It isn’t upbeat, yet drives on, and is held together by clear and clean piano chords that evolve into Lerner’s familiar synth. It is the most obvious choice for finishing this record and leaves the listener spellbound. 2” is hands-down the best track on this album. I” is short, yet an excellent display of talent and skill. Though there is no singing, there is a clear crescendo in intensity near the center of the track and an equally clear decline in excitement towards the end. 1” is an entirely non-vocal track that shows Lerner’s knowledge of composition and organization of sound. Though this song didn’t have the upbeat qualities of previous tracks, it’s quiet organization and thoughtfulness towards blending really made it shine out on the record. The electronic qualities of the track shine through at about the one minute mark, which gives the track enough cohesiveness with the rest of the album to include it. This adds a nice amount of variety to the album that I really enjoyed. “Farmers Road” begins with a dramatic piano-driven opening line and subdued vocals. Regardless, “It’s Not Yr Fault” has the same driving synth, but is lackluster compared to earlier tracks. Perhaps he did not know which version of “you(‘)r(e)’ to use, or perhaps this is some artistic statement that I’m not catching. First of all, I would like to say that I do not appreciate Lerner’s abbreviation of “your” in the song title. “Its Not Yr Fault” is the seventh track of the album. The close of “Edgewood” enters into a slow breathy interlude, which doesn’t quite fit in. The vocals in the beginning of this song are a bit off, but the beat is so strong and the guitar melodies really drive the track. The quick synth hits give the song an unreal characteristic. “Edgewood” brings back the video game quality of “Sylvia” as the sixth track. It seems like these pieces shouldn’t fit together, but Lerner somehow makes it all flow into one unified track that is thoroughly enjoyable. These layers include backup singing that sounds like a child, as well as radio noise and a driving snare drum. It begins with a low synth beat that adds eventual layers. The fifth track, “Sleep In,” definitely has the most interesting opening musical phrase of the album. Vocal aspects in this track are stronger than in others, leading to a more successful track overall. The most enjoyable aspect is the strong electric guitar that interludes with the vocals.
This track gets going straight from the opening note. “Courtesy Phone” is the fourth track of Ad Infinitum. This song is the perfect combination of upbeat and lazy– it shouldn’t make sense, but it does.
#Ad infinitum review movie#
This is movie music– this is a song that should be played when a badass posse is walking down the street. It begins with a gentle synth beat and continues into a laid-back, yet driving rhythm. “In a Future World,” the third song of Ad Infinitum, is a clear winner on the album. The lyrics are not particularly stunning, but “Sylvia” offers an interesting, almost video game-like vibe to make up for it. The following track, “Sylvia,” picks up the pace a bit more than the opening song and has an overall stronger drive. It does not shine in comparison to other tracks on the album, yet is a decent choice to kick off the record.
This track has a relatively slow-going and drawn out beginning, but builds in intensity as it continues. The first track of the record is titled “Falling (In Dreams),” and is a perfect example of the aforementioned cool baseline as the standard for the album. The record is a glimpse into the past, bringing back the vibes of 1980s synth pop.
#Ad infinitum review full#
Lerner released his fourth full length album under this name on September 18, 2015, entitled Ad Infinitum.Īd Infinitum lays down an easy, electronically-inspired baseline within each track in order to layer melodies creatively from this central point. Telekinesis is one of the artist names of synth pop revivalist Michael Benjamin Lerner.
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