#Flying lotus until the quiet comes zip series#
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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