Pittsburgh rap legend Mac Miller’s seventh studio album, “Balloonerism,” was released by Warner Records on Jan. 17. Talk of Miller’s recent album began in November of last year at Tyler, The Creator’s music festival, “Camp Flog Gnaw.” This is the second posthumous album from Miller’s estate — the first being “Circles,” which was released in 2020.
Miller sadly passed away from an accidental overdose in 2018 at the age of 26. Miller grew up in Point Breeze and is buried there. This loss hit fans hard, especially those with a connection to Pittsburgh. My consumption of Miller’s music has increased since moving to the city for school. As a place so deeply rooted in community, it is no shock that the renowned artist and Pittsburgh native is held with such high regard. It is made clear through his discography that Miller was proud to be from Pittsburgh. Songs like “Party on Fifth Ave.” and “Blue Slide Park” highlight the rapper’s connection to the city.
Miller was undeniably a talented singer, songwriter and producer, making his music extremely easy to listen to. There is an intensity that comes with listening to the work of an artist who has passed away. Knowing Miller is gone made listening to the new album difficult, but ultimately led me to appreciate it more. Many of his lyrics acquire new meaning in the context of the rapper’s life. I thoroughly enjoyed “Balloonerism,” and there is a song for everyone on the album, whether previous fans of Miller’s work or not. While the entire album sounds great, there were a few songs that stood out to me while listening.
The second song on the album, “DJ’s Chord Organ,” features SZA. The song discusses the ruthless life that can accompany drug addiction — a disturbing host of lyrics that relate closely to Miller’s cause of death. This commonality contributed to the layered storytelling of the track. SZA sings the majority of this track, with Miller’s voice only showcased in the introduction and ad-libs. SZA’s voice is always beautiful, but it is especially so on “DJ’s Chord Organ.” This song is better classified as R&B than rap or hip-hop. This style of music better reflects SZA’s musicality and beautifully merges both musician’s styles to create something outstanding.
At times, Miller’s music drifts into jazz and psychedelic sounds. “Balloonerism” serves as a clear example of Miller’s early experimentalism. The last song on the album, “Tomorrow Will Never Know,” is a nearly 12-minute track, full of unusual sounds and concepts. The second half of the song features what sounds like children playing and yelling, overlayed with a simple baseline and drum. As the song ends, the drums fade, the children follow suit, the sound of a phone ringing sounds and then there is silence. The beginning of the song is just as eerie, only in a different way. Miller sings about confusion and uncertainty. Featuring lyrics like, “You wonder when God will just listen and give you a break,” the album closely represents Miller’s struggle with depression, which he was open about throughout his lifetime.
The range of emotions displayed throughout the album varies. My favorite song from this release, “5 Dollar Pony Rides,” is the fourth on the album. This jazzy track is impossible to dislike, with a beat that instantly makes me want to dance. Conversely, the lyrics tell a story of desperation and an attempt to fix a broken relationship. Despite the dispiriting lyrics, “5 Dollar Pony Rides” is a mood-booster of a song. I would feel confident playing this song while “on aux” in a group, which, for me, is a strong indicator of a great song. The themes in this song remind me of the quintessential women-adoring signature of lots of Miller’s music. Whether he is pining, flattering or devoting, Miller is known for speaking about love interests in a beautifully complex manner.
Miller features three artists on “Balloonerism” — SZA, Dylan Reynolds, and Delusional Thomas. Reynolds was a longtime friend and collaborator of Miller’s. “Delusional Thomas” is an alter ego used by Mac Miller. Thomas has a noticeably high-pitched tone, which is simply an altered version of Miller’s own voice. “Transformations,” the eleventh track, featuring Thomas, seems to be the most traditional rap song on the album.
Whether it’s the trill in “Manakins,” or the jazzy guitar in “Stoned,” “Balloonerism” is a showcase of Miller’s innovative musical authorship. Though it was recorded over a decade ago, Miller’s newest album sounds fresh and new — a testament to how ahead of his time Miller truly was.
Various lyrics throughout the album’s fourteen tracks send messages to listeners that almost seem too poignant to be coincidental. On the song “Stoned,” Miller sings, “Put on a record, can I play you one more song?” Miller continues later in the song, “I swear to God, Heaven feels just like home.” Asking to play his listeners “one more song,” Miller unknowingly says goodbye.