The JangleBox

Indie, Noise, Shoegaze… Music

Telekinesis: Dormarion (Merge, 2013)

La música de Michael Benjamin Lerner (Telekinesis) va madurando y el chico a sus veintiseis añetes nos deja Dormarion, ya su tercer trabajo hasta la fecha, además de algunos Ep´s.
Su sonido ha ido ganando, como decía, en madurez y en rotundidad. Para este tercer trabajo ha contado en tareas de producción con Chris Walla (Death Cab for Cutie), y su sonido es algo más agreste que en sus dos anteriores entregas. Pero ésto tiene truco. Porque, como decía anteriormente, sus canciones van creciendo, y como es habitual en tantísimos músicos, su sonido se va expandiendo hacia campos algo dispares a sus orígenes. Y ahí es donde aparecen los problemas, porque la música de Telekinesis (ya sin signo de admiración), es (¿o era?) puro Power-Pop, pura energía, y en este disco lo consigue especialmente en seis temas, justo la mitad de los doce que lo componen: Power lines, Empathetic people, Wires, Dark to light, Little hill y Laissez-Faire.
TelekinesisEs ahí cuando nos encontramos con las guitarras más endurecidas, con la actitud del Lerner de siempre, con la energía que le caracteriza, es decir, con ese espíritu inherente a su música de Matthew Sweet , para que me entendáis.
Pero cuando el chico se pone a juguetear con sintes, con melodías folkies, con medios tiempos… la cosa se le complica, y se le va de las manos, y sinceramente, el interés del disco baja muchos enteros. Probablemente en un futuro será lo que la música de Michael nos depare, aunque personalmente, me sigo quedando con su faceta Powerpopera. Me da más satisfacciones.

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To paraphrase Sam “Ace” Rothstein, Michael Benjamin Lerner’s voice is like an emotional car wash. No matter what Lerner is singing about, it all comes out sounding clean, winsome, andnice. It’s a good voice for the music he makes as Telekinesis— the power-pop blueprint has long relied on boyish dudes who can turn their inner misery into sunny songs, and Lerner’s pipes puts him squarely in the tradition of brooding tunesmiths like Matthew Sweet andFountains of Wayne’s Chris Collingwood. But Lerner’s soft tenor also tends to cleanse his music of any semblance of tension or grit or personality.
Telekinesis’ third album Dormarion is Lerner’s best, most bountifiul to date. At 35 minutes, it’s the longest Telekinesis record by approximately 150 seconds. Sonically, Lerner veers into synth-pop on alluring tracks like the billowy “Ghosts and Creatures” and the near-danceable “Ever True”, and flirts with toned-down hard rock on the magnetic start-stop riff of “Little Hill”. Trading in Chris Walla (who produced the first two Telekinesis LPs) for Spoon’s Jim Eno, Lerner has made Dormarion sound grander and tougher than his old records; he’s looking outside his modest melodic pop-rock for the first time while adding some heft to his always solid melodies. In the studio, Lerner handles almost all of the instruments (though Eno supplies his Bonham-like timekeeping to several tracks), but Dormarion sounds like it was conceived for his road band. As grabby as the New Order-like “Wires” is on record, the big drums and insinuating bassline ought to get hips swinging when Telekinesis plays it live.
Musically, Lerner has broadened his range of dynamics. But tonally, Dormarion is a little flat. Opening track “Power Lines” has the standard Telekinesis structure: A quiet acoustic verse, an explosive chorus, and Lerner’s sweet vocal confessing bitter truths. “I’m a broken man,” he sings. “I’m damaged goods.” Several tracks later, the low-key jangler “Lean on Me” is selling fantasies of idealized domestic bliss: “We could cross the country in our beat-up truck/ stopping every minute because the thing don’t run/ but I don’t care because we’re in love.” Lerner’s delivery is the same on both songs– happy or sad, he sounds blank. He’s like a narrator with no vocal inflections, which makes accessing something resembling an emotional core beyond the surface beauty of the songs very difficult.
If Dormarion is a record of superficial pleasures, at least those pleasures are considerable. As a craftsman, Lerner must be counted among the best young pop songwriters working in contemporary indie rock. At his best, like on “Wires”, he offers a wealth of hooks in the verse, chorus, and bridge. There’s no question he can put a good tune together; what’s less clear is whether he can interpret those tunes as well as he writes them, and breathe a little flesh-and-blood human messiness into them in the process” (Pitchfork)

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17 agosto, 2013 - Posted by | Telekinesis

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