![]() ![]() (“I ain’t a star, I’m way farther with the constellations / Contemplatin’ suicide like it’s a DVD”). On “Diablo,” we hear the humor and hysteria of a depressive episode (“I been poppin’ like a kernel, readin’ Justin Bieber’s journal / Treat you like a urinal”) and the nervous jitter of unraveling (“Look at what you did to me, look at what you did to me”). We hear ourselves in it fighting our battles as best as we can, putting on our personas so no one worries. Miller often referred to music as a religion consider Faces the inside of a church, with the heat of the devil filling the air. As listeners, there’s a natural concern for Malcolm, but there’s also a natural attraction to such brink-of-life music. In the storm of this mixtape, he never lets us forget that, at the time, he is just a 22-year-old guy trying to get his mind right. Mac vacillates between emotional peaks but his rapping is at its best. He’s getting higher than we’ve previously heard about, celebrating his success with a variety of drugs while documenting the difficult descents from riding so high. In a swirl of jazz, Mac begins by proclaiming that he should have died already, establishing Faces as a confession. Across the 24 tracks, Mac covers damn near everything within the scope of the human condition, resulting in his most expansive, challenging, esoteric, flawed, and affecting offering to his career at this point. The mixtape is a paranoid stumbling through the cocaine ether, the perceived fragility of mortality, and the anxiety of only knowing how to create, not necessarily how to live. It may well have taught me that the purpose of great writing is to elevate the person receiving it. My favorite Mac project, it was the soundtrack to my self-harm, the darkest period of my life, and the consequential soundtrack to my recovery. This is a lesson I learned from Mac Miller time and again, but most crucially from his 2014 opus, Faces. All you need is a hammer and they work for every kind of frame and wall.I write through my trauma. The unique shape provides an amazing flexibility and they can be mounted fast and easy even if the surface is really tough. Our bold wall hook is developed in Sweden and works with every type of framed art and walls used for art and photos. The clips are 32 mm for our smaller posters and 57 mm for the bigger ones. Order a 2-pack if you want clips only at the top of the poster, or a 4-pack if you want clips both top and bottom of the poster. Our elegant silver clips are perfect for hanging our thick matte posters without damaging the paper. Remember to remove the protective film on each side of the plexiglass when you mount your print.įrame profile (black, white, oak, walnut): width 20 mm, depth 14 mmįrame profile (Rococo): width 50 mm, depth 25 mm Silver coloured clips The acrylic glass makes it very light and durable. No glass = no glass reflection on your art.Ī clean and classy wooden frame in black, white, oak, walnut or rococo.rich texture look and feeling for your art. ![]() Our Canvas Prints are professionally and carefully mounted on a 16 mm thick Nordic pinewood frame. And thanks to that matte finish, you can enjoy your artwork without glare or reflection. They absorb colours so well, they create a true colour mirror image. Printed in gallery quality on a thick, matte 280g art canvas. ![]() Our amazing Art Canvas Prints finally bring a rich fabric feeling to Art Prints.
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