Faces mac miller album art

Mac Miller likes to present the world with music, and these tracks were evidence of that. He liked to make music. The enjoyment derived from the process was made all the better once he shared with people. I made this beat because I realized I enjoy playing piano. No one is in the room with me right now, so I am going to record myself. I am gonna try and do this in one take, so that there's not a lot of editing, because, quite frankly, I am too drunk to edit, and that's just the truth of the matter.

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All this humanity manifests itself in a self-reflective unsettling ending: He published this cover on his own YouTube channel. This one includes a shitty camcorder music video, a red light casts a sitting Mac and a keyboard in shades of pink.

He even pauses at one point, hesitating to find the right chords for the next part of the song. He ends it by deconstructing the chords, and then, before the music stops, leans forward and turns the camera off. He sat down, played and recorded a piece he liked and uploaded it.


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It pays tribute to his musical influences, putting action behind statements in interviews about his love of blues and soul. By doing so, he shows his trust in his audience to appreciate and respect his cover, a faith in his audience few have.

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In an interview with Rolling Stone magazine, they ask him why he covers this song. Certain lines from the song feel oddly applicable to where he is now, despite this coming out four years ago on his SoundCloud. Mac is paying tribute to a track born of emotions identical to the ones he possess. On both of these tracks we get to hear him sing rather than rap, something that happens a lot on the more buried tracks, expressing a level of comfort with off album projects.

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This comfort builds the sense of intimacy that makes these tracks so valuable. The whole EP is about, well, love. The songs talk about being neglected and forgotten by a significant other, and the realization of being in love with the idea of someone rather than who they actually are. The EP itself is fairly upbeat, at least through the first four songs.

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The first three being straightforward jazz songs with a four or five piece band behind him, rap-singing over the solid high-hat and jazz rhythms. The fourth is a pure instrumental track- showing off his musical knowledge and ability. The composers of this project are pretty well hidden, Mac not even releasing it under his name. The last song is the supposed single that I found on YouTube along with the other three tracks.

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The whole time Mac sings in a falsetto, crooning in a gritty voice over a seemingly endless keyboard improv that blends perfectly with the drums and synth, only three instruments composing the song. Theres a level of bravery that comes with releasing a jazz record amidst a booming rap career, a level of not caring about the label given to your sound.

An argument could be made that the emergence of dominate jazzy instrumentals and singing interludes on Divine Feminine and Swimming are a result of a comfort established while making this EP.

When we look at the first Mixtape he dropped, K. These four tracks are not what Mac is known for. The safety net of another album was suddenly taken from us, and we all went running, through youtube and SoundCloud, dragging up, some for the first time, some for the millionth, these intimate tracks created out of his love for music.

Mac Miller GO: OD AM. Tayler Montague October 8 Mac Miller Faces. Craig Jenkins May 22 Craig Jenkins June 24 Mac Miller Blue Slide Park. Jordan Sargent December 8 Jazz Monroe December 17 Jazz Monroe November 28 Michelle Kim and Amy Phillips November 5 Trey Alston November 1 Sam Sodomsky October 2 Watch by: Braudie Blais-Billie September 23 Matthew Strauss September 19 Sam Sodomsky and Matthew Strauss September 14 Evan Minsker September 12 Jazz Monroe September 12 Cole Dedicates Concert to Mac Miller: Matthew Strauss September 10 Read the review.

Sheldon Pearce.


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