Mac Miller & The (Almost) Perfect Discography
DISCLAIMER: You might be wondering: “Why does the title state that Mac Miller’s discography is ALMOST perfect?” Well, arguably enough you could say that NO discography of any artist since the existence of music is perfect. To meet that criteria, that would literally have to mean every single track be rated 10/10 (or higher if you’re that kind of person).
Out of the most of the current group of majorly famous rappers, Mac Miller is one of the few artists I feel could actually have the unique ability to be able to revolutionize the genre of Hip-Hop simply based on potential, similar to those in the realm of Kid Cudi, Kanye West, Tyler The Creator, etc.
I wouldn’t say I’m a Mac Miller fanboy, but if memory serves me right, then I’ve been keeping track with him since Best Day Ever, his breakout mixtape released in 2011. Since that time he’s released 4 studio albums [mind you that The Divine Feminine was just released] and 6 mixtapes. With 10+ projects (if you’re interested, google LARRY FISHERMAN, Mac’s production alter ego) and many more put out in the past, there’s definitely a lot of content in Miller’s playbook.
But does quantity = quality?
I’m sure we’ve all heard of this famous conundrum. I can’t think of an example off the top of my head when that statement has held true (though I’m sure there are some), and in the case of music, I definitely can’t pinpoint when that statement has ever been correct (Unless we talking about Gucci Mane’s prison releases).
I remember first listening to Best Day Ever and his first released studio album Blue Slide Park. They were magical. Best Day Ever was just a fucking blast from start to end. Blue Slide Park carried many similarities from Best Day Ever but it felt more imaginative. Mac Miller played the right cards having the right amount of slow intimate songs paired with nonsensical upbeat tracks throughout those two projects. I think he was a perfect example of how the genre was evolving.
His influence was validated when his second studio album Watching Movies with the Sound Off (WMWTSO) was put forth to the public on June 13, 2013. If any Kanye fanboys are reading this, then you would know that this particular day also marked the release of Yeezus – AND to further build the story, J Cole’s Born Sinner was released that same day. Though Mac Miller was competing with some great talent, WMWTSO was still able to sell 103,000 copies in the first week of its release date. Pretty damn impressive.
Fast forward 3 years later, and The Divine Feminine is now out. But based on estimates online, first week sales are only projected to be 35,000. Wait what??That’s almost 70,000 less than what he sold in the first week years ago. I’m not trying to say that album sales DIRECTLY correlate to having good music, especially in the age of digital music… But it’s worth noting that there are some obvious trends between the two. Let’s ignore the little inside factors and continue assuming you know what I’m trying to get across.
Like I mentioned earlier, he’s definitely put the time in to release a lot of content. But it hasn’t necessarily led to growth and improvement in Miller’s music. I’ll definitely give credit where it’s due though. His music has become much more refined and his concepts and ideas are clearly above most artists, but the excitement that I once had for Mac Miller no longer exists. Although he has remained consistent, he hasn’t elevated his craft to the level that I had expected him to get to. Project after project, it feels to me as if Mac Miller is presenting the same content under a different title, theme and beats.
I’ve made a few rounds already listening to his latest album The Divine Feminine, released on September 16th, 2016. Check this quote by Mac on why he went with that title:
[It came from] the idea of the feminine energy that rules planet Earth—the nurturing energy. There was a time where that was sacred and was treated as such.
Women, to me, are just way iller. I really want girls to understand how much of their soul is amazing, you know what I mean?
This is the reason why I appreciate him as an artist. I love the way his mind works and it’s been translated into all of his projects. I wouldn’t say it’s the best release in 2016, but I would argue that this is a solid album. The 10-track LP feels like it has purpose, and it feels genuine. I think the tracks fit well with the theme, and the features on the record are properly utilized without overdoing it. This album is far from being magnificent, but I’d definitely vouch for it any day of the week.
Mac Miller has been one of my favourite artists because of the style of music that he puts out. Back in the day I used to listen to “Objects in the Mirror” off of WMWTSO every night before I slept for a solid 2-3 months – it never got old. Personally, I don’t think he’s been given enough credit for his work, but I mean the fact that he fell off the face of the planet in 2014 and came back to release a semi-mediocre showing with GOOD:AM probably doesn’t help him too much. But the fact remains that Mac Miller is a great artist, and at the end of the day regardless of elevation since the near masterpiece in WMWTSO, flaws in his discography are truly hard to trace.
Mac Miller is only 24 years old. Yup, he’s only 24 and he’s already a veteran in this game. He’s not like a Young Thug where he can just shift the whole culture in only a short span, but he is Mac Miller. I guess he really has nothing to prove, because his music speaks for himself and he’s doing it exactly the way that he wants. I’m just hoping that sooner or later Mac Miller will receive the recognition he truly does deserve. I don’t know how it’s going to happen; maybe he spends 2 years and just focuses on a masterpiece that will blow everyone’s minds? Who knows. Who am I to say? All I know is that I’m just going be sitting here waiting for that moment to come.