The late music artist Mac Miller’s second posthumous album Balloonerism was released by his estate on Jan. 17. Despite years of fan pressure to do this, however, not much has been said since its release. But why? Do people just not know about it, or is the non-reaction more of an apathetic response to the content of the album? Let’s dig in.
Starting off with “Tambourine Dream,” a roughly 30-second instrumental tambourine beat, Miller lets listeners know one thing off the bat: this will be an unusual album, so buckle up and get ready for the ride. The same notion is quickly reiterated in the following “DJ’s Chord Organ,” whose first two minutes are occupied by a curiously spiritual non-lyrical intro, easing into the featured SZA’s notably younger, though none less melodic vocals.
The rest of the LP’s tracks continue, ranging from very low-key and unexciting to sort of spooky and a little confusing. Listening, you get a pulsating sensation that this, this is definitely Miller: his characteristic then-22-year-old voice and clear, crisp pronunciation, his varied rhythms, his clear, rhythmically-aligned words.
The production is not, in my opinion, Miller’s best work, though intriguing moments do stand out. ”5 Dollar Pony Rides” stands out, its melody, vocals, and rhyming blending together tremendously. “Rick’s Piano” throws questions your way, like tiny paper airplanes, so many of these little white creatures, each begging for a tiny moment of reflection. “Funny Papers” is just quite relaxing to listen to, its piano melody tucked sweetly inside its outer lyrical surface.
Yet, apart from moments like these, the album doesn’t really stand out. It’s refreshing to hear Miller’s voice once more, but overall, most of the songs are not all that enjoyable, and only some have lyrics that seem to speak to an elevated topic.
Take “Shangri-La,” an unusual, dark, and somewhat creepy account of how terrible life is and how it is impossible to change this. Accompanied by its uncanny instrumental interruption midway through, the track is a clear example of the album’s more confusing side.
Or turn on “Transformations,” a song filled with strange-sounding stories, a strange-sounding melody, and most of all, a strange-sounding, altered speaker’s voice. Were these features used for a specific reason, my opinion on the piece might’ve been different. But as far as I can see, they weren’t; “Transformations” sounds like just the product of some in-studio tinkering around with machinery, a soundboard, and possibly a little something extra on the side.
Perhaps in this release, Miller was trying to show that not all music has to be perfect; perhaps, it never even was supposed to be released (in fact, Balloonerism was originally scrapped by Miller himself in favor of the hit GO:OD AM). Either way, the final creation has not lived up to expectations for many, and I am unfortunately one of them. Nonetheless, and crucially, the album shouldn’t by any means taint the artist’s name or his legacy. It was quite a legacy to create, and nobody and nothing can change that.