The Movement
label: n/a

production: Mr. J, Great Jason, Stro, Flynn.

guests: Terry McFly, Great Jason, LightHeaded.
year of release: 2005
1.
Rock-On
2.
Release
3.
Dead Beat Dad
4.
California Lyricists feat. Terry McFly, Great Jason
5.
Freedom
6.
The Movement
7.
Sing (Interlude)
8.
Four feat. LightHeaded
9.
Sunny Days
10.
Open Book
11.
Focus
12. Limelight feat. Terry McFly, Great Jason
13. Change
14. Shine (Outro)
  Four feat. LightHeaded
There's something highly ironic about this release: In several of the songs Sharlok Poems (of the L.A. Symphony stronghold) complains about how artists do the same things over and over again and create nothing new or creative. Now, not only does Sharlok rhyme about that over and over again, oftentimes he does not create something new with neither his rhymes nor his lyrics. Instead there's quite a few tracks on here that are severely uninteresting, featuring rather bad 'indie guy tries to make mainstream music.' Listen to "California Lyricists" which in both ways (lyrics and beats) is just plain 'been there done that.'
The album starts right though, as "Rock-On" has Sharlok spit rhymes to get you moving over a organ laced beat. The beats on "Release" and "Dead Beat Dad" are okay too, but they are nowhere near anything that would demand the describing word 'spectacular.' Lyrically Sharlok is much better, despite his more or less simplistic delivery, the content on "Dead Beat Dad" is deserving as much respect as you can muster. The first verse is forwarding words of support for women, while the second explains how such a 'dead beat dad' can enter the picture. The positive message of "Freedom" also attracts our praise, while the beat is half an inch closer to the left, if the right is good and the left is bad. And the exact same conclusion can be drawn about "The Movement."
That's about half of the album though. There's another half though, and that one is more interesting, because Sharlok actually has the courage to really try new things. And when he does, new means new or at the very least different and unexpected. As there's suddenly very low booms and an industrial roughness to "Four", a collaborative effort by Mr. J the producer (who did the majority of the beats), Sharlok and LightHeaded. This actually counts the number of elements in the hip hop culture and as such again meets our praise. The vibe gets a little softened, but there's still hollow tubes on the Flynn produced "Sunny Days" before "Open Book" gives a completely soft aire and sounds quite alright with Sharlok's introspective rhymes. "Change" finally is very abstract, as Flynn keeps the beat to very few elements that build towards a stampede that however only appears on "Shine (Outro)", an ambient breakbeat song, where Mr. J actually shows his versatility.
The second track where Terry McFly, Great Jason (both on rhymes and beat) and Sharlok team up (the first was "California Lyricist") is much better, even though this again qualifies as an indie doing vanilla flavor (i.e. everybody's supposed to like it) type music. Add to this the very forgettable "Sing (Interlude)" and the basic but okay "Focus" and you have what is "The Movement". Considering the beats and the lyrics, there's much more appeal in the honest, positive and mature lyrics. The beats lack character to do much more than merely accompany the words. That's the main struggle for this album, which does unfortunately little that you'll remember it for and that you'll go back to it for.
review: tadah
   
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