American rapper Mac Miller recently released “Balloonerism”, his fifth studio album, along with “Circles” (2020), his second posthumous album. The album is 14 songs long and 58:43 minutes.
After an incredibly unique intro in “Tambourine Dreams”, a tambourine solo that goes on for 30 seconds, “DJ’s Chord Organ” transcends the listener into the world of Mac Miller. A strange, eerie, unconventional realm; thus, the name “Balloonerism”.
In “Do You Have a Destination?”, the third song on the project, we learn Miller’s world is not a positive one. Miller deals with the challenges of fame, the music industry, drugs and even self-identity, leaving both the listener and Miller wondering what his destination will be. Keep in mind this song, and nearly all the songs on the album, were recorded in 2014, four years before Miller’s death from an accidental drug overdose. Produced by Miller and Taylor Graves, the instrumental follows the eerie, mysterious patterns from the previous song.
Miller introduces a new problem of his in “5 Dollar Pony Rides”. On the surface, the song sounds fun and bouncy (including a healthy amount of tambourine mixed in). Miller, trapped in a dysfunctional, emotionally challenging relationship, longs for a second chance, or how the way things were. But beneath its layers, a melancholy, touching song, fully displaying Miller’s feelings through the headphones.
Miller continues to explore the problems of drug usage and its brief euphoria, as well as his relationship with the women in his life over the next few tracks.
Finally, in “Funny Papers”, the first real positivity in Miller’s bleak world materializes. Miller seems to realize that the world around him may be filled with darkness, but these problems, though complicated, are only temporary. Miller is hopeful he can still find positivity in this world. Miller’s words are backed by a self-produced upbeat piano instrumental. Rough around the edges, but still a fun listen.
This positivity, however, leads Miller to reminisce over a problem-free childhood. Through “Exelcior”, Miller tells a story of children on a playground, giving characteristics of some of the kids and what they’re doing.
“Transformations” is particularly interesting. Both verses are sung by “Delusional Thomas”, who isn’t actually a real artist, but rather one of Miller’s monikers. Delusional Thomas serves as Miller’s ‘evil’ alter ego, who Miller has transformed into, thus the song name “Transformations”. As Delusional Thomas, Miller goes on a tangent, citing his own drinking and drug problems, his psychopathic thoughts when in this alter ego, his disrespect for other rappers and that he “doesn’t deal with b*****s”. The song is relatively short, around two and a half minutes, and contains just two short verses, but it offers both Miller’s idea and perspective of himself and also lets the audience judge Miller’s character and morality as well.
Nearing the end of the album, “Rick’s Piano” gives both the audience and Miller hope for the future. “Rick’s Piano” and the entirety of “Balloonerism”, were recorded as Miller’s depression and substance abuse worsened, as seen in the project’s lyrics. In the summer of 2014, Miller would crash at the home of Rick Rubin, founder of Def Jam and a legendary music producer. Here, Miller would become clean, and sit at Rubin’s keyboard and produce his own music. “Rick’s Piano” is Miller’s hope that the best is yet to come.
“Balloonerism” concludes with “Tomorrow Will Never Know”, as Miller explores the concept of death, life after death and if Miller will truly be satisfied with himself at the end of his life.
Considering the album’s context, “Balloonerism” is incredibly tragic. The seemingly endless recurring motif of drugs and substances, knowing Miller’s fate, makes nearly every song incredibly stinging and depressing. Miller showcases a lot of humorous and clever writing, a unique and fascinatingly odd production style and emotional hooks and choruses. It’s a shame that we probably never got to see the best of Mac Miller, that the best never did come and that Miller even pondered his fate four years prior to his death.
As a posthumous album, part of the songs have a dusty, unfinished, almost lo-fi sound, especially surrounding the production of the music. However, the songwriting, lyricism and Miller’s ability to connect with the listener largely fill in the gaps. The album definitely has its forgettable moments, but it truly is a very interesting listen both on the surface and when picked apart to its depths.
The semi-psychedelic sound might not be everyone’s favorite, but it’s definitely worth a listen especially if you want to try something new. Overall, I would rate this album a 7.5/10.
