Not many artists can release a posthumous album 7 years after their death and still receive widespread positive acclaim.
Balloonerism, Mac Miller’s seventh studio album and second original album released after his unfortunate death in late 2018 was recorded in 2014 and recently released on January 17th. That day would have been his 33rd birthday. Both The Guardian and The Independent gave the album 4 stars, and Metacritic gave it a rating of 75 out of 100.
The 14-track, 59-minute, jazzy hip-hop album is almost entirely untouched from Miller’s work back in 2014, leaving a raw and authentic product that does a great job both of keeping his unique art alive and tying some unfinished knots in his career.
Tambourine Dream
This 30-second percussion-exclusive song serves as the perfect introduction to the album. It feels like the beginning of an uncompleted song, which summarizes both Miller’s life and this album. This song doesn’t get a rating because it’s more of an intro.
DJ’s Chord Orchestra (feat. SZA) (8/10)
The name of this song is a reference to the late Daniel Johnson, whose chord organ Miller uses for the song. SZA’s feature is only one of two in the album, and she delivers with her vocals and provides the only lyrics in the song, talking about being lost in a continuous loop which relates to the struggles Miller dealt with a lot of his life. This is my second favorite song from the album and is definitely worth an add to your playlist.
Do You Have a Destination? (6/10)
Miller showcases his lyrical personality throughout this song, as the first song with a real set of lyrics. His relaxed flow contrasts the deep questions he asks himself as he’s still lost in his life. His eerie lyric, “I gave my life to this, already killed myself,” is a reminder of Miller’s life cut short, and it feels like he’s rapping from the present reminiscing on his life.
5 Dollar Pony Rides (9/10)
My personal favorite on the album and the only single released from the album before it dropped, Miller’s jazzy production shines through, matched with more upbeat lyrics compared to the rest of the album. A groovy bassline seams together the jazz-like keys and Miller’s light rapping above it all. He talks about wanting to give a girl what she wants and needs, and how he misses the time they spent together.
Friendly Hallucinations (5/10)
More funky basslines in this one, which Miller admits in his lyric, “I’m a slave for the bassline,” which continues through the rest of the album. The lyrics question the reality of many things, specifically love and allude to Miller’s drug use throughout his life. The beat is lighthearted and repetitive but is worth a listen.
Mrs. Deborah Downer (4.5/10)
A much slower and deep song, Miller creates an ambiance with a slow bass and soft percussion that draw the focus to his lyrics about the nuances of life and the fragile nature it takes. I can’t say it’s one of the better songs, but the lyrics give it some value.
Stoned (7/10)
The guitar in the beginning caught my attention, but the drum beat kept me listening. Miller’s vocals on this song are one of the better ones on this album, as he discusses the lonely life of a woman who he wants to know. The lyric, “Let’s get stoned,” is Miller’s way of trying to invite her into his life.
Shangri-La (6/10)
Miller uses soft chords to really make his laid-back flow stand out, and another solid background drum beat compliments his storytelling lyrics. The name is believed to come from Rick Rubins’s Shangri-La studio in Malibu, adding to the overall vibe of the song.
Funny Papers (8/10)
I really like the keys on this one, a mellow track with rhymes for days. This feels like one of the more completed songs from the album and reminds me of some of his more recent work from before his passing. Miller’s lyrics are again telling a story of the many things that go on every day in life from every angle.
Excelsior (7/10)
A more minimalist beat on this one, focusing on the simplicities of childhood with his lyrics before switching to a more outgoing beat. I like Miller’s unorthodox use of sound effects in this, adding to the whole experimental album idea.
Transformations (feat. Delusional Thomas) (3/10)
I can’t say this one executed the experimental idea as well as Excelsior. You have to give credit to Miller for going out on a limb with this one, but some odd lyrics and voice filters with a beat that doesn’t appeal to the ear make this a tough rating for me.
Manakins (5/10)
This song feels much better following Transformations, with an almost hypnotic beat that kept me listening. The lyrics get a little repetitive, but the Dylan Reynolds feature is a nice touch.
Rick’s Piano (7/10)
More good keys on this one, and Miller’s conversation at the beginning is a highlight. I like the whole vibe of this song, and it feels really complete compared to most of the album.
Tomorrow Will Never Know (7/10)
A nearly 12-minute song to close the album, it has a little bit of a creepy touch to it. There’s not much of a beat, but more of pulsating notes along with the quiet laughter of kids. The lyrics match the beat, reflecting on the intricacies of life and death. Although it’s a long listen, I do like this one for the instrumentals and the deeper meanings. The phone ringing at the end is a chilling reminder of his death, but if this is the last song we get from Mac Miller, it’s a perfect way to end his career.
Although this is just a glimpse into what Mac Miller could have been, being able to see his work from a time when he was peaking is amazing by itself. The unfinished, experimental theme of this album makes it what it is and adds to Miller’s already prominent legacy.
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