Sometimes music can be so ethereal that it feels like air—music that elicits a new emotional response every time you listen to it. Music like that never fades, no matter how much time passes. That’s exactly what Mac Miller’s music is: a difficult-to-describe world where every type of genre and vibe crashes together in beautiful harmony—one rooted in hip hop, yet seamlessly blending jazz, neo soul, alternative pop, and psychedelic sounds. Mac Miller used this exquisite palette to speak about life, expressing the emotions that so many people find difficult to put into words. Though the rapper left us on September 7, 2018, his work continues to float between layers of emotions.
By the time he released his mixtape K.I.D.S. in 2010 and his debut album, Blue Slide Park, in 2011, Miller’s extraordinary talent was already clear. He immediately shot to stardom but didn’t seem content to stay in place. He sought to make a deeper kind of music, embarking on a journey for new sounds—one of constant evolution and experimentation. On 2013’s Watching Movies with the Sound Off, he explored a more mature sound and even deeper introspection, while GO:OD AM, his 2015 album that marked his first release on a major label, elevated his output to even higher production levels and explored an even more diverse array of styles. It was with The Divine Feminine (2016) that Miller began incorporating neo soul and jazz elements in earnest—a clear turning point in his artistry. Songs like “Dang!,” featuring Anderson .Paak, offered a glimpse of the new direction he was taking.
On Swimming, released in 2018, such explorations only broadened and took deeper root. The album featured a soft jazzy feel and dreamy melodies, portraying his inner conflicts and healing process in a way that many listeners found moving. The track “Self Care” left a particularly lasting impression. Here, Miller poetically captured the paradox of a personal push towards self-care while simultaneously withdrawing from the world and himself. He understood that salvation ultimately doesn’t come from the outside but from self-acceptance. Yet, as the beat shifts and the song plunges into a hazy fog, Miller chooses oblivion, seeking to shield himself from depression, substance abuse, and media scrutiny. Ironically, this marked a rare moment of optimism in his career. But less than two months after the album’s release, Miller passed away at the young age of 26.
The promising young rap star’s untimely death sent shockwaves through the music world. Fans worldwide mourned his passing and celebrated him through his music. In 2020, his unfinished album Circles was released posthumously. Conceived as a companion piece to Swimming, the album seamlessly blended hip hop, funk, lo-fi, indie folk, emo rap, soul, and more. With this, Miller looked at his imperfections through a lens of acceptance, soothing his wounds and eventually finding a way back. The fact that Miller was no longer here made the album that much more poignant.
And then, just earlier this year on January 17, came his second posthumous album, Balloonerism. The release comes five years after Circles and just two days shy of what would have been Miller’s 33rd birthday. Balloonerism was recorded in 2014, during the peak of Miller’s experimental era seen in the mixtape Faces, but unlike that earlier album, Balloonerism never saw an official release. A bootleg version had been circling online for years, so Miller’s family stepped in. They explained how the album was an important project for Miller, showcasing his musical talent and fearless artistry. They also noted that the unofficial version circulating around influenced their decision to put out an official one in part.
The year 2014 was a unique time for Miller in both his personal life and his musical career. He was in a dark, fragile place psychologically, while his music was immersed in experimental sound. Faces was the result of Miller channeling these shadowy emotions into music, and Balloonerism naturally takes on similar tones. Both abstractly explore the boundary between substance abuse and art, life and death, and dreams and disillusionment. Even the approach is full of experimentation, breaking the mold of mainstream music. But while there’s a certain amount of chaotic energy to Faces, Balloonerism feels more subdued and contemplative. And whereas Faces ultimately circles back to rap/hip hop despite its eclectic variety of genres, the songs off Balloonerism defy categorization altogether. It could just as easily be described as an avant-garde pop or jazz album that just happens to incorporate hip hop. Though Miller still raps on a few tracks, his delivery feels less like he’s doing it because it’s expected of hip hop and more like a natural extension of his approach to his vocals.
Balloonerism is filled with music that’s dreamlike without feeling disconnected from reality. The tracks float around like balloons tethered to the sky, pulling us into Mac Miller’s intricate inner world. The album’s lead single, “5 Dollar Pony Rides,” is a perfect example. In the song, Miller consoles an emotionally unstable partner by reminiscing about better times while delving into themes of existential loneliness and the difficulty of forming a genuine connection. The track organically weaves together elements of neo soul, jazz, and psychedelic hip hop, all genres Miller cherished while alive. The track is led by an elegant bassline played by Thundercat, who also co-produced, while Miller’s vocals hang all around like a thick haze.
Some tracks lean less into Miller’s vocals or omit them altogether in favor of showcasing the uniquely imaginative soundscapes of his producer alter ego, Larry Fisherman. Take “DJ’s Chord Organ,” a track whose distinctive titular organ sticks with you long after hearing it—the same type once played by the late alternative singer-songwriter Daniel Johnston. Miller reportedly acquired the instrument while working as a producer on the biographical film Hi, How Are You Daniel Johnston? Miller uses the organ to great effect to create hypnotic music that feels like meandering through a melancholy dream. SZA, a close friend of Miller’s, contributes vocals to the track, painting the song in tinges of a wistful sunset. Given how often she’s expressed gratitude for the way Miller recognized her talent early on, the collaboration is particularly touching.
Balloonerism bridges the past and the future as it goes along. The songs feel as if the Mac Miller of 2014 is speaking directly to us today, leaving preserved traces of his experimentation with sound along the way. Miller loved art that sought to reveal the process behind it rather than achieve perfection. The songs on his latest posthumous album invite us into that part of his world—still sad, but warm, dreamlike, and deeply authentic. He masterfully amalgamated pleasure with anxiety and success with emptiness in an endless tug-of-war between self-deprecating humor and philosophical musings. Because he sang so openly about the unavoidability of human frailty, his music remains profoundly genuine. And that’s why Miller’s legacy will never fade. While writing this review, I found myself repeatedly listening to his extraordinary songs and his voice they carry, overwhelmed by longing and emotion. I sincerely hope he has found peace in a place above.
R.I.P. Mac Miller aka Larry Fisherman (January 19, 1992–September 7, 2018)