Album Review: This Unruly Mess I've Made by Macklemore and Ryan Lewis

Amongst well-intentioned pleas for social change of all sorts, Macklemore & Ryan Lewis have fallen just short of the banal-profound threshold.

Don't get me wrong; This Unruly Mess I've Made – their latest album, released last week – certainly undulates evenly between moments of light-hearted merriment and solemn reflection. My personal highlights could be found among the former; the tracks intended merely to lift our spirits and drop our burdens for just a few minutes at a time. However, the surplus of “school of hard knocks” songs was too same-old for someone in my innovation-seeking shoes.

When Macklemore (and oft-forgotten sidekick, producer Ryan Lewis) seemingly popped out of nowhere with the unavoidable “Thrift Shop” back in 2012, we'd have been forgiven for wondering who this coat-donning man was and where he came from. Peculiarly enough, he's been in the business since the age of 17 and released his first solo album eleven years ago. It is pertinent to note this in terms of his latest release, as the final, and perhaps standout, track “White Privilege II” comes as a sequel to “White Privilege” from 2005's The Language of My World.

The anthemic piece is a monologue of sorts; an admission of Macklemore's own inner conflict in regards to the Black Lives Matter movement. Its basic premise is an attempt to strike a balance between bringing to light racial issues (particularly those of the United States) by using his position of prominence, and knowing when to step back from somewhere he shouldn't be. In simple terms, “White Privilege II” is a confession of uncertainty, and perhaps even guilt.

It cycles between voices of the presumably prejudiced alongside TV static, name-drops and introspective rhetorical questions, to name a few components of this soundscape. The use of sounds that aren't commonly considered musical was highly innovative and effective. On first listen, it is hard to absorb the immensity. Nevertheless, once you're able to unpack each facet, the song leaves us with an echoing moral which is all too relevant in our current social climate. Even Macklemore himself said in a January interview with Rolling Stone, “This song might affect sales, this might affect touring, but it doesn't matter if I'm not speaking up - if I'm not pushing myself to speak truth.”

This song features mild coarse language.

Keeping on with the hard-hitting themes, opening track “Light Tunnels” is a first-person walkthrough of an awards ceremony, but not through the eyes you'd expect. A cynical Macklemore outlines the vapid shallowness of such events, noting the abundance of “insecurity dressed up as confidence” and encourages us to reconsider what success really means. I found the subtly orchestral backing track to be a fitting addition to this tale. Still, though the message is certainly a vital one, its delivery didn't strike me as anything unique.

The same goes for tracks “St. Ides”, “Buckshot” and “Need To Know”. Their struggle-based lyricism - telling tales of drugs, graffiti and alcohol - did little to rouse me, despite their overarching positivity. It may seem flippant to bundle three songs together like this, but it’s hard to distinguish a prominent message from each. The minimal clicking and clapping in “Need To Know” seemed to be almost awkward when considering the production talents of Ryan Lewis. In saying that, the soft, almost indie pop-esque backing track of “St Ides” was aurally captivating.

Lead single (and moped tribute) “Downtown” was a pleasant surprise for me. Cashing in on the 'retro' trend, I was instantly appreciative of the '80s vibe throughout. The inclusion of four featuring vocalists - namely Eric Nally, Melle Mel, Kool Moe Dee and Grandmaster Caz - had me sceptical at first, but the transitions between them worked smoothly and sharply. It was obviously not intended to be insightful in its lyricism as I often tend to prefer (I was particularly amused by the rhyming of "tearing my suit" with "tiramisu") but in this case nonsensical works. Kudos for converting me, Mr Lewis and Mr... More?

Similarly, “Dance Off”, featuring the dulcet tones of Idris Elba accompanied by a “Thriller”-esque synth loop, has fun written all over it. A simple story about an intense dance-floor confrontation is exactly what is needed to break up the confronting nature of some of the album's other tracks. I'd say there were a few too many genitalia references, but hey, this is hip hop.

This Unruly Mess I've Made appears to be a continuation of the humorous reputation Macklemore and Ryan Lewis developed with 2012's The Heist, but simultaneously links back to their fondness for social issues.

For dedicated fans I've no doubt this sated their four-year hunger, yet casual listeners - such as myself – will likely find it hit or miss. I particularly felt as though Lewis' expertise was not utilised to its potential, leaving many songs missing the mark in terms of sonic possibilities. Nevertheless, the key thing I gained from this album was a high level of respect for the duo's positive use of their notability.

If I could tell the duo one thing, I'd reassure them that this isn't an 'unruly mess' at all. Maybe just a little bit of a mishap here and there.

2.5/5

This Unruly Mess I've Made is now available.

This song features mild coarse language.

Eloise Parks is one of Student Edge’s student contributors. Learn more about the contributors program.