Mac Miller’s story is one of the most tragic of our generation, passing away at 26 from a drug overdose. However, he represents one of the greatest hopes of many artists: that their art will live beyond them. Since Miller’s death in 2018, two of his posthumous albums have been released to the public, first with Circles in 2020 and now Balloonerism on Jan. 17, 2025.
Balloonerism is a raw and unfiltered look into Miller’s creative process, left unpolished and shelved over a decade ago. The album incorporates jazz influences and has a deeply psychedelic atmosphere about it, exuding Miller’s essence as an artistic creator.
The very first track, titled “Tambourine Dream,” is nothing more than Miller rhythmically playing the tambourine for thirty seconds. While this may seem largely insignificant in the grand scheme of the album, it sets the stage for what is to come. Even without lyrics, “Tambourine Dream” stands out, and serves as an example of Miller’s experimentation and development as an artist.
The next track, “DJ’s Chord Organ,” is comfortable in itself as a raw and grounded track. The first half of the track is an ethereal transportation into Miller’s world, played on a small organ, while the second half features vocals from SZA and Thundercat. The instrument may seem uncomplicated and simplistic, but the emotion evoked from it is indescribably heart-wrenching. Filled with metaphors about addiction, the song is simultaneously sobering and persistent, reeling you in with its sheer sonic tragedy.
The following track, “5 Dollar Pony Rides,” tells the story of Miller in a convoluted relationship. The song follows a catchy upbeat melody, which is able to add emotion along with the story of the song. Still, the song is made up of mini metaphors, which add a deeper layer to the record. This added layer introduces themes of nostalgia, but also opportunity and optimism through the end of the track. A minute of instrumental music finishes the song, leaving listeners satisfied with a flowy ending.
A reflective and soberly foreshadowing addition to the album is “Friendly Hallucinations.” The track follows the artist's relationship with drugs in a metaphorical and literal way. Miller describes the euphoric state he feels while under the influence of substances and the deep emotions he feels in relation to the hallucinations related to drugs. The track is a painful reminder of the artist's death, as it heavily discussed his outlook on drugs and other associated topics.
With a quick switch from the previous track, “Mrs. Deborah Downer” follows Miller on a reflective and philosophic journey in just over four minutes. Throughout the track, Miller discusses a more pessimistic view on the meaning of life. He explores the confusion that life comes with and mentions drugs as a quick out from the loneliness life offers. The track features a melodic beat and covers various emotions and stages the artist has felt from addiction, recovery and once again, addiction. This track is a complex and spiritual journey through the artist's most inner thoughts as he explains his ideas on the shakiness and fragility of life.
One of the most similar to the rest of Miller’s discography, “Stoned,” is a melodic and dream-like track. Slightly fuzzy, listening to the track feels as if you’re asleep and you’re imagining the entire thing. Describing a girl suffering from depression, Miller details the difficulties in her life, such as her parents. He attempts to make her feel better by suggesting they escape with drugs. The track is hazy and smokey, fitting with the message of the track.
“Shangri-La” stands out against the rest of the album, as it is more of a melodic storytelling. The track follows the story of a “supermodel” who is blind to the realities of life and commonly keeled from struggles in life. It is an introspective song about the luxuries of the world against the average reality faced by many. The song ends on a grim theme of life and death, saying “if I die young, promise to smile at my funeral.” The track is a story of opulence turned to a nightmare through the storytelling of Miller.
Miller’s struggles with indecision are showcased in “Funny Papers,” reflecting on the tragedy and beauty of the world. Starting off with a soft piano intro before transitioning to include heavier beats and more modern musical aspects, the instrumentals reflect the lyrics’ conflicting and intertwining views. The track asks its listeners to accept the reality of both life and death as a part of the world. “Funny Papers” stands apart from the other tracks as a beautifully reflective piece that considers the stark versatility of the world, nodding to the essential truth that everything is temporary.
“Excelsior” is a commentary on the contrast between the innocence of childhood and the harsh issues that pollute adulthood. The shouts and laughter of children back the song, adding a nostalgic and somewhat morose sense to the track. Miller raps about jungle gyms, somersaults and the wonderful world of youth, reflecting on when “your only enemies were ‘Want some brussel sprouts and spinach?’” Childhood issues seem futile when shown the world as it truly is as an adult.
A change to intense spiritual and religious connection occurs in the track “Manikins.” Miller sings about his relationship with God as an unique and connected one. He describes his life events in terms of God’s emotions and attitude. Miller also discusses his overall feeling towards religion, as it compares to his struggles with addiction. This track is a compelling listen with its strong and mesmerizing vocals, along with its entrancing and fluctuating melody.
Balloonerism is a moving and emotional album that takes you on a reflective journey while deepening your connection to various themes of Miller’s music. The tracks follow a rhythmic and melodic pattern that add intrigue and development to the album in a unique and experimental way. The album is a comprehensive sweep of Miller’s inner thoughts and beliefs in a special and meaningful posthumous album.
