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As for the triplet composed of 'Infinity', 'Glorious Night' and 'Make Me Believe', its incendiary double-pedal and its melodic lines and vocals refer irremediably to the best of Stratovarius. The vocals of Hene Multher is not without reminding sometimes that of Tony Kakko ( Sonata Arctica) by its variety being able to translate the fragility ('Surrender') as well as the anger ('Master Of Disguise', 'What I'm Made Of'). What relationship with Finland will you say after reading this introductory statement? You will soon understand it.įrom the first notes of 'Emergency', which launches the celebrations, it seems clear that the Lucerne sextet has left an ear on the side of the land of a thousand lakes, and in particular on the works of a certain Nightwish from whom it borrowed majestic keyboards and a science of the big symphonic riff that crushes everything in its path while remaining particularly melodic.

So it took the same amount of time for the newcomer. It took the Swiss band ten years to release their debut album 'A Deep Breath Of Life' (1998), then another six years to release 'King For A Day' in 2014. Although 'Ad Infinitum' is only his third opus, Crown Of Glory exists since 1998. Ad Infinitum might be the sound of an artist challenging himself, but it's not the sound of an artist challenging his listeners.If these two countries are famous for their social serenity and their numerous lakes, Switzerland and Finland also share the characteristic of producing many talented rock bands of all kinds. The songs he summons from the synths offer proof that there were more songs left in him, but he's still digging in the same mine. Lerner has reportedly said that he started collecting vintage synthesizers because he felt like he had already gotten all of the songs out of the guitar that he could. He could even do them on an acoustic guitar, as he is wont to do. 2' feels like it's threatening to break into 'Shining Star' in the chorus. The tunes are sturdy, and depending on how ambitious Lerner is with this tour, he could easily put any of these songs into his comfortable power trio arrangement. 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.

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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.

Ad infinitum review