“Everybody’s gotta live/And everybody’s gonna die,” he sings on “Everybody.” But he’s OK, too. Listeners will naturally focus on the references to death and they are definitely there. “So tired of being so tired.” Brion is rightly in no rush to end it, and lets Miller go for more than 5 1/2 minutes. “Runnin’ out of gas, hardly anything left,” he sings. Delicate guitar plucking accompanies Miller’s hangdog lyrics. The first single, “Good News,” is addictive and must surly be a defining song for an artist taken far too soon. A tiny hesitating sample serves at the backbone to “Blue World,” a lazy drum and piano do the same for “I Can See.” A repeated “eh-uh” runs through “Hands” and “Complicated” at first seems too simple but subsequent listens reveals a jewel-like construction. “Circles” is both spare but somehow full. Here, he is low-key, moody, spacey and anesthetized.

Miller was always an idiosyncratic artist, mixing hip-hop beats and samples with soul and warm funk, even jazz. “Circles” shares the appealing confessional lyrics of “Swimming” but is more airy, more muted and understated. Miller died of an accidental drug overdose in 2018 at 26 and was working on “Circles” as a sort of companion album to his Grammy-nominated “Swimming.” Producer Jon Brion, who worked on “Swimming” and also produced for Kanye West and Dido, was asked to finish Miller’s work. “I’m here to make it all better with a little music for you,” he sings. Miller’s 12-track album is heartbreakingly sublime, a portrait of a wry and honest musician acknowledging his demons but looking past them.

He answered his own question with the superb posthumous “Circles.”

“Why does everybody need me to stay?” Mac Miller asks on the first single from his latest release.

Everybody mac miller piano