Courtesy of Warner record label

“Balloonerism” is Mac Miller’s post-life album release and seemingly the conclusion to his discography, and it offers another fresh take within Miller’s music. Miller’s production was positively beautiful, emphasizing heavy use of the drumset and bass. This album was wonderful and it continued to expand on Miller’s unique take on music.

There were some thoroughly enjoyable songs; “5 Dollar Pony Rides,” ”Friendly Hallucinations,” “Shangri-La” and ”Rick’s Piano” were spectacular, showcasing the greatness of late Mac Miller. In general, this album is most comparable to his previous work “Circles” with keeping his habit of loud instrumentals utilizing cymbals, kicks and deep bass strumming. However, he takes a new approach in his music by adding unique instruments such as a tambourine and reducing the electric guitar. This continues to build on Miller’s different approach to making music.

Regarding the standout songs mentioned previously, “5 Dollar Pony Rides” has arguably the best rhythm in the album. “Friendly Hallucinations” has truly impressive storytelling. “Shangri-La” showcases Miller’s versatility where he does a great job singing on this melodic chill beat. Lastly, “Rick’s Piano” highlights the musical genius Miller was where he is able to utilize an actual piano song for the beat.

However, the album had a number of disappointing songs with few seeming like they weren’t fully completed in the editing process. The song “DJ’s Chord Organ” had a section that felt unnecessary, after SZA’s verse, the song should’ve been ended, but it continued for another minute. For other songs there was absolutely nothing happening within the song and  was not needed on the album. The song that shows this is “Tomorrow Will Never Know”, feeling like something he never planned to see the light of day. It was 11 minutes and 38 seconds of incoherent sounds and instrumentals that didn’t create a fully-fledged song. The issues listed make the album much longer than it needs to be and frankly, a little hard to listen to in full form.

This album is a mid 6/10. In general, it excels in production, storytelling and rhythm, but is challenged by the aforementioned problems. This album speaks testament to the mastercraft that is Miller’s production capabilities. This recording is simply held back by it not feeling done. In reference to previous pieces from Miller, this doesn’t hold up. Honestly, if this was the first piece of work Miller released, he easily wouldn’t be as highly regarded as he is. To some extent, this album could be considered almost-rude to Miller’s discography. In all regards, this didn’t need to be released as it is.