Stemming from the Heaven’s Gate instrumentals of cult leaders and sick tendencies, Delusional Thomas is the mixtape from Pittsburgh’s Mac Miller alter-ego. A twisted and demented horror show reaching from the darkest sections of Miller’s inner thoughts, Delusional Thomas is as shocking as it is engaging with a relatable, and unfortunate turn down the bitter path of instrumentation and rhyming schemes.
Miller was no stranger to experimentation, as he marches around with the parade of multi-instrumental self-directed pieces; there is no doubt that Miller was a genius in his own right. Delusional Thomas is the ugly dirt under the nails, it is the suicidal thoughts that attack from random moments, it is the cellar creature that lives within the dark corners of the mind. Thomas is not a separation of Miller, but is instead a connection to his true animalistic and dungeon horror-core flows that makes for a serial killer collection that is as fascinating as it is frightening.
With tracks “Halo” and “Vertigo”, two of the project’s openers; Delusional Thomas is quick to become shocking and rely heavily on the panic that is caused from lines about sadistic murder, exorcisms, and human vegetables. “He probably had some freaky sex, really I’m not worried. Already plan to kill myself when the clock hits 7:30… These serial killer fantasies, you mention something sick and twisted, everybody panicky” Miller describes behind the lumbering giant of an instrumental that holds this broken glass pieces on strings and a piano that dances around as a broken marionette. Miller then moves to describe “Ex and oh, semi loaded up bitch I’m surgical, your head explodes, your chest gets opened up like convertibles” on the following track “Vertigo”.
The glooming darkness actually shows some light on the production in a contradictory way. The instrumentals that come primarily from Larry Fisherman, another one of Miller’s pseudonyms. He is an excellent maestro behind the keys and acts as a conductor behind the madness that puts Delusional Thomas into these whirlwinds of overbearing weight. “Dr. Thomas” is the perfect example of creating a smooth transitional period where the instrumentation is cut so clean, but holds this grit behind the lyrics. “Dr. Thomas” shows Delusional Thomas’s best pieces. It is the pie that is held together tightly by a substantial layer of lyrical ability, and the way to connect through instrumental punches.
“You or me, who I’m gonna kill first?… Okay, my hearse is made of gold, the spirits take control. I paved the road with endangered souls” Thomas says as he dances wildly along the production in a menacing display of prowess. From the features of Mac Miller, Earl Sweatshirt, Bill Waves, or even Da$H. The final nail in the coffin of “Grandpa Used to Carry A Flask” holds the last moments of two personalities clashing. Mac Miller battles and shares the microphone with Delusional Thomas. Miller controls as he describes “So we close our eyes, hoping we forgot to die. Shit it must have slipped my mind, why?” as Thomas then comes shortly behind with “Having conversations with myself, getting into arguments. When I’m out in London I be posted at the parliament. Coke in the parliaments, chilling by some monuments. Ominous when I fill your body with godly hollow tips.” It is then the touching of the two where Miller and Thomas realize they are two of the same person as the two voices start to overlap and finish each others sentences before they finish stating together, “I’m just tryna play with my band on Fallon, I don’t got no talent.”
Delusional Thomas takes Mac Miller’s strange and abstract thoughts that work to form a blurred line that is difficult to walk. It feels as though you are watching the mind of a man fall into an identity crisis before realizing that all the broken and grisly thoughts are his own.