Mac Miller’s “Balloonerism” is his seventh studio album and second posthumous release following his death in 2018. The album features collaborations with Thundercat, SZA and Ashley All Day. The album was originally written in 2014 but remained unreleased in order for Miller to release other albums, specifically “GO:OD AM” and subsequent albums. However, many fans have been listening to leaked versions of the tracks since its production, ultimately leading the official release of the album to be just days before what would have been Miller’s 33rd birthday. This release date serves as a testament to the late rapper’s influence and enduring place in the hearts and minds of fans.
It is experimental in exactly the right way, opening with the aptly named “Tambourine Dream,” a brief 30-second track of predominantly tambourine. “Balloonerism” showcases Miller’s trademark style: juxtaposing upbeat melodies with hard-hitting melancholy lyrics. While the instrumentals wouldn’t sound out of place at a frat party, the lyrics remind you of Miller’s talent for weaving together metaphors. This skill secures his enduring place in hip-hop.
“Mrs. Deborah Downer,” the sixth track, is my personal favorite. Set to an upbeat melody, the song contrasts its lively tone with poignant and introspective lyrics like, “If pills can turn to powder / Then this world can turn to ash.” In the track, Miller candidly grapples with his struggles with substance abuse, creating a bittersweet reflection, especially given his tragic passing due to related issues. He longs for the fleeting highs of drugs, battles through the lows and acknowledges the need to stay clean for the sake of his loved ones — “Clean myself up, now would you be my friend?” — but ultimately finds himself trapped in the cycle of addiction once again.
The tenth track on the album, “Excelsior,” reflects on the relentless passage of time. Miller raps about children playing in a jungle gym, mourning their eventual loss of childhood wonder and imagination to ultimately critique the overly serious nature of adult life. Throughout the song, the sound of children laughing in the background underscores this message, urging listeners to mourn their lost youth.
The album serves as a pivotal bridge between the carefree, “frat-boy” rap style that characterized Miller’s early career and the introspective, jazz-influenced, almost singer-songwriter approach that defined his later work. “Balloonerism” is a key link to understanding the evolution that ultimately resulted in “GO:OD AM” and Miller’s later work, as it blends a youthful spirit with deeper, more reflective themes that would later dominate his music and highlight his growth as a rapper and musician. While I liked the album as a whole, it falls victim to one of the challenges of a 14-track album: With so many songs, there are bound to be some noticeable duds, leading the project to not feel entirely cohesive. There are some standouts on “Balloonerism,” but not every track hits as hard as its more poignant and musically interesting peaks. Perhaps if the tracklist had been shortened, those stronger, more impactful songs could have resonated all the more deeply, generating a better, long-lasting impact. Despite this shortfall, the album is a must-listen, especially for those who want to deep dive into Mac Miller’s evolving sound and emotional depth.
A long-awaited release, “Balloonerism” serves as a poignant reminder of Mac Miller’s talent, creativity and emotional vulnerability. It cements his legacy as an artist who pushed the boundaries within hip-hop and across genres. This album is not just a collection of songs but a tribute to Miller’s enduring impact and his ability to resonate with his fans even years after his passing. For both longtime listeners and those just discovering him, “Balloonerism” is a testament to Miller’s timeless artistry and the undeniable mark he left on the world of music.
