![]() ![]() As Simon Reynolds has said, there is something “quintessentially webby” about Flying Lotus’ work: proceeding as a series of disjointed miniatures, each with its own distinct rhythmic and timbral character, Ellison’s albums generate the same uneasy disorientation created by the labyrinthine hyper-connectivity of contemporary forms of consumption and communication. Where many of his contemporaries were trying in vain to fit ageing forms into new contexts (releasing only singles or pay-what-you-like albums), Ellison utilised the novel modes of cultural perception shaped by the information age as a framework in which he could rework, and completely reimagine, his music. With Cosmogramma, Flying Lotus became one of the first musicians to convincingly address the internet as a central theme in his work. Yet, whilst its contrapuntal web of synths and fragile, jazz-inflected guitars is certainly less imposing than the sonic barrage of his last album, Until The Quiet Comes is like a chamber concerto to Cosmogramma’s symphony: the diminution of scope does not entail a lack of ambition or complexity, only an increased sense of space and separation within the still rather formidable music. ![]() It is unsurprising then that Steven Ellison, the musician behind the Flying Lotus moniker, has described his new album in decidedly more modest terms: “a collage of mystical states, dreams, sleep and lullabies”. #Flying lotus until the quiet comes zip full#A self-professed “space opera” traversing an array of genres from post-dubstep to hip-hop to free jazz, everything about Flying Lotus’ last full length was ambitious, sensorially overwhelming and relentlessly cerebral. Following a work as audacious and seemingly career defining as 2010’s Cosmogramma must be something of a daunting prospect. ![]()
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