Head here to submit your own review of this album.

Telekinesis is the moniker which multi-instrumentalist and singer-songwriter Michael Benjamin Lerner has been releasing music under for the last seven years. On his 2009 debut, Lerner married candied hooks and bubblegum riffs to wide-eyed wondered themes of young love, while his fatalistic 2011 follow-up found catharsis by way of fuzz guitars and pensive balladry as he dealt with the subsequent break up. On his last effort, Domarion, Lerner mixed up production by enlisting the services of Spoon drummer Jim Eno, but still it was a process which seemed to draw one too many times from his well of creative inspiration. Keeping to the biennial staple of releasing a record, when the drummer-vocalist went down to his basement to begin work on album number four, he found a spark was missing: "I started playing the same chords I always play, but I just felt like I'd exhausted everything I knew. I was not excited at all. I just could not make another power-pop album."

The obvious antidote was to look back for future inspiration. Lerner began experimenting with vintage synthesizers and drum machines to an almost obsessive degree before eventually arriving at the retro futurist, electro-pop formula which would inform Ad Infinitum and afford him a gateway to the artistic shake up he craved. The album opens with a throbbing clicktrack and cavernous synth notes as 'Falling (In Dreams)' swells into an eerie, amorphous soundscape before being cut short and replaced with the Krautrock indebted, TR-707 strut of 'Sylvia'. Just as sudden is 'In A Future World', which halts at the 3-minute mark, but only after Lerner has turned a caustic eye to the inevitable march of modernity ("In the future world, there's nothing to say, in the kaleidoscope, no transit state") amid a wave of runny, polychromatic synths, church bells and heavily reverbed drums.

For years, Lerner has been a foremost presence on any number of forum "underrated indie musicians" threads with the variety of his songwriting usually one of the main contributing factors. Playing out like a New Order tune in slow motion, 'Sleep In' crystallises his knack for a hook with his new found experimental bent by utilising a Speak & Spell to fill in the space between ping ponging synths. If its unabashed feel-good summer pop vibe might prove a bit too saccharine for some, then the likes of 'Edgewood' and 'It's Not Yr Fault' pack a fortified dance-rock groove that you might expect to turn up on the DFA back catalogue. Split into two parts is the title track closer; the first a melodramatic instrumental reminiscent of Angelo Badalementi's Twin Peaks score, the second an impassioned, if not slightly schmaltzy piano ballad.

Even if parts of Ad Infinitum might not come off, it's worth remembering that Lerner had to teach himself how to play half the instruments featured from the ground up. Still in his 20s, it feels like the project is another string to his bow as a musician, rather than a defining turn of direction. Whether it's enough to propel him to the wider mainstream conscious just yet is another matter, but you get the feeling that for now, Lerner is happy being stuck in the past, when he's obviously having so much fun honing his sounds for the future.

This is the place you'll find reviews from 405 Readers. To join in, head here.