Mac Miller’s newest release “Faces” made its official debut on Oct. 15.“Faces” was previously released for free download in 2014. Photo fair use of Warner Records
“Faces,” by deceased American rapper Mac Miller, was re-released to streaming platforms on Oct. 15.
Deceased American rapper and producer Mac Miller’s “Faces,” while not the height of his creative flow, swells with emotion and vulnerability.
The mixtape was originally recorded and released independently as a free download project in 2014 and was re-released by his estate onto music streaming services on Oct. 15.
“Faces” features many of the artist’s characteristic sounds: slow, jazzy, uneasy and surreal — elements which became increasingly present in his later work. Hypnotic rhythms pull listeners into a trance where the steady heartbeat of the drums, dreamlike harp chords and tired vocals mix together to create a liminal sound that drifts between reality and non-existence.
The lyrics of “Faces” are honest, raw and incredibly vulnerable. Miller opens up about his self-hatred, paranoia and drug abuse, which he openly struggled with throughout his years in the spotlight. The mixtape opens with a repetition of the line, “I should have died already,” as if he is trying to convince, or remind himself he is still alive.
Miller takes listeners into a place where many are afraid to go, putting his courage and lyrical talent on full display.
The lyrics are stream of consciousness, a snapshot of his mind in an extremely difficult time in his life. Miller’s words do not glorify drug use, nor do they predict his death. They instead express how terrifying and lonely it is to be within the grip of addiction.
The mixtape is a testimony to how close Miller can come to death without crossing over. His voice resonates somewhere between resignation and surrender, giving the impression that he hasn’t made up his mind about whether he wants to survive.
In “Faces,” Miller takes listeners into a place where many are afraid to go, putting his courage and lyrical talent on full display. It isn’t the height of his technical capacity, as compared to his later works like “Swimming” and “Circles,” but it is definitely his most vulnerable and, for that reason, maybe his most relatable.
