![]() The harmony on "Farmers Road" is locked in tightly, and "Ad Infinitum, Pt. Lerner's songwriting is direct and even with all of this gadgetry he has a knack for a simple, effective melody. (Though it doesn't induce as much of an eye roll as Limp Bizkit's Speak & Spell experimentation, it's not quite as cool as what Robyn and Röyksopp do with the machine.)ĭespite all of this, the songs still sound very much like Telekinesis. ![]() Whether it's a nod to the aforementioned Depeche Mode debut or not, it feels forced. Lerner gets in his own way on this song though, when he employs an actual Speak & Spell machine. "Sleep In", with its light hip-hop beat and elfin ba-ba-ba-ba-ing is Ad Infinitum's most innovative track. Though Lerner has learned well how to make these sounds, he doesn't elevate the form enough. ![]() He utters the word "forget" in more than half of the songs with lyrics, and "future" on three separate occasions. They're often vague and seem like they were the final pesky pieces that he fit into the process. But the problem with taking on so many new responsibilities is that something's got to give. Lerner also produced the album-a first for him-with some assistance from Eric Elbogen of Say Hi. 1" recalls the grandeur and evocative melodrama of the first side of Disintegration. "Edgewood" sounds like an outtake from Speak & Spell and the instrumental "Ad Infinitum, Pt. "This proved to be incredibly time-consuming and, at times, a ridiculously difficult task," he writes.Īll of that ridiculous difficulty was time well spent: he has made some beautifully textured music with moods that recall the original '80s heyday of synthpop. Detailing his transformation in a piece for Medium, he says he spent much of the past two years amassing and learning how to use a collection of vintage synths, as well as hook them up with newer technology to make new music.
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