Kuedo’s Cinematic Synth Futurism | DJMag.com
Back with his third LP “Infinite Window” on Flying Lotus’ Brainfeeder label, 2022’s Kuedo feels more cinematic and rhythmic than ever. It’s hard to pick just one global influence on his new record. What soundtracks was he immersed in at that time? Has he ever seen himself as a composer or a filmmaker rather than a musician?
“Although the first tracks I released were in the British dance vein – grime, garage, jungle – I became increasingly impressed and intrigued by more visually and emotionally evocative records, be it Vangelis or Cocteau Twins. “, he says. “But there were a lot of internal barriers in the way, both in teaching me how music worked and in just daring to think of myself as a composer rather than a beat producer.”
This more orchestral direction was reflected in the releases Kuedo oversees through his Knives label, but when it came to his own production, Teasdale remained silent after “Slow Knife” until it resurfaced with a soundtrack. of the documentary, The Sprawl, two years ago. So what was he doing in between, and why did his third LP take so long?
“After ‘Slow Knife’, I focused on working on stuff for other people and making music for production companies. I was employed as a virtual reality sound designer for a while. I Also had a kid coming, and I wanted to be a parent rather than tour. Some people can stay productive in the evenings when they have really young kids. Honestly, I’m just in awe of them. They’re a mystery to me. .
“Inevitably, I started writing my own music again, but then the pandemic took the time I had left since all preschools closed. So yeah, things slowed down. I almost released ‘Infinite Window’ in 2018 or 2019 as an EP, but I’ve committed to making it an album for Brainfeeder instead.