There aren’t any plays to satisfy or ingratiate a specific subgroup of listeners. Yet, The Divine Feminine is by far the most settled he's ever been. He’s gotten more comfortable in his own skin with each release, but that threatened to be an issue here, given the title. Mac Miller has put in hard work establishing himself as a Serious Rapper since the release of his emotionally and sonically flat debut Blue Slide Park, putting on his fair share of wordplay showcases and aligning himself with the right people since his sprawling breakout Watching Movies With the Sound Off in 2013, but much of that work came off as pandering or, worse still, overly earnest. It’s easily his most intoxicating release yet, an odyssey of soulful compositions paring down his expansive and eclectic soundboard from the last few years into something distinctly cozy and pleasant. It peels back and exposes the many layers of love-romantic, schmaltzy, sensual, carnal, wilting. It’s about contact and togetherness, closing the gap between people about being in unison and growing apart, and all the stages in between. “I want people to love to this record and realize they can love to it.” There’s a very real connective tissue to these ideas of space and intimacy. “I want people to put on the record and it’s a date in itself,” he told i-D. He’s mentioned playing the record for a couple and slowly observing them cut the distance between each other in a room as it progresses. When Miller talks about The Divine Feminine, he considers the universe, the distance between persons, and deciphering love on an ideological level.
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