So, when Miller’s estate announced the release of his seventh studio album Balloonerism, despite being widely speculated, fans were pleasantly surprised. Commenting on the record, his family and estate shared that, “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. We believe the project showcases both the breadth of his musical talents and fearlessness as an artist."
Teased only by “5 Dollar Pony Rides” and on screens at Tyler, The Creator’s Camp Flognaw, Balloonerism sits, creatively, in the same vein as Watching Movies With The Sound Off, where, it’s conception is estimated to be around the time of his mixtape Faces.
Opening with the aptly titled (“Tambourine Dream”) half-minute tambourine instrumental, the chaotic beats juxtapose what’s yet to be unwrapped – succinctly layered cuts paired with equally thought-out lyrics and captivating soundscapes.
Miller has never shied away from bringing in external talent to further elaborate the creativity and depth of his tracks - “Polo Jeans” (Earl Sweatshirt), “Red Dot Music” (Action Bronson) and “What’s The Use?” featuring the uncredited Snoop Dogg and Thundercat sit as some of his most recognisable cuts. Balloonerism offers two collaborations – “Transformations” (Delusional Thomas – Mac’s alter ego), and “DJ’s Chord Organ” (SZA). The latter is a wholly harmonic offering that showcases their complementary vocals and sees the now Grammy-winning SZA at her most organic and raw. “Transformations”, however, is a telling conversation between Mac and “himself” (with heavily effected vocals), and harks back to the distorted nature of the opening “Tambourine Dream”.
The previously leaked, and leading track “5 Dollar Pony Rides” has been popping up in various corners of the internet over the past half-decade, and its official release was heavily anticipated. Introspective and heavily emotive, the track explores fleeting pleasures and loneliness (“Heard you feelin' pretty lonely, yeah / Your daddy shoulda got you that pony”) and yearning (“We can take a vacation, go somewhere in the country”). “Friendly Hallucinations” carries on succinctly from where “5 Dollar Pony Rides” leaves off, continuing with funky basslines, soft vocals and soul intonations. Living in the same creative space as Swimming’s “Come Back To Earth” and “Wings” but with more jazz-influences, this sound is carried on throughout the record, and sees it rear its head most with the likes of “Excelsior” and “5 Dollar Pony Rides”.
“Shangri-La” stands out as it steers away from the Thundercat-jazz of the first half of Baloonerism, and marks a point wherein the record moves more towards his more sultry-toned-rap (“Small Worlds”). “Shangri-La”, alongside the penultimate “Rick’s Piano” are proposed homages to long-time collaborator (“Swimming”) and record producer Rick Rubin. “Shangri-La” being the name of a series of episodes feature Mac and Rick discussing Rubin’s Malibu record studio and creative processes.
“It feels like I’m dying, I’m dead” are the lyrics that haunt “Manakins”. Juxtaposed by what is arguably the most upbeat track on the record as he asks “Why is heroism so close to heroin?” as Mac reflects on feeling trapped (“There is no such thing as freedom… I see the light at the end of the tunnel”) in a track which feels as Mac premonitions his own passing.
“Tomorrow Will Never Know” closes off the rich and emotive Balloonerism with a twelve-minute-long deliberation of trying to grasp control (“You walk through this world with your head above water… trying to float”) in a heart-breaking final message from the posthumous project.
Plucked from the depths of his discography, Balloonerism is an emotive and plaintive testament to Miller’s lasting legacy and firmly establishes the profound impact he’s had on shaping rap.
