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Preoccupied with notions of futurism and escapism, the debut full-length from Jamie Teasdale's Kuedo is an album of dreamlike electronica quite different from what he made as one-half of dubstep innovators Vex'd. For Severant, Teasdale eschews many of the endless technical options available to the modern producer, rendering his tracks at a quicker pace to reveal a lighter, more truthful music. The album explores the space between real life and the detached world of the imagination-that feeling of coming out of a daydream, drifting back into the day-to-day grind. Musically, Severant is in a sweet spot between the innately futurist synth soundtracks of Tangerine Dream and Vangelis and the emotionally ambivalent, materialist fantasies of groups like The Clipse. Its rhythmic inspirations come from what Teasdale calls "the two ultramodern musics" of the day: the footwork movement from Chicago and the drum-machine grinds of so-called "coke rap." He says, "I wanted to capture a really futurist sentiment, kind of melancholy and grandly luminescent, so I used the instrument that most evokes that for me-that sweeping Vangelis brass sound." The album's title refers to stark changes in Teasdale's life that occurred during its recording, and the tracks are strangely reminiscent to scenes of a film. On repeated plays, different elements rise to the surface, further developing the story in the listener's ears and mind.
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This album is impeccable full of fantasy and absolute beauty, thoughtful, precise and concise, this grand production makes us think about our interior, the melancholy, fantasy and introspection.
It is one of the most beautiful I've heard in recent times.
Also available on CD and Vinyl. Vinyl format comes with free digital download code.
Now I leave the review and perfect description of Planet Mu:
On his debut long-player `Severant', Jamie Teasdale a.k.a. Kuedo has made an album of dreamlike music, loaded with his own preoccupations with futurism and escapism, that's very different from his previous output as one half of Vex'd.
With his intentions re-evaluated for the making of this album, his process to capture them has evolved to a more automatic way of creating tracks, cutting back on the endless technical options available to the modern producer and rendering them at a quicker pace to reveal a lighter, more truthful music, as he puts it: "On the side of modernism".
In terms of feeling, `Severant' explores the space between the detached world of the imagination and the real-time world; that feeling of coming out of a daydream, on the edge of the drift from the day-to-day grind. Jamie says of this moment "As reality shapes imagination and escapism affects your choices in the real world, there is a strange relational loop between the two and the space in between the two. There's a bitter sweetness in that gap, it has a certain emotive quality, kind of in between being and non-being".
Again, musically `Severant' is inspired by related themes. It sounds as if it's in a sweet spot between the emotive, innately futurist synth soundtracks of Tangerine Dream and Vangelis, borne from a time when the very idea of futurism was more prevalent, in combination with musical ideas and inspiration from the emotionally ambivalent, materialist fantasies of `coke rap` such as The Clipse. Rhythmically the record is influenced by what Jamie calls "the two ultra modern musics of modern times", footwork from Chicago, which Planet Mu has explored in depth on its recent releases, and again the drum machine grids of coke rap. Jamie says "I wanted to capture a really futurist sentiment, kind of melancholy and grand luminescent, so I used the instrument that most evokes that for me - that sweeping Vangelis brass sound." And on coke rap he talks about the emotional `half being' of the music, the energetically charged, detached ambivalence of the MCs, and the admission that the MCs could be "fantasising without admitting to doing so."
The title `Severant' refers to stark changes of circumstances in Jamie's life when the album was made and the music works strangely like scenes from a film: tracks are concise and direct and one of the albums great and unusual strengths is that on repeated listens different songs rise to the surface and the album repeatedly changes and develops in the listeners ears and mind.
This is an album that mind-bogglingly succeeds at integrating the skittering rhythms and energy of Chicago Juke/Footwork into classic early-'80s electronic and ambient music, stabilizing the entire package with cinematic elements that are not, surprisingly, cheesy at all. During 2011 and 2010, I've found it very interesting how dance producers are approaching the Juke/Footwork aesthetic currently gaining amazing amounts of international critique, and either recontextualising the style into a more popular one or, like the label Planet Mu, taking it on almost as their child savant, giving it space to grow and show off its raw and unadulterated talent. Planet Mu also gives the hi-fi vinyl treatment to straight-up Chicago Juke and Footwork which popularized itself by cellphone and Youtube videos--what a riot, that is. From what I can gather, this style has taken a saturation of pop and hip hop music inevitably found throughout the South Side of Chicago (and, like, everywhere else) and set it out to dry--no, wrung it tight in strong hands, forced dry in seconds--letting any remaining dampness bake and sizzle in the sun. The crustiness of the scorched pop and hip hop rag begins to disintegrate, and each particle is used to decorate urban monuments of fractured, perpetually crumbling mainstream relics. To this decorating, Kuedo contributes using long, wide brushstrokes of syrupy, oil-based paint.