The difficult art of posthumous albums

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The difficult art of posthumous albums
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It is the hope, possibly more than the pain, which makes Mac Miller’s posthumous album so bittersweet

A MUSICIAN’S UNTIMELY death does not preclude a long and illustrious music career. Amy Winehouse, Janis Joplin and Marvin Gaye all topped the charts after they passed away. Tupac and Notorious B.I.G have released more music in death than in life. Fans’ appetite to once again hear a lost voice, or glimpse inside a late musician’s mind, makes posthumous albums lucrative. Yet they are often ghoulish, using an artist’s material in ways they may not have approved of.

Both those things become apparent as the album unfolds. “Circles” bears no scars from being sewn up by its producer, Jon Brion, who knew Miller well and worked on his last album, “Swimming” as well as on early versions of these songs. The listener is confronted with the paradox of a man who regularly struggled to get out of bed, but was clearly in love with his work, ambitious and proud.

This new album reveals an artist eager to let go of his frat- and emo-rap roots in favour of a gentler, singer-songwriter style. It suits him. “Hands”, the only pure rap track on the album, is one of the most forgettable; Miller is most effective when weaving many genres together. “Blue World” samples 1950s barbershop–jazz harmonies. Baro Sura’s melodic vocals on “Hand Me Downs” pay homage to soul. The closing two tracks, “Once a Day” and “Surf”, are thoughtful, enticing indie ballads.

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