Album Review: Balloonerism by Mac Miller
The “lost album” by Mac Miller is an enthralling blend of sound and thought that captures the unique essence of Mac's creativity and emotional depth during this phase of his artistic vision.
Many of Malcolm’s fans are aware of Balloonerism, a full-length album that Malcolm created around the time of the release of Faces in 2014. It is a project that was of great importance to Malcolm—to the extent that he commissioned artwork for it and discussions concerning when it should be released were had regularly, though ultimately GO:OD AM and subsequent albums ended up taking precedence.
Rumored to be recorded in the early 2010s, Mac Miller’s Balloonerism has long lived in fan whispers and internet speculation. While never officially released, this so-called “lost album” is frequently described by close listeners as an unpolished window into a young artist wrestling with the transition from carefree hometown hero to introspective hip-hop force. The tracks that have leaked on YouTube around 2021 or been referenced reveal a restless experimental streak—jagged production, scattered lyrical ideas, and a rawness that would later be refined on his subsequent projects.
Fans who have pieced together snippets of Balloonerism claim to hear an artist caught between youthful exuberance and hard-earned wisdom—an early clue that Mac’s horizons would expand well beyond the playful style found on Blue Slide Park. Whether intentionally scrapped or left behind for creative reasons, this unofficial collection feels like a diary’s torn-out pages, capturing Mac’s mental growth in real time. While far from radio-friendly, the unfiltered energy has made it a treasured mystery to those who crave insight into how Mac’s craft evolved until today, thanks to the estate. Balloonerism is an interplay of introspection, escape, and the longing for connection, paints a vivid portrait of human vulnerability and the quest for solace amidst chaos.
In the first Thundercat co-produced single, “5 Dollar Pony Rides,” Mac Miller offers material gifts in an attempt to bridge the emotional gap, asking, “What can you do for me?” and recognizing the reciprocal but futile nature of their connection—“Girl, you wastin’ my time and I am wastin’ your time.” He reflects on nostalgia and the sweetness of past moments, conveyed in lines reminiscing about “makin’ out underneath the rain clouds,” yet acknowledges an overwhelming sense of melancholy when unable to recapture that joy—“Now I ain’t seen a smile in a while.” He continues that vein with “Friendly Hallucinations” and “Transformations,” as an alter ego of Delusional Thomas that unleashes a whirlwind of vivid imagery and sharp humor that highlights his wit and his introspective nature. The clever use of wordplay is evident when he references Henry Winkler with “blew my shit up with a thumb up,” aligning the seemingly innocent gesture with an explosive outcome.
In “Friendly Hallucinations,” the content unfolds to reveal a relationship with a person who balances on the edge of reality and dreamlike delusions. At its core, the song speaks to the power of the personal narrative, advocating for an understanding that reality is a construct, malleable, and defined by the individual. One of the album’s best tracks, “Funny Papers,” links themes of mortality and birth, as seen in the lines about “some angry banker” who meets his end and “somebody gave birth to a baby boy,” highlighting the cyclical nature of existence. The same can be said with “Manakins,” comparing experiences and existential musings, seamlessly transitioning between moments of reflection and poignant social commentary. Mac also captures the unending struggle with personal demons on the ambient “Tomorrow Will Never Come,” an atmosphere that reflects the time Mac creates a space where the line between reality and imagination blurs.
The lyrics in “Excelsior” conjure a vivid narrative from the perspective of childhood innocence, juxtaposed with the harsh realities of adulthood. The scene is set on “Fourth Street,” where the lives of young children intersect around a “jungle gym.” Through poignant storytelling, Mac Miller paints an evocative picture of playground politics as “Little Timmy” repeatedly faces physical misfortune, and “Johnny’s dad” elevates him above his peers due to material wealth. On the surface, you’d think “Stoned” is another weed song, but it provides a haunting, introspective commentary on the struggles of a distraught individual, intertwining themes of emotional turmoil, isolation, and the cathartic escape found in music and substances.
“DJ’s Chord Organ” presents a reflective and intense introspection into the themes of struggle, authenticity, and the haunting allure of escapism. SZA’s feature introduces another dimension, vividly portraying an individual engrossed in relentless travel and the accompanying physical and emotional exhaustion. Throughout the following track (“Do You Have a Destination?”), Miller’s lyrical brilliance shines through as he contrasts his lived experience with the hollow allure of celebrity status. His life is depicted as a series of unpredictable actions and thoughts, encapsulated by the image of fashion models auditioning in his pool, symbolizing his extravagant yet unsatisfactory lifestyle. The duality in Miller’s life is expressed in his yearning for a “reciprocal” existence, one where he might transcend his current state and return more potent, much like an eagle—a creature that soars above mundane realities.
From the outset, “Mrs. Deborah Downer” challenges notions of impossibility and control over one’s destiny, declaring through a sense of collective empowerment that “nothing is impossible” and that by working together, people become “unstoppable.” Through the metaphor of roads leading to “the same conclusions,” Mac Miller acknowledges the inevitability of specific life outcomes despite varied paths, and his mention of “redemption is a funny bitch” points to a complex relationship with morality and self-worth, hinting at the capriciousness of divine justice. Within the second verse, we find a tension between craving a more significant understanding (“Do I need to know the beginning to see the end?”) and grappling with existential uncertainties: what is real versus pretend?
Balloonerism might not fit snugly next to the polished arcs of GO:OD AM, The Divine Feminine, or Swimming, but it has become a captivating artifact in the Mac Miller timeline. With the thematic direction, this duality of seeking escape while confronting harsh realities paints an eloquent picture of human frailty and resilience. It also presents Miller’s introspective ride through life’s mysteries, highlighting his contemplative narrative style and the balance between humor and reflection, ultimately inviting us to question the constructs of belief and existence. This enthralling blend of sound and thought captures the unique essence of Mac’s creativity and emotional depth during this phase of his artistic career, which we wished he had pushed further had he not passed.
Great (★★★★☆)
Favorite Tracks(s): “Do Have a Destination?,” “Funny Papers,” “Rick’s Piano”