Sometimes, the necessary elements required for a noteworthy album go far beyond musicality. The headspace, circumstances, and career trajectory of an artist often define chunks of time for artists. Oftentimes, these hard-to-reach creative pockets provide the foundations for a career-defining moment.

This is the case with the creation of the late Mac Miller’s stellar 2014 mixtape Faces, which was added to streaming services on Friday.

“It was just freedom,” said lead sound engineer Josh Berg in “Making Faces (A Short Film).” “He’d just wanted to make music and the schedule was so jammed up for the previous year. Did a whole US tour for three months, festivals tours for a month, a two-month tour across Europe with Lil Wayne, playing arenas, literally doing shows at every moment. And then, there was nothing, no shows, no anything, just studio.”

After bursting onto the early 2010’s rap scene, Miller had garnered immediate success due to the infectiously carefree nature of his work. Affectionately referred to by many as the poster child of frat rap, Mac’s debut projects Blue Side Park and K.I.D.S afforded the Pittsburgh native a healthy, potent dose of fame.

Prior to the release of 2012’s Macadelic, Miller moved to Los Angeles. As just a 20-year-old living on his own, the immensity of life under the spotlight paved the way for the creation of something new for Miller.

“It felt like it was my own world. I felt like I could really grow into my own creatively,” Miller said in the short film. “It felt like I could find myself through the music I was making.”

In a discography littered with stunning musicality, the project that best portrays Mac’s personality, artistry, and sonic evolution has to be Faces.

As the elegant saxophone and trippy drums cut in on the grandiose opener “Inside Outside,” and with lines like “All my homies philosophers,” and “On the inside, I’m outside all the time,” Miller establishes a motif that presents itself through a variety of artistic decisions throughout the album: psychedelia. From the production and lyrical content to the cover art, something about Miller dabbling in hallucinatory rap simply fits his artistic aurora. However, this creative direction was triggered by more than just music.

“To have all that space was a pro and a con,” said Miller in an interview with FADER Magazine. "It started with me sitting inside all day. Then I’d get bored, and I’d say to myself ‘Well I can just be high and have a whole adventure right here in this room.’’’

It’s an issue that comes to a head on the elegantly dark “Funeral.”

“Doing drugs is just a war with boredom but they sure to get me/I heard that legends never die, oh this lonely hell of mine,” harmonizes Miller over the track's kaleidoscopic production.

“Funeral” represents the end of a trilogy of songs in the middle of “Faces” meant to represent the three most significant days of a man’s life: the day he’s born (track 10 is titled “Happy Birthday”), the day he gets married (track 11 titled “Wedding”) and the day he dies. With “Funeral,” Mac comes to the revelation that every second he lives could be his last. This recognition of fragility is amplified by the fact that at this point, Miller had already developed a crippling drug addiction that saw him have plenty of close encounters with death. “Funeral” and the trilogy it belongs to is a monumental step forward for Mac in terms of his development into one of the most skilled confessionary songwriters in hip hop.

Another strong suit of “Faces” is its considerably strong guest list. As Miller and Berg describe in the short film, Mac’s home studio acted as a collaboratory.

“I think one of the coolest things about being down there was that different people would always come through,” Berg said as images of Earl Sweatshirt, Vince Staples, ScHoolboy Q, Thundercat, and more collaborators flashed across the screen. “He was eager to learn from others, eager to make people feel comfortable and welcome.”

Tracks like “New Faces v2,” featuring Earl Sweatshirt and Da$h exemplify exactly how integral collaboration was in Miller’s artistic process. Earl delivers what easily could be argued as one of his most impressive verses, while Da$h puts in a solid feature. The exceptional performances by both feature artists had to have compelled Miller to perform at his peak on this track, as that’s exactly what he did. Delivering thought-provoking, yet unfortunate bars like “All my life I’ve been afraid of powder, all my life I’ve been afraid of power, where did all that go,” Miller’s verse is a microcosm of everything Faces does well.

“Faces” was a springboard of an album for Miller. Going on to create classic records like GO:OD AM, Swimming, and Circles following its release, Faces afforded Mac the artistic confidence necessary to fully realize his untapped potential as a boundary-pushing artist. Ultimately, Faces is a mixtape that pushed Mac’s artistry forward in so many ways while staying true to himself. Rest in peace Mac.

“That’s like Mac’s personality,” Berg said. “That’s what Faces is, that’s the most Malcolm album you’ll get.”