With his third solo album, Jamie Teasdale aka Kuedo takes another step back from the aggressive dubstep of the 2000s, away from his former duo Vex’d and from his musical roots. Instead of hard breaks and calculated drops, »Infinite Window« features a host of modular synth arpeggios with rather unusual beat cascades that build nuanced and dark soundscapes like those from science fiction films – »Blade Runner« sends its regards. And although contemporaries like Oneohtrix Point Never or Jlin also use vintage synths and sometimes similar drum programming on their tracks, it is the influence exerted by the recently deceased Vangelis that is most noticeable and audible on »Infinite Window«. Kuedo’s nostalgic futurism also works best as a future retrospective of a better, yet now long-dead past. In a scorched, desolate world where time and memories slip through your fingers like sand (»Sliding Through Our Fingers«), which is beautifully illustrated by Raf Rennie’s cover art, only a few artefacts from the past remain that you can actually still use. One can only hope that – let’s say – in the year 2080, a dusty copy of »Infinite Window« will turn up somewhere and can still be listened to. Furthermore, this particular retrospective also has an astonishingly empowering side to it, because viewed from a dystopian future, civilisation, along with all its problems, is actually (still) doing quite okay today.
Oh No Noh
As Late As Possible
Teleskop