On Jan. 17, 2025, just two days before what would have been his 33rd birthday, Mac Miller’s second posthumous album, “Balloonerism” was released. Although unofficial variations had been circling the internet for quite some time, the album is now officially present in Miller’s discography. It follows the 2020 album “Circles” and “I Love Life, Thank You,” which was rereleased in 2022, officializing songs from the beginning of his career. His estate chose to leave the album largely untouched, releasing it almost exclusively as it was recorded over 10 years ago. In doing so, Miller’s authentic views on life, death, and all things inbetween are preserved within the 14 tracks comprising the album.
The album opens with a 33 second track titled, “Tambourine Dream” where a tambourine can be heard amongst numerous other abstract sounds. No lyrics are included within this track, but the sounds of a tambourine can be heard periodically reprised throughout some of the songs to follow.
The album’s second track, “DJ’s Chord Organ” comes in at just over five minutes, and features SZA, a fellow rapper and close friend of Miller. As suggested in the title, an organ sounds prominently throughout this track, creating a very melancholic tone. Hauntingly enough, the sound is reminiscent of what would be expected to be played at funerals, leaving listeners sympathetic within the album’s context. Lyrically, Miller and SZA observe the world and seek the truth through question.
“Do You Have A Destination?” introduces a more traditional blues vibe over its nearly three-and-a-half minute run time. This song follows in the footsteps of the prior track, building in significance with its postmortem release. Miller details his hope to “come back as an eagle” and, in what was once a hyperbole, claims he “gave his life” for his music. Miller’s overall message throughout this track is how draining he finds his fame, and how he cherishes and lives through interactions with those close to him.
“Dollar Pony Rides” showcases a more upbeat blues-y instrumental than what has been established, while simultaneously incorporating tambourine sounds similar to the first track. For 3 minutes and 42 seconds, Miller details a relationship between himself and a girl, whom he wishes to provide for. He hopes that with his attempts to give her what she wishes for, he will be able to improve her life. This track is very revealing of Miller’s nature, painting him as selfless and thoughtful.
The album’s fifth track, “Friendly Hallucinations” also incorporates the tambourine throughout its nearly five minute duration. Miller uses this track to question the significance of reality, telling the story of a girl who falls in love with her hallucinations. He implores the paradoxical question, “If love is just a fantasy / Then what’s the problem if you fall in love with fantasy?” leaving listeners questioning their own perceptions of the world around them.
“Mrs. Deborah Downer” is the sixth track on the album, at 4 minutes and 4 seconds long. Contrary to what the title might suggest, Miller uses this track to detail his perspective on the negativity that comes with money. He shares instances where he has watched close friends change drastically due to changes in their financial standings. Themes from the previous track are also revisited, as Miller continues to search for the difference between truth and pretending.
The story of a struggling girl is shared on “Stoned,” which is the seventh track on the album. Over the course of four minutes, Miller explains the poor circumstances which have befallen a girl, and how she turns to dissociation and inebriation to escape her reality. While the girl seems to have no qualms in doing so, Miller wishes she would be able to enjoy life without such matters. Toward the end of the track, Miller claims that, “heaven feels just like home” shortly followed by the ending line of the song, where he extends upon the idea by saying, “let’s go home.” These lines in particular stand out, because they create an unfortunate instance of irony, giving insight to Miller’s perspective of death.
A slightly more electronic beat is introduced in “Shangri-La,” as Miller presents himself as having conflicting ideals in comparison to a girl in his life. While he intends to seek peace and thought through meditation, she has more materialistic ideals. Particular reflections within the song loom over the track as a whole, as Miller pleads to the audience, “If I die young, promise me to smile at my funeral.”
A piano is introduced into the album’s repertoire in “Funny Papers.” At four minutes and 24 seconds, the song begins with Miller recounting the details of a suicide which he read in the “funny papers.” This he later juxtaposes, as he recounts another story from the papers, this time about a birth. Themes of life and death are contrasted as Miller observes the lives of those around him. Yet another instance of tragic irony is seen in the lyrics, writing that he “didn’t think anybody died on a Friday.” Sadly, Miller himself would later pass on a Friday. The song ends with a minute-long instrumental, exactly as foreshadowed in earlier lyrics, “everything quiet but the music.”
Throughout the entirety of “Excelsior,” the sound of children playing can be heard in the background. This complements the opening lines, as Miller details the events of interactions between children, noting that they are still unburdened and do not have to think “like adults.” He then begins to wonder about his own loss of childlike wonder, recounting that he wanted to be a wizard when he was younger. The track’s title can be seen as an allusion to the magician Excelsior, which may have influenced Miller’s childhood aspirations.
Delusional Thomas is featured on the album’s eleventh track, “Transformations.” A distorted conversation can be heard, and it soon becomes apparent that the song is a recording of Miller’s creative process. This track provides an insight into the creation of such music, while revealing a more playful writing direction for Miller.
Dylan Reynolds works with Miller on “Manakins,” creating a track that is just over three minutes in length. A harp-ish opening leads to lyricism detailing Miller’s relationship with God and his views on life and death. The song comes to a stirring end, with Miller saying, “It feels like I’m dyin’, dyin’, dyin’ / I’m dead.”
“Rick’s Piano” opens with a knock-knock joke that introduces the track’s title. Subjects of patience and humility are discussed throughout the 5 minute piece. Juxtaposing ideals are set in place by Miller, as he repeats both that “the best is yet to come” and asks “what does death feel like?” Hope for the future is contrasted with questions of the afterlife, making for an interesting culmination of inquiries. This track also ends in over a minute of instrumental, leaving listeners to wallow in their thoughts as this track poses deep questions.
The final track of the album is arguably the most heartbreaking. “Tomorrow Will Never Know” is nearly 12 minutes long, and by far the longest track on the album. Miller begins by reflecting on the control one has within their life and death, but then expands to further concepts such as existence in general, pressure, knowledge, and wishing. All of which are showcased throughout prior songs. The track’s lyrics come to a close just after the five-minute mark, leaving nearly seven minutes of instrumental alongside reprise of childlike sounds. As the sound of the children fades out, a telephone can be heard ringing. This call is never answered, leaving ‘tomorrow’ to never know what the phone call would have been.
Overall, I would rate this album a 10/10. Songs that were already meaningful when written are exemplified in significance due to the death of their creator. The persistent mentions of life and death create a melancholic and eerie effect, as most who listen are well aware of the context in which the album was released. The bold existential subjects over the blues-y/jazz-y instrumentals add to the legacy left behind by one of music’s most influential artists, Mac Miller.
