• Record Label: N/A
  • Release Date: May 10, 2019

Generally favorable reviews - based on 24 Critics

Critic score distribution:
  1. Positive: 12 out of 24
  2. Negative: 0 out of 24
Buy On
  1. May 16, 2019
    The end result is the kind of unique album that only results from someone who has spent a career staying true to themselves, playing every instrument, writing every song, adopting a singular fashion stance, and even opening their own record label. This album is a reflection of that growth, and hopefully a promise for more of the same.
  2. Q Magazine
    May 14, 2019
    May be his most sad-eyed collection, but it's also his best yet. [Jul 2019, p.109]
  3. This record’s slower pace won’t be for everybody, just as unassuming previous album ‘This Old Dog’ wasn’t, but, should you let it, this record will transport you somewhere calm and reflective.
  4. Mojo
    May 6, 2019
    Continues to hit the sonic sweet spots. [Jun 2019, p.93]
  5. Uncut
    May 6, 2019
    The results is an album that's braver, weirder and richer than most of his more sensible and brand-conscious peers could ever manage. [Jun 2019, p.18]
  6. May 6, 2019
    The gorgeously wistful All Of Our Yesterdays and Skyless Moon lament time’s passage, but Here Comes… barely wastes a second of its sweet, tender and winningly off-piste, high-plains drift.
  7. May 13, 2019
    Cowboy's eerie calm reflects the domestic quietness every adolescent party animal fears stumbling into when they get older.
  8. May 10, 2019
    At first listen the slower pace may not appeal to everybody, and that’s fine, but at a time where everything seems so unsettled, it works great as a listenable stress ball.
  9. May 10, 2019
    Two years ago, on This Old Dog, DeMarco upped his game, taking his time to expand a set of songs he’d written quickly with home-studio polish. Cowboy is closer to the four albums of demos he’s released: dead-simple expressions of mellow-gold melancholy suspended over plaintive guitar plucking or bossa nova smoothness.
  10. May 6, 2019
    Like 2017’s This Old Dog and 2015’s Another One, the album doesn’t represent a progression so much as a broadening of what DeMarco has already proven himself to be capable of as a songwriter.
  11. May 10, 2019
    It sounds nice, but for a lot of its runtime, it also sounds like DeMarco is exhausted, like he’s ready to move on and try something new but is trapped in a creative holding pattern.
  12. 67
    This album possesses a handful of creative risks that prove satisfying. DeMarco truly shines whenever a wider array of instruments and styles are at his disposal. When all of that is out of the picture, however, it dampens Here Comes the Cowboy’s full potential.
  13. May 24, 2019
    The result is an album that’s pleasant but kind of passes you by, and for a singer that was always so charismatic, being just ordinary feels like a bit of a bummer.
  14. May 17, 2019
    There’s nothing inherently wrong with sticking to a formula that works, and in Cowboy’s case, it’s pretty acoustic songs and (mostly) mellow vocals. But for a songwriter like DeMarco, who on previous albums has triumphed when trying something new, perhaps change is worth pursuing.
  15. May 13, 2019
    It’s beautifully played and engineered, with DeMarco’s nimble vocals softly caressing your speakers from inside, but it cossets where it could challenge.
  16. May 10, 2019
    The lyrics are certainly emotional, as he says, but there’s an immediacy to them that feels new for DeMarco, and it doesn’t always suit the music.
  17. May 10, 2019
    Here Comes the Cowboy may retain some of the disarming simplicity and emotional universality that has become DeMarco’s trademark, but it is ultimately an album that fails to welcome the listener warmly into its world.
  18. May 9, 2019
    Offenders and highlights aside, Here Comes the Cowboy might have been trimmed down to a solid EP or mini-album, but as a whole it just doesn't live up to the standards DeMarco set on his first three albums.
  19. May 7, 2019
    His vocal runs and melodies at times provide an almost soul feel--everything is smooth with very few edges, however there’s still enough raw elements to sustain your interest.
  20. May 15, 2019
    It feels Mac also went through these motions creating Here Comes The Cowboy, something is lacking, and it feels like it was motivation. That being said, with this record Mac has taken some creative risks.
  21. 50
    Mac’s latest release is unremarkable in almost every way, it is powerfully inoffensive in its delivery, instrumentation and intent which makes it hard to engage with and harder still to enjoy.
  22. May 8, 2019
    At its best, the album retreads familiar ground.
  23. May 10, 2019
    Here Comes the Cowboy sounds awfully similar to 1973’s Hosono House. But there’s a lack. Maybe it’s the dynamism displayed on Hosono’s debut that makes it so intrinsically enthralling, but on Here Comes the Cowboy, the whole thing feels more like American gaijin vs. Japanese cowboy copypasta.
  24. 40
    Always exquisitely unbothered, the indie-rock poster boy now sounds like he can’t be bothered.
User Score

Generally favorable reviews- based on 50 Ratings

User score distribution:
  1. Positive: 29 out of 50
  2. Negative: 5 out of 50
  1. May 12, 2019
    It's not Mac's best and probably the worst album from him, but I like it. It's in my opinion too quiet in comparison to Salad Days or 2. MacIt's not Mac's best and probably the worst album from him, but I like it. It's in my opinion too quiet in comparison to Salad Days or 2. Mac goes here in the direction of chill out / lo-fi music and not in Indie-Rock music in Salad Days or 2. Anyway, I like this album how it is and I like how Mac's music is evolving. My favorite tracks are "Finally Alone", "On the Square" & "All Of Your Yesterdays" (I like the hidden track though too). My least favorite track is by far "Here Comes The Cowboy". I think I don't need to say why it's bad. This song is nothing as a loop where I fall asleep after 30 seconds. This album is still a good piece of work from Mac. Full Review »
  2. May 16, 2019
    A release that seems less like the effortless Mac of 2, Salad Days and even This Old Dog, but more like the output of an artist who doesn'tA release that seems less like the effortless Mac of 2, Salad Days and even This Old Dog, but more like the output of an artist who doesn't want to make the effort.
    The first track, from which the album is based on, is a loop that goes on and doesn't have any sonic or lyrical impact. 'Nobody', though a much more stripped down Mac track, is really great. The palm muted guitars and lyrics create a genuine atmosphere that unfortunately doesn't permeate the rest of the album.
    'Finally Alone' and 'Little Dogs March' are, for me, perfectly skip-worthy tracks. The energy seems completely void, even when it seems like Mac is evolving and trying to break out towards something different, the payoff is always marginalised by how little it actually works.
    'Preoccupied' isn't a bad track, if anything it's one of the other highlights for me. There's shades of Mac playing his guitar akin to some of the most jam-worthy tracks on 2 and Salad Days, but quieter and more reserved. It's enjoyable, but still doesn't have the same hooks Mac is known for.
    'Choo Choo' bases itself on a fairly catchy lick, but we really do not need to put up with two-and-a-half-minutes of Mac limply emulating a steam train and it seems like an utterly wasted space.
    'K' is a peaceful song, not the worst on the album but again, we've had our fair share of Mac tracks that are about his other half, so it feels like the song itself is just retreading familiar themes (Still Together on '2', Let My Baby Stay on 'Salad Days').
    'Heart to Heart' brings back some of the synth-laden tracks of 'Another One', with a walkabout bass-line, where Mac gesticulates once again on nostalgic love lost. Not a bad track, with phased synths on the chorus that add a sonic edge on the acoustic tracks that come before them, but a bit safe.
    'Hey Cowgirl' is a laid back track that doesn't quite land the chord progression for me, but is again a safe entry.
    'On The Square' has potential, but again I personally don't like the chorus chords on the synth, it's far too grating in pitch.
    'All Of Our Yesterdays' is a track that sounds straight ripped from 'This Old Dog', which isn't a bad thing. It's probably one of the only tracks on the album, along with 'Nobody' and 'Preoccupied' that I'm happy to hear come on.
    'Skyless Moon' has Mac crooning in increasing pitches to varying degrees of success. Again, it's a shame that a track that sounds like the demo of a song ends up on the album when some more time could have helped formulate a more interesting sound.
    'Baby Bye Bye' incorporates a lot of the instrumentation Mac has developed over the course of his career. There's some piano chords and synths, acoustic stripped down segments, sliding guitars and his vocals that range from the mid-tempo 'Salad Days' to the delicate harmonies of 'This Old Dog', and it isn't a bad song. None of the songs are 'bad' (well, maybe Here Comes The Cowboy and Choo Choo), but the song almost tries to make up for the rest of the album's lack of character by transposing everything at once into a blender and hoping it comes out alright. It's a good closer, but a bit overwhelming with the slide guitar and back vocal 'woo!'s. As for the hidden track... I wouldn't bother sticking around for it.

    TL;DR; Mac doesn't evoke the same energy or effort on this album, for the vast majority anyway. Some good songs still remain, but they're buried in between careless tracks that would suit better as demos rather than a finished product. Some people may be on board with the 'new' direction, but it's not for me.
    Full Review »
  3. May 14, 2019
    The salad days are gone. This is Mac DeMarco transitioning into a yee-haw cowboy. Not a remarkable album, but still pleasant to listen.