Jamie Teasdale’s music as Kuedo has always struck an interesting balance between the physicality of the big beat and the drifting, icy quality of early-’80s synth music: think Vangelis’ Blade Runner soundtrack or Tangerine Dream circa Risky Business—with drops. Where 2011’s Severant drew on the rhythms of dubstep and UK bass, Infinite Window sounds closer to American hip-hop: the galloping trap of “Time Glide,” the stabbing synth pads of “Harlequin Hallway.” That Teasdale’s other professional work includes sound design and composition for brands like Fendi, Bulgari, and Iris van Herpen makes sense: Even Infinite Window’s most propulsive moments don’t evolve so much as hover like luxury objects on crystal pedestals—sleek, beautiful, alluringly out of reach.