By Joshua Svetz
Contributing Writer
Pittsburgh rapper Mac Miller has had an intriguing and diverse career.
From beginning as an indie hip-hop artist with Kids to an introspective artist with Faces, Miller has changed styles countless times. While most of his projects carry a burden of style-change growing pains, The Divine Feminine avoids the usual pitfalls.
Miller takes complete control switching up the instrumentation to a jazz and funk-infused sound. Immediately we get a taste of what’s coming in “Congratulations.” The solo vocals and stripped-down production creates a personal touch, giving Miller’s sentiments about his view of love more power. Smooth piano accompanied with atmospheric vocals opens up the ambiguity of love and what constitutes it.
Throughout the album, Miller questions what love is and if it’s something that can last. On “Stay,” Miller begs the girl in question to stay with him through the night. He wants this woman for himself, but she keeps rejecting his advances. The beautiful trumpets mixed with booming bass and crisp percussion help drive arguably one of the more upbeat tracks on the album.
Sometimes Miller stays away from introspection and just goes for what he desires.
In “Cinderella,” Miller explains the unmistakable feeling of finally getting with one’s crush after fantasizing about how it would feel to be with them. Accompanied by all-star hook artist Ty Dolla $ign, the short guitar plucks and pumping drums capture vividly the moment of making the dream come true.
Miller doesn’t stick with the idealistic view of love much longer.
Songs like “Planet God Damn” show the confusion that sprouts from love. Here, Miller drops back into a late 90’s R&B flow and hook. As he tries to explain his feelings, he can’t help but be confused by the games the girl seems to play. Miller delivers his lines with ease, spitting tight bars to accompany his signature flow.
In the same sense, “Soulmate” questions the validity of an actual soulmate. Miller attempts to find out if a soulmate exists or if love is just coincidental. Miller struggles to make sense of it all, a common theme on this album.
Smash hit “Dang,” featuring Anderson Paak, explores the uncertainty of love. Featuring a funky, jazz-infused hook from Paak, “Dang” acts as the lone banger, yet plays with a difficult subject.
But in the end, Miller does believe in some type of love, shown through the final two tracks.
“My Favorite Part” features new girlfriend and pop princess Ariana Grande in a cute lovey-dovey melody. The chemistry between Grande and Miller, as well as the sentiment and execution of the song, excuses the pitchy vocals.
Climaxing with God is “Fair, Sexy Nasty”, featuring Kendrick Lamar on the hook providing a catchy and thought-provoking jingle to accompany the jazzy piano, tight percussion, spacey synth and relaxing beach vibe. Arguably, Miller spits his best bars, talking of men’s true love and need for a woman, contrasting the cliché “women need men” stereotype. Together, Lamar and Miller combine to show the support both their partners have given them. It proves a sweet end to an album that breaks down the clichés.
With this project, Miller embraced the feminine side of the male, the need for love and support that doesn’t make it into today’s mainstream rap culture.
For someone known for his ambition and unique nature, Miller’s latest may be his most ambitious project to date.
svetzjr14@bonaventure.edu
