Flying 
Lotus
Until The Quiet Comes
Warp
Where the last Flying Lotus album was jam-packed with ideas, almost off-putting (at least at first) the new one floats and wafts and eases itself into place. No aural bombardment, it’s so gentle and easy and light that it could almost give off the idea – on first listens – that there’s less here than there is. But stick with it. Here’s (yet) another album in a line of fantastic work offered thus far by Steven Ellison/Flying Lotus.
I’ll happily state that Until The Quiet Comes is my favourite album from this pioneer; a man whose music has practically become a genre, a musician and producer who has taken the J Dilla template and extrapolated. If Cosmogramma was the party, this is the next day, picking up the pieces. These pieces will in turn pick you up, Brian Eno could never (really) do hip-hop. But, hey, if he could…
Until The Quiet Comes could go on to become a new generation’s Endtroducing…
in that its impact will continue to grow, almost by stealth, even on the back of such huge expectations.
Where Cosmogramma was almost desperate to be constantly astounding (even if it often reached that goal) Until The Quiet Comes is subtle and charming, deceptive. Relaxed. Urgent only when it needs to be – never for the sake of it.
And Until The Quiet Comes cleverly lives inside its own name – urging you to make this the album you listen to until the title’s claim/aim takes hold; that is to say this album has an arrogance about it – rightfully suggesting that the only way to beat it (probably after repeated plays) is to settle for (and into) a form of silence. The quiet that comes – after this album’s journey – is the only logical thing to follow on and follow up.
Flying Lotus albums arrive two years apart – often with EPs, leftovers, remixes and a range of other collaborations and production credits in between them. So it’s staggering to think that the 29 year old has yet to put a foot wrong; so sure of himself, so confident. And again, like DJ Shadow’s Endtroducing, Until The Quiet Comes should go on to live in the spaces between electronica, instrumental hip-hop and downbeat ideas and ideals. A nice home for this album to exist in – a sonic wallpaper of sorts, spread to suit any space and to sit comfortably within any music collection. That’s what happens when you make your own entire genre – and, as has happened here – with Flying Lotus ever the touchstone for widescreen visionaries, for genre-busting producers he’s not only made the music, the music has made him. Deservedly so.