Me, I used to want to be a wizard, when did life get so serious? The difference between his take here and on “Funny Papers” is that he merely questions it here instead of urging against maturity. One track that follows a similar theme, “Excelsior,” sees Mac rejecting the manners in which children grow up. Its’ conversational storytelling fused with the delicate piano is a sight to behold for a first-time listener. This is arguably my favorite track on the album and is undoubtedly one of my favorite tracks ever produced by Miller. My mistake, I misplaced all of my remembers” Funny Papers Yeah, the mind go with age, don’t surrender Way before the information gets settled in “Watch him bring these bright eyes into this dark place Here, Mac looks at growing up as that which corrupts people-urging those who are listening not to give in to the impact of a cold world. The second verse plays explicitly into the album theme that I believe seldom gets discussed amongst his fans, aging and its effects. A balloon can’t suddenly relinquish itself from what’s lifting it-leaving it with nothing except an inevitable rise and fall.Īnother standout track is “Funny Papers.” A straightforward piano melody accompanies Mac as he interweaves the narratives of a divorced bank trader drunkenly steering off a bridge, a baby being born, and Mac’s concern of those that surround him not acting in his best interest.Įach verse here doesn’t spare an opportunity to say something impactful. But, like the balloon, his stardom and mental state are so fragile that merely a gust of wind is all that’s necessary to send everything from plummeting back to Earth. As he describes, he’s in the clouds and has a whole sky ahead of him. Mac begs gravity to either release him or allow him to continue climbing higher. Yeah, uh-uh, gravity, can you let me go?” Smile (Prod. Said I wanna get higher, let me get higher “Smile” perhaps best summarizes what Balloonerism was supposed to be in its early stages. Like another track on the album, “Smile,” Mac appears to be fed up with his mental state and ready to move on to the next stage of his journey, albeit following his inevitable demise. “Nobody can hurt me if I go inside and close the doorįeel this where the answer lives” Manakins (Featuring Dylan Reynolds) Akin to how his discography would show, it almost seems as if death doesn’t phase him. On “Manakins” (featuring Dylan Reynolds), Mac expresses multiple concerns in his life, such as his growing alcohol addiction and his hopeless confusion in discovering what happens after death. On the other hand, Balloonerism offers much of the same but in a more melancholic and isolated place. Balloonerism has a chance to shine the most through the different approach it takes to these concepts.ĭespite its dark lyrics complemented by jazzy beats, Faces was a project so consistently lively and vibrant. That said, what we have been left with is the perfect accompanying piece of work to 2014’s Faces mixtape.īoth projects hold their weight with abstract narratives and themes following Mac’s journey through psychedelics and his understanding of what awaits him after death. Therefore, we are left to wonder what Balloonerism may have looked like in a more completed phase. With its messy tone and sporadic themes, there’s just something about this album that is difficult to put into words.Įverything about this tape, from the simplistic yet charming painted album cover art depicting Mac as a balloon floating endlessly into the sky to the lonely and powerful beats, is mesmerizing.ĭespite the evidence that may lead people to believe that Balloonerism was almost completed, for example, the confirmation that in 2014 Mac’s brother registered as a website and Quentin Cuff, his manager, confirming that it was a concept in the works, it was never fully realized. Suspected to be the cover art for Balloonerismīalloonerism, a scrapped project by the late Mac Miller, is unlike anything I have ever heard. Artwork commissioned by Mac Miller to Alim Smith.
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