With each passing year, the late rapper, singer and producer Mac Miller continues to be one of the most celebrated and beloved artists of his generation.
While we tragically lost Miller nearly seven years ago now, his presence can still be felt among his collaborators as well as his passionate, ever-expanding fanbase.
Miller’s estate has also shown his art and legacy the utmost respect over the years, something I wish I could say about more artists who’ve passed. His first posthumous album was already nearly complete before his death. With the help of friends, family and co-producer Jon Brion, Circles was released in 2020 to widespread acclaim and tenderness for just how open, vulnerable and creative Miller seemed until the end.
We’ve gotten a few other reissues, bonus tracks and anniversary editions of some of Miller’s past work, yet not a full album of new material until this year. Balloonerism was released officially on January 17, just two days before what would’ve been Miller’s 33rd birthday.
While this scraped album has been circling around online for years now, to have a fully-realized version with enhanced production has been nothing but a welcome addition and idea to Miller’s iconic and influential catalog.
The material on Balloonerism was already close to finished around 10 years ago when it was first being recorded during the same sessions that would give us some of Miller’s most beloved records like Faces, GO:OD AM and Watching Movies with the Sound Off.
While this new record can take a lot of inspiration from his previous work, there’s also a more hazy and experimental edge to a lot of these songs, which may have caused this record to be shelved when it was.
Around 2014 was truly when Miller was shooting for mainstream success the most, so to have an album full of existential lyricism and despondent production might not have been super popular at the time.
Take the first proper track “DJ’s Chord Organ” for example, this sprawling 5-minute cut doesn’t necessarily have “hit” written on it, but that doesn’t mean it isn’t absolutely stunning. This track is full of gorgeous harmonies, a slow-burning chord progression and a stand-out verse from SZA who was still relatively unknown at the time.
The next two songs “Do You Have a Destination?” and “5 Dollar Pony Rides” are more of that classic Mac sound with impressive percussion and infectious vocals. Reminiscent of where Miller would take his sound on projects like The Divine Feminine and Swimming, these tracks showcase his clever songwriting and themes of love, mental health and nostalgia quite well.
The standout track of the entire record though has to be “Funny Papers.” It baffles me how this was ever left on the cutting room floor, as it could easily go toe-to-toe with some of Miller’s best and most beloved songs. Along with a blissful piano melody, Miller discusses life, death and everything in between in such a detailed and personal way I don’t think I’ve heard since a track like “A Day in the Life” by the Beatles. Truly one of a kind.
Other tracks like “Stoned,” “Friendly Hallucinations” and “Manakins” further exemplify the album’s themes while also having some of the more adventurous production elements and melodic choices. Whether it be an invigorating bassline, guitar riff or catchy hook, it all reminds you how unstoppable Miller truly was at his craft.
The final two songs on this album may be the most emotive and difficult to digest in a sense. “Rick’s Piano” delves even deeper into Miller’s psyche, chronicling his never-ending thoughts on death, legacy and public perception. Another gorgeously produced track that hits me harder every time I listen.
The closing opus “Tomorrow Will Never Know” is a near 12-minute meditation reiterating the album’s purpose and questions it kept wanting answered. While nearly half the track is purely ambience and instrumental, it leaves the listener with these lingering life questions and wondering if Miller ever got those answers himself. A chilling yet peaceful period for this stunning album that I’m glad finally saw the light of day.
If this album reminded me of anything, it’s that Mac Miller was easily one of the most driven, creative and genuine artists of the century thus far. I’m glad we have projects like this to look back on and remember his art and legacy for what it was and even what could’ve been. You’ll forever be missed, Mac.
My rating: 8.8/10
