Critiques CD: Flying Lotus | Until the Quiet Comes

The most recognizable name carrying on Los Angeles’ now famed (partly his doing) leftfield beat torch, Steven Ellison delivers more in the way of shape-shifting “glitch-hop” on this fourth full-length outing as Flying Lotus, or FlyLo for habitués. But that genre designation proves awfully constricting, as the twisted beat maker does far more than merely collage together instrumental hip-hop bits. Whether it’s blues, futuristic IDM, spacious dubstep or warm jazz flourishes, there’s quite an array of musical sensibilities at play. With this latest, FlyLo risks dividing disciples into two camps: a disappointed bunch who’re expecting more in the way of gritty, boisterous Cosmogramma-like compositions, and others who dig the new record’s more chilled out, undulating vibes. Celestial but nevertheless a cerebral affair, Until the Quiet is every bit the “quiet statement” of a record Ellison was aiming for. Drawn to a number of ghostly voices (among them, Thom Yorke, Niki Randa and Erykah Badu), FlyLo conjures up off-kilter soul by pairing these with sparse textures, swirling synths, hypnotic bass and twinkling piano chords. Save for the skittering clip-clap beat of “Putty Boy Strut” and a handful of more dance-y tracks, this record feels more like a succession of spontaneous sketches than any cohesive, grand statement. That distinct improv feel, rooted in the jazz tradition, ranks FlyLo as one of the most compelling musicians around.