I’d intended to tiptoe into the nagging question of whether the two were dating, but I think I get my answer when, after I’ve exhausted my questions, she makes her way over to his lap to say “Good job.” We almost head out on the street to see whether we can ruffle feathers by walking into a store to buy the album, but the blight on New York City record stores rules out the possibility. Our interview, on the day of The Divine Feminine’s release, causes a bit of a stir in the office: Mac doesn’t tell me ahead of time that he’s bringing Ariana Grande along, and her appearance in his small detail gives a shock. But the new music eschews the grit and frost of New York autumns and winters in favor of a lovesick, funk-forward lightness effected in part because the project began on a lark, but also, it would appear, because he is seeing someone new. The brand-new The Divine Feminine is his “New York album” insofar as it was conceptualized and recorded in large part at a few studios around the city, with the help of piano and production whiz Aja Grant, of the Brooklyn soul act Phony Ppl. He’s just moved back to Los Angeles, the city where he nearly wrecked his life holed up in a mansion and recording facility living a dream of musicianly excess. He steps into the New York Magazine office on a brisk September Friday under similar circumstances - new house, new album - but the particulars are different. The first time I met Mac Miller he’d just moved into a beautiful new Brooklyn apartment and completed a new album - last year’s end-of-summer wake-up call GO:OD AM - which presented a hard reset from the previous year’s drugged-out mixtape Faces.
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