Dormarion, the third album by Seattle singer-songwriter Michael Benjamin Lerner, known on stage as Telekinesis, is a concise little pop album that clocks in at barely over 30 minutes. The album is a blend of pop and rock music but with a definite indie heart; all 12 songs feature strong, head-bobbing beats. Lerner’s real strengths as an artist are showcased in the love songs on the record, which are like poetry brought to life by music.
The first track, “Power Lines,” is a strong start; it sets the nostalgic tone for the rest of the album. This is one of the album’s love songs, and Lerner’s talents as a songwriter are evident.
Songs two and three, “Empathetic People” and “Ghosts and Creatures,” sadly fail to fulfill Telekinesis’ real potential. The former is upbeat and catchy but the lyrics suffer for it, getting caught in the electronic noise, while the latter has beautiful lyrics that simply don’t flow with the melody.
Unfortunately, Dormarion does nothing to redeem itself with “Wires.” By the fourth track Telekinesis’ sound is already getting a little old.
Fortunately, Lerner discontinues this pattern with track five, “Lean on Me.” Perhaps the best song of the entire album, Lerner pours his heart and soul into this romantic ballad. The listener gets the sense that Lerner is truly singing a personal message – the song is intimate and yet also catchy.
“Symphony,” the sixth song, has more of a bluegrass feel. Lerner is again conveying a sense of longing, of missing the one you love and trying to get back something that has slipped away. The dream-like quality and raw, human emotions, combined with prosaic lyrics, make this a potential single off the album.
Just as things start to get good, however, song number seven, “Dark to Light,” disappoints. The lyrics are relatable but something is missing. Lerner would do better to lean away from the electronic, synthesizer sounds and stick to real instruments. Track eight, “Little Hill,” is completely forgettable in the scheme of things.
Redeeming himself, Lerner’s ninth track, “Ever True,” drops the somber mood and starts to sound like a celebration. The catchy, personal lyrics brand Telekinesis as a real pop artist.
Song ten, “Island #4,” gets back to the crooning, mournful mood of the first half of the album. While an unlikely single, “Island #4” does certainly have its own appeal to those more reflective and soulful listeners.
“Laissez-Faire,” the 11th installment of the album, is quite catchy and short, as opposed to the final track, “You Take it Slowly.” With the 12th and last song, Telekinesis ends Dormarion in a very graceful, if boring, way.
“You Take it Slowly” is a fitting summation to the album as a whole. The wistful feel, peaceful melody and highly metaphorical lyrics intrigue without really engaging. Lerner is obviously doing his best to connect with his listeners, but there seems to be a missing link. Telekinesis has been labeled by radio stations such as NPR as a “power pop” band, but by the end of the half hour, there is no real sense of strength.
Although unsatisfying as a whole, Dormarion need not be completely dismissed by listeners. “Island #4” and especially “Lean on Me” and “Symphony” are worthy pieces of music in their own right. If Lerner had applied the same combination of thoughtfulness and honesty to every song, Dormarion could have been an achievement to be reckoned with.
