Mac Miller’s seventh studio album, “Balloonerism,” was released on Jan. 17. This comes as the second posthumous release since his untimely death in September 2018. As a longtime Mac Miller fan, I have been hoping for (but not expecting) any further releases from his estate — but just two days before what would’ve been Miller’s 33rd birthday, fans received this time capsule, gifting us the opportunity to listen to a new Mac Miller album for the first time in five years.
“Given that unofficial versions of the album have circulated online for years and that releasing ‘Balloonerism’ was something Malcom frequently expressed being important to him, we felt it most appropriate to present an official version of the project to the world,” Miller’s estate said in an official statement.
The cover of “Balloonerism” features an abstract, distorted view of Mac’s face, giving fans a glimpse into the mindset that he was in during the creation of this album. It’s important to note that this project was recorded in 2013 and 2014 — sonically, it finds itself alongside his more rap-heavy albums, “GO:OD AM” and “Faces.”
However, despite being known as a rap artist, Miller strays away from overproduced hip-hop beats. Instead, he utilizes many instruments for the creation of this record, including a chord organ, tambourines, piano and an even amount of singing and rapping. Working with longtime friend and collaborator Thundercat, this project is categorized as Neo-soul and jazz. But alongside this experimental sound, listeners are immediately thrown into Miller’s notoriously haunting lyrics, which come off especially emotional after his tragic death.
In tracks such as “Mrs. Deborah Downer,” Mac talks about losing friends due to his uncontrollable drug addiction. “Even pills turn to powder/Only at the lows do I chase that high,” he sings. Recorded at a difficult time in Miller’s life, much of the subject matter in his lyricism relates to life, death, fame, relationships and his struggle with sobriety.
Another stand out track for listeners is “Friendly Hallucinations,” which features SZA, notably the only collaboration on the album, with the exception of Mac’s alter ego, Delusional Thomas. This track builds up in momentum, but SZA’s airy vocals still make you feel as if you’re in a trance state — or rather, floating in the sky, like a balloon.
It’s worth mentioning that Miller gained a larger following after his death — there are listeners who may prefer his most recent sound, as featured in his latest projects “Swimming” and “Circles.” I would argue that “Balloonerism” is the perfect balance of “old-school Mac” and what newer fans may come to expect. “5 Dollar Pony Rides” was released as the single, and while it isn’t rap-heavy, it still offers the chill, laid-back vibe that his newer fans have grown accustomed to.
The first and last track are especially important in this project. “Tambourine Dream,” the opening track, is energetic and attention grabbing from the start. It’s also the shortest — an experience lasting only 33 seconds.
The closing track, “Tomorrow Will Never Know,” is the longest, nearing 12 minutes. Personally, I find this to be one of his most powerful songs, lyrically. “You say you can’t take it no more/The pressure is building like buildings you jumped from/Wishing that wishing could lift this conundrum/The streets that you walk on are shallow/But do you feel as big as your shadow,” Miller sings softly.
It’s a drawn out, dream-like, ethereal experience, ending the album with a ringing phone that remains unanswered, accompanied by playground chatter and chanting. Fans are noting this as especially nostalgic and powerful, as Miller gives us a prompt hello and an unwanted goodbye into the world of “Balloonerism.”
Though this project remained unfinished at the time of Miller’s death, his estate has handled this posthumous release very tastefully. The track-list and production of the project helps it flow, and it fits seamlessly into his existing discography. It remains unclear whether we can expect more releases in the future, but regardless, Mac Miller has proven himself as a timeless, genre-bending artist — reminding us of the true talent that we lost.
