Last Friday marked the release of Mac Miller’s second posthumous album, Balloonerism. After years of unofficial versions circulating online, his estate announced back in November that they felt it was time for an official release of the late rapper’s work. The album is poignant, haunting, and woefully existential.
Balloonerism begins by lulling you into a trance, as the first two tracks rely heavily on instrumentals to swoop you into Miller’s liminal space. SZA’s angelic vocals enter towards the end of ‘DJ’s Chord Organ’, only amplifying the dream-like state that Miller insists upon.
Suddenly, Miller snaps his fingers, jolting you awake as he states “Alright, let’s get started”, where we finally hear his vocals come into play. ‘Do You Have a Destination?” introduces us to the largely existential themes of the project, as Miller ponders life and death, in lines such as “Pray this life reciprocal, and I’ma come back an eagle”. This is particularly resonant in the light of his tragic passing in 2018, four years after this album was recorded.
His flow comes into full force on ‘Friendly Hallucinations’, as he raps over a jazz-infused beat. This track is arguably the lyrical pinnacle of the album, as Miller tells the story of a girl affected by drug-induced delusions. He describes her detachment from the world, as she falls “in love with fantasy”. He alludes to another world as he sings “There’s a paradise waiting on the other side of the dock” – the world that she is trying to inhabit. It is fair to infer that this woman serves as a mirror of Miller himself, who was open about his struggles with addiction.
While the topics of death and substance abuse are bleak, Miller does offer us some cosmic reassurance amidst his existential wonderings. In ‘Stoned’, he says that “Heaven feels just like home”, and in Shangri-La, he makes us promise to “smile at” his “funeral”, if he happened to “die young”. Although recorded years before his unfortunate demise, it seems as though he had made himself comfortable with the idea of his passing, which serves as some solace for his devoted fans.
On ‘Rick’s Piano’, Miller delivers what appears to be a subtle nod to one of his most iconic party tracks as he speaks its title, ‘Knock Knock’. While it remains unconfirmed whether this reference was intentional, it certainly offers listeners the chance to reflect on the distinction between the two, as we come to understand Miller’s exceptional musical range. His catalogue masterfully combines playful dancefloor classics and the introspective pieces that are rife in Balloonerism, highlighting his versatility as an artist. This ability allows him to connect with listeners on multiple levels – whether it be in celebration or contemplation.
Balloonerism wraps up with ‘Tomorrow Will Never Know’, a finale which encapsulates the harrowing sound present throughout the album. Miller utilises soft, dulled down vocals to deliver a stunning 12 minute outro, in which the words “Do they love just like we do?” are fused with an ethereal, moving soundspace.
The album is entirely focused on Miller’s musings, offering us an unflinching glimpse into his psyche. It is complex, and at times, as contradictory as the man himself. While the lyrics may not linger in your head, the emotions evoked by Balloonerism certainly will.
Words by Zahra Hanif
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