To whom much is given, much is expected in return.
Since 2011, the music industry has been willing to accept Mac Miller and his braggadocio style. In fact, we have embraced him with open arms, hearts, and wallets.
He cemented his reputation as a heavyweight in the rap game when his very first studio album, “Blue Side Park”, topped the charts in the United States and was certified gold. It also proved to be his highest selling effort with 380,000 copies flying off the shelves in the United States.
The ultimate result of two years of work was “Watching Movies with the Sound Off,” which ultimately took a significant dip in sales and chart position. He followed it up with a solid rebound in “GO:OD AM”. With songs like “100 Grandkids” and “Weekend (feat. Miguel),” Miller looked like he was on the way back up from the depths of mediocrity.
Then on September 16, “The Divine Feminine” hit shelves with quite a heavy dose of hype. Frankly, even I was overly excited when I found out that Mac Miller was working on a new album. Then I listened to it and my hopes were immediately crushed. This album feels rushed and unpolished from the opening lurch of “Congratulations.”
Top to bottom, this album lacks so many things it would be very difficult to fit them all within my word count. It suffices to say that it is not good at all. Miller can be heard coming in off beat and off tempo in more than one track, and not even a collaboration with the great Kendrick Lamar could save this album. Production value drastically plummeted somewhere in between “GO:OD AM” and this train wreck of an album.
If you are a die-hard fan of Mac Miller, I suppose you can find things to be happy about with this project. “Dang!” was able to find relative commercial success due to its catchy tune, but that is pretty much the best thing you can say about “The Divine Feminine.” Overall, I cannot possibly recommend anyone spend their hard-earned money on this album