. G—What kind of music were you listening to at that time? LE—We grew up listening to all of the music our parents listened to. That definitely influenced us while writing our debut album since we drew from a lot of the 70’s music that our