Absent from this album are both the highly contrasting moments of dreamy-eyed indie rock and wobbly, Ween-indebted weirdness that came through more sharply on 2.

The title track goes so far as to sport some 'la la la's that could have been lifted directly off The Kinks Are the Village Green Preservation Society. This guitar work shows up at its most melodic on tracks like 'Let Her Go' and the standout 'Blue Boy,' and appears in a more jagged form on mellow rockers like 'Goodbye Weekend.' DeMarco has his feet in a bevy of styles on Salad Days without coming off scattered, including the brittle '80s R&B synths of 'Chamber of Reflection' and the channeling of songwriting greats like John Lennon and Ray Davies elsewhere. Mellow, snaking, busy lines of chorus-drenched leads intertwine and chime over the top of thoughtful, sometimes restrained chords. By this point, DeMarco's guitar sound is becoming one of his signatures.

Salad Days picks up where the strange vibes of 2 left off, brightening the production and shying away from Mac's more insane impulses for a clearer picture of his immensely cracked idea of what pop music is. The tunes were somehow both tuneful and antagonistic in the subtlest of ways, and DeMarco easily shifted between characters of the stoned joker and sincere balladeer, playing each remarkably convincingly. With his 2012 debut, 2, Canadian songwriter Mac DeMarco offered the world a look into his dazed but brilliant mind's eye, his songs landing somewhere between a hallucinogenic re-imagination of '70s soft rock, oddball outsider jams, and laid-back indie fare.

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