First, a word of note: I can’t get enough of Daniel Leznoff’s Demonstration Synthesis. A Cerberus stalwart for nearly two years, I felt it was wise to push back against the sheer scope of his release schedule and let the material breath. I ingested his releases without writing reviews, because they left me speechless. I had hoped that people would come to DS themselves and discover a blossoming personality that is truly taking synthesizers to all points of the universe without falling into the orbital pull of extraterrestrial expansion. So far, Leznoff has found a way to keep his musings grounded, with is the appeal of many of his releases. So why break radio silence for DS22? It’s going to sound like a broken record but Leznoff has topped himself again. Visiting pop, rock, dance and Kubrick’s vision of the future all in the space of a single cassette, DS22 is a wizened piece of synthesized art. Though not as cohesive as past DS compendiums, that does not work against DS22. Rather than a greatest hits or some thrown together primer on his “best” work up until this point, Leznoff does what he has always done: reinvent. The purpose of his multitude is to show growth, and perhaps even in a scholarly method, present said growth. The synthesizer is often stuck in time, but Leznoff is one of the few (and yes, it really is a very small pool) who understands an instrument is just a tool that can bend will and emotion into art. Leznoff is always reaching to that next goal, so as stellar and magnificent DS22 may be, it’s not going to last. So if you’re still not on board, there will be other stops to jump on this always moving bandwagon.
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