“My god, it go on and on/Just like a circle, I go back to where I’m from,” he rapped on Swimming closer “So It Goes.” That record was about being fine on the surface while struggling with anxiety this one is about knowing there’s something to be done about it. Miller seemed to envision Circles as the completion of a loop. Circles provides some resolution and helps finish Miller’s final thoughts. But Swimming hinted at an artist who’d finally cleared his mind and found his footing. There are moments on 2015’s GO:OD AM where his rapping is sharpest, 2014’s Faces accommodated his most ambitious ideas, and 2016’s The Divine Feminine is his most diverse and complete project, a testament to the community of musicians he’d established around him. If Swimming wasn’t Miller’s best album, it was certainly the one where he came into his own as an artist. “We simply know that it was important to Malcolm for the world to hear it.” No clear path,” his family wrote in a letter on his Instagram. “This is a complicated process that has no right answer.
It’s unclear how deep Miller was into the process at the time of his passing, but this sounds like a completed work, or as complete as it can be. Miller had worked closely on early versions of these songs with composer-producer Jon Brion, who was committed to finishing the album after Miller’s death.
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