![]() ![]() While not entirely experimental, Ad Infinitum explores darker and more mysterious territory than Telekinesis has in the past, a fitting direction for this more mechanical journey. ![]() Telekinesis has excelled across three albums with noted indie rockers as producers-Chris Walla (Death Cab For Cutie) and Jim Eno (Spoon)-and by taking the reins himself as he pushes out in a new direction, Lerner signals an eagerness to challenge himself on multiple levels. The power-pop Telekinesis only truly fades away on the heavily electronic “It’s Not Yr Fault” and the stripped-down, ambient-inspired title suite, but on both ends of the spectrum, it’s a pleasure to hear Lerner discovering something new. While it may not be easy to draw a straight line from “In a Future World” and the New Order-esque “Edgewood” directly through to great Telekinesis tracks of the past, like “Car Crash,” there’s still an essential quality of Lerner’s that shines through. Review: The trailer of A (Ad Infinitum) looked promising, with the dialogue Science demands sacrifice making one expect something more than the usual drama. It has playfulness, dark edges, a propulsive beat and uplifting melodies-in short, a fullness that doesn’t simply come from manipulating a synthesizer. Lead single “In a Future World” is one of the strongest Telekinesis songs to date, regardless of style or instrumental building blocks. Telekinesis began leaning more than a little in the direction of Ad Infinitum on 2013’s Dormarion, so at the top of the sequence, songs like “Falling (In Dreams)” and “Sylvia” work as introductions to the synthesizers than departure points. Lerner may have raked in a bit of inspiration from touchstone albums like Depeche Mode’s gold-selling debut Speak & Spell and New Order’s Power Corruption & Lies that are a generation old, but nothing on Ad Infinitum is chasing those same trends. But on Telekinesis’ fourth album, the synthesizers serve to refocus rather than reinvent his songwriting.Įlectronic pop music is nothing new in 2015. Exploring songs from a different angle and becoming engrossed in learning and toying with his new collection of synthesizers clearly resulted in more free-flowing creativity from Lerner. But it is a masterclass in ruin, working on too many levels.What’s a songwriting drummer to do when he puts away the sticks in favor of vintage synthesizers and drum machines?įor Michael Lerner, making music with machinery hasn’t dampened or reoriented his melodic gifts. There is genuine invention in the mishap, chains of events that grow inexorably bigger in their destructive power. You have to congratulate the art director and his team for their imploding household, the final crash of the huge staircase has a disaster-movie like flourish to it. I am sure that A will set a new trend.' Preeti Asrani said, 'My characters name is Pallavi in the movie. The buzz around the movie is going up day after day. Director Yugandhar seems to be making an experimental movie. Hanks and Shelley deliver little charm, and little brain, making it hard to sympathise. This is a distinct flick and not a regular one. Read A - AD INFINITUM Telugu movie users reviews, public reviews, user reviews and rating only on FilmiBeat. But funny, how? Yet, that is the purpose of director Richard Benjamin, with Steven Spielberg also putting his name to the duff project as some extraneous producer, who never finds anything in the characters, their hopes and dreams dashed by their situation, beyond physical collapse. Check out A - AD INFINITUM Audience Review. There are those, assuredly, who might relate to home renovation tribulations and builders shaking their sorry heads, while snickering to themselves as they estimate, “two weeks,” on repairs. There isn’t really a point here, just a juvenile love of destruction, the symbolic piano crashing to the floor ad infinitum. It doesn’t work, there’s nothing but dust in the air and plaster on the floor, with Hanks and Shelley Long straining to turn desperation into punchlines. A stretched Tom Hanks comedy, built with the sole purpose of literal cinematic wreckage - the gradual collapse of a house played as extended slapstick routine. AD INFINITUM conjures a new spell, transforming their debut album into an enchanting acoustic reimagination As the penultimate song on Chapter I Revisited, Demons arises as another emotional and intense performance by AD INFINITUM’s multifaceted vocalist Melissa Bonny, accompanied by harmonic instrumentals while presenting the anthemic.
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