Balloonerism

A review by Desirae Mack

Beloved “party” Rap/Hip-Hop artist Mac Miller–Malcolm James McCormick–was a Pittsburgh songwriter, rapper, and producer. He primarily worked in L.A. under Rostrum Records until signing with Warner Bros. Records in 2015. Over his career, he produced popular albums such as K.I.D.S [2010, “The Spins”]; I Love Life, Thank You [2011, “Love Lost”]; mixtape Faces [2014]; and GO:OD AM [2015, “Weekend”]. His last album release was The Divine Feminine [2016], in collaboration with former partner, Ariana Grande. After passing away in September of 2018, Miller’s team continued releasing his music including Swimming [2018, “Small Worlds”] and Circles [2020, “Blue World” & “Good News”]. 

On January 17th, the team released his second posthumous album, Balloonerism [2025]: an eclectic mix of pre-recorded songs from 2014, around the creation of Faces. With 14 tracks and a total listening time of 58 minutes and 42 seconds, Balloonerism is an experimental album that dips its toes into jazz, psychedelic, Neo soul, and more. The lyrics are significantly focused on substance use, life and death, and societal commentary. Supporting artists include SZA and Dylan Reynolds. As a previously avid listener and now a lingering fan of Miller, this album was unlike his other Hip-Hop music that I recall gravitating towards. However, that doesn’t mean I didn’t enjoy it. I’ve been especially enjoying it through my loud, noise cancelling headphones, amidst a few tears for the fallen genius. Every calculated beat, purposeful background track, intentional sound effect, and piece of Miller’s incredible lyricism still shines beyond his grave.

Miller’s album opens and closes very similarly between Tambourine Dream [0:33] and Tomorrow Will Never Know [11:53]. About 30 seconds of tambourine kick off the album and nearly 12 minutes of a similar instrumental mix close us out. Ironically, I was left wanting more from the first and much less from the last. At least the closing track features some quality lyrics. 

• “The streets that you walk on are shallow/But do you feel as big as your shadow?” (Miller, Tomorrow Will Never Know).

Tracks with guest artists include DJ’s Chord Organ ft SZA [5:15] and Manakins ft Dylan Reynolds [3:09]. Familiar with SZA’s music, I loved her voice in harmony with Miller’s. The two prerecorded the material back in 2014, performing some of their collaborations on stage around the time. My only hesitations are the odd intro line and SZA only having one verse on the track. At least she also appears a bit in (the heavily psychedelic-sounding) Friendly Hallucinations [4:45]. Dylan Reynolds is an upcoming singer songwriter who lost a close friend when Miller overdosed. He was given an opportunity to appear on the studio’s second posthumous album. Their harmonies work quite well together in the serene chorus, aided powerfully by Mac’s societal commentary. In particular, I appreciated the dissection of the education system and substance use.

• “Education system, but I feel we only learn from change/Every time I think about it, shit just starts to hurt my brain” (Miller, Manakins).
• “We’ve all been down that road before, poured alcohol on open wounds” (Miller, Manakins).

Two of my favorite songs from the album ended up being Stoned [4:03] and Rick’s Piano [5:08], both having very strong, catchy choruses. At number 7, Stoned definitely exemplifies the type of musical experimentation that Mac and the team were going for. It is an intriguing, unique blend of soul, psychedelic, and jazz, while still Hip-Hop reminiscent. It’s chill yet somehow upbeat with very prevalent images and metaphors around marijuana. Number 13, Rick’s Piano, is a bit of a slower track than I tend to like. Nonetheless, I really appreciate the composition of the piece as a whole with an effective variety of instrumentals, pitch, tempo, and psychedelic vibes.

• “She breaks down the pain. She rolls up the weed” (Miller, Stoned).
• “Please don’t nod your hеad, and please don’t tell mе I made it/’Cause people start to get worse once they think they the greatest” (Miller, Rick’s Piano).

An especially notable track on Balloonerism is Transformations ft Delusional Thomas [3:04]. If you’re asking yourself right now, ‘who is Delusional Thomas?’ you’re not alone. After trying to find the guest artist in this track, I learned that ‘Delusional Thomas’ was actually a 2013 mixtape and an alter ego throughout Miller’s career. He wanted to branch out from his typical sound and create a character with unique traits like higher pitched rapping. I love the balance and variety of switching between Miller’s typical (and quite exaggerated) lower vs higher pitches. This also seems to be very psychedelic influenced, especially the trippy background sounds, with random, unique, and witty lyricism. Delusional Thomas makes a few appearances on the album. 

• “Alright, psychopathic thinker, hyperactive drinker” (Miller, Transformations).
• “Rappers just some bumblebees, pullin’ out your stingers” (Miller, Transformations).
• “Your bitch like a bad fart, all she do is linger” (Miller, Transformations).

As I’ve mentioned, and as you’ve probably noticed yourself, this album makes a lot of references towards substance use — Mary Jane, psychedelics, alcohol, prescription pills, hard drugs, etc. I can imagine this was a very prevalent issue in Miller’s life growing up as he eventually passed from an accidental overdose himself. In its tragic beauty, I love how this album captures the mentality and distorted perspectives of many drug users. 

• “But why is ‘heroism’ so close to ‘heroin’?” (Miller, Manakins).
• “There’s help inside that medicine cabinet./Came in for the answers, but she left with a habit” (Miller, Friendly Hallucinations).
• “They assume she’s confused with delusions she’s creatin’/In the waitin’ room for psychiatric evaluation/She doesn’t have the patience to be treated like a patient/It’ll be okay if she just swallow this pill” (Miller, Friendly Hallucinations).
• “If pills can turn to powder/Then this world could turn to ash” (Miller, Mrs. Deborah Downer).
• “Baby, there’s a little vacation in the dresser/Take one for depression, and two for your temper” (Miller, Funny Papers).
• “Tryna find Heaven, I get high but never come close” (Miller, Do You Have a Destination?)

Another incredibly prevalent theme throughout Balloonerism is social commentary on things like society, politics, money, education, relationships, technology, superficiality, and more. Miller stresses how much of a rush we’re all in to grow up but that our screens are poisoning our development. Most jobs can’t even provide livable wages for their employees. He hints at wondering what it would feel like to let go of it all and leave this corrupted world behind. 

• “We still wonder why we’ll never learn to love/It’s because all the air is filled with gun smoke/A middle finger to the cyber gods…In the mud, fuck your brainwash, I’m signin’ off…Can’t kill a god with an upload” (Miller, Do You Have a Destination?).
• “Your daddy shoulda got you that pony” (Miller, 5 Dollar Pony Rides).
  • ^Insinuating she never got what she wanted or needed, causing future problems.
• “Just how super is a supermodel?” (Miller, Shanghai-la). 
• “If I could just pay my rent by Tuesday, I bet I’d be rich by April Fools’ day” (Miller, Funny Papers). 
• “All of this before the brainwash starts/Before they get polluted, start thinkin’ like adults/Life is fantasy and somersaults then/Before the world tear apart imagination” (Miller, Excelsior).
• “What ever happened to apple juice and cartwheels?” (Miller, Excelsior).
• “Yeah, I am getting ready to sign my life away/The weather’s nice today, what a perfect day to die” (Miller, Shanghai-la).

What an odd, quirky, deep, beautiful album. Mac Miller’s team is preserving the rapper’s legacy in an honorable way with a project that was so important to him. Posthumous albums can even help fund the artist’s remaining family. His strong themes around life and death are stronger now more than ever since his death. I’ll probably frequent this album for a while, intrigued by all the funky sounds, background tracks, and meaningful lyrics, possibly reigniting my love for Miller’s music overall. If only I could still witness some of his glory on tour.