Flying Lotus - Until the Quiet Comes

HipHopDX Editor's Rating:

  • 1
  • 2
  • 3
  • 3.5
  • 5

Average User Rating:


13 people have voted.

5 is the most popular ranking.

8 people gave it a perfect five.

Cast your vote »

Most endeared by ambitious beatmakers, Flying Lotus' experimental streak nearly becomes a flaw on "Until The Quiet Comes."

Comparable to the larger profiles of Danger Mouse, DJ Shadow and Madlib, Flying Lotus is a musician and producer rooted within Hip Hop yet steadily toiling outside of its exclusive confines. As the visionary force behind sensational jazz singer Jose James and bassist Thundercat, his wide range has earned a respectable online presence that has extended to instrumental works featured on Blu's NoYork! LP and Adult Swim. Routinely honing the craft he has built since 2006, Until The Quiet Comes is the latest trip through the evolving trajectory of Flying Lotus.

Most endeared by avant-garde critics and ambitious beatmakers, Flying Lotus' experimental streak nearly becomes a flaw on Until The Quiet Comes. As its title suggests, the album is a collage seemingly designed for consumption at night before slumber as heard on the ambient "All In," the appropriately named hypnotic "DMT Song" and the trance inducing "Phantasm." His adulation resultant from pushing the envelope, Lotus tampers with a number of sounds and frequencies to make a creative mark that would be highly impressive were it a bit easier to follow. Where Erykah Badu should be a sure shoe-in for garnering attention, the complex arrangements on "See Thru To U" are overbearing though remedied by the mellow title track and the catchier head nodder "Putty Boy Strut," slight reprieves from the disjointed rhythms found throughout.

While Flying Lotus takes an approach that is interesting enough for the openminded and readily comprehended by those already immersed in his catalog, the soothing qualities of Until The Quiet Comes aren't compelling so as to win over untrained ears. With points rewarded for originality and innovation the composer's greatest strengths are also his faults, as this effort lacks cohesion and sensible sequencing making for an exercise in patience that only biased fans would process as a sign of genius.


  • Leland

    Definitely check out the visuals for this album, stunning.

  • ShystyOne

    Solid album, love zoning out to his sounds with some herb.

    • ILIkeThis

      I have only just heard about these, like you say you can just have clarity of thought for a while (until you get too high). Very creative people

  • futuristik

    yo i think this shit isn't retarded enough for narrow minded beat fiends. sorry u conceited sausage rappers -- some of us grew up since 1994

  • bonita

    his wackest effort yet, sorry flylo

  • Anonymous

    crap. this is not rap its instrumental shit. i know a 5 year old who could make better music

  • Gumbo

    Bad Call. We all disagree with your 3.5. Album is beautiful. Its moments of disjointedness make its moments of clarity so much more powerful. Flying Lotus' melodies, harmonies, and textures still make for awesome music without consistent beats under them.

  • Anonymous

    I love this album. In my opinion, it's FL's best and most coherent work to date. Hell, I think it's miles better than "Cosmogramma" which was marred by what I'd call too many "horrible noises". This is maybe less creative and avantgarde, but sooo much easier on the ears... Funny how reviewers are split on this one though: most agree that it might just be his best and most coherent work yet, others argue that it's not as good and less coherent than his previous works...

  • Allmusic

    Rewarding as it was for most lovers of 1983 and Los Angeles, Cosmogramma was so complex and knotted that Steven Ellison's next step could have gone beyond the challenging and into the self-parodic. On his fourth album, Ellison not only peels away layers from his sound but organizes his tracks into a gracefully flowing sequence. The producer once again draws from numerous instrumentalists and vocalists, from Brainfeeder associates Stephen "Thundercat" Bruner and Austin Peralta to the likes of Erykah Badu and Thom Yorke. Bruner has the most presence. His tremulous basslines are on nine of the album's 18 tracks, and his spaced-out, quasi-oracular vocals poke through on occasion, such as on an 80-second track that is titled after a natural psychedelic compound and references the title of Ellison's 2010 EP. True to Flying Lotus form, Burner's voice, as well as those of everyone else, is made to sound phantasmal rather than spotlit. While much of the material on Ellison's previous three albums came across like brief and isolated ideas with an impact unaffected by the shuffle function, the shorter pieces here act more like true connectors or proper set-ups/interludes. The 12 minutes from "See Thru to U" through "Only if You Wanna" make for the album's least divisible section. It begins with lithe and slightly unsettling pattering and closes with a futuristic, organic-synthetic jazz trio piece. Somewhere in the middle, there's "The Nightcaller," the closest the album gets to dancefloor funk like Cosmogramma's "Do the Astral Plane" -- that is, until the last minute, when the gliding/chugging beat stammers and switches to a delirious strut. For all the elegiac and turbulent moments, several tracks, including the majestically wistful "Getting There" and the cascading "Until the Colours Come," are gorgeously starry and even lullaby-like, laced with ear-perking flourishes. And then there's the alien critter voice on "Putty Boy Strut," and the bizarrely bleak and comical "Electric Candyman," featuring Yorke, which arouses some serious cognitive dissonance by provoking thoughts of Tony Todd and Beyonce ("Say my name, say my name, say my name"). Ellison's trademarks -- skittering and rustling percussion atop slightly irregular drums that knock and thud, for instance -- factor almost as much as ever, but his slight adjustments and increased restraint make this his most accessible and creative release yet.

  • Mr

    This is a 5/5 album for me. I'm a hardcore punk/post rocker type (and everything in between). But for me, this record, being a huge fan of ambience, jazz, radiohead and well as bands like stereolab and M83, i guess my taste in music makes this my fave flylo album purely because it brings together everything i personally like in more experimental takes on genres. i dont mind insanity in my math rock or hardcore, and i love glitchy electro stuff, but sometimes stripping it down refines. THIS is almost perfection for me. LOVE!!!

  • MP

    3.5/5 for me too. I think this is dope, but it doesn't have that consistency his previous albums have had. It's a bit too empty for my liking when it comes to a flylo album. I expect beautiful clutter from flylo. But maybe that was his switch it up & come a little bit different. I'll give it some more listens, but it's 3.5 for me right now.