Okay, here we go…we’ve been waiting a long time for Until The Quiet Comes, by Flying Lotus, and here’s our first impressions after giving the record a good spin:
All In – Warm, charming and fuzzy. I feel like I’m flying on a cloud of wind chimes. This track sets the tone for what seems to be a warm, serious and dramatic album.
Getting There feat. Niki Randa – Now this track has me banging! Dramatic undertones that stem from a punching bass line and even fuzzier synths. Only one song in, and you can almost see and smell the taste of weed in the air.
Until The Colours Come – Transitioning now, as the rhythm slows down, there is light tension building. This is Flylo’s typical starry song structure: NASA could use these sounds to communicate with the outside world.
Heave(n) – Marching forward with this track you can feel the momentum coming back. We’re on a new path now and it’s well received. Free forming jazz suggestions with a plucking background bass line. The downturn drum rolls also carry an eerie, but inviting feel.
Tiny Tortures – We’re going to need more weed, I’m feeling warm and introspective. Opening drums samples that push in fresh melodies and a wiggling chord progression. This song has a bittersweet vibe that never lets you fully relax or feel at ease, yet you hang on every note, waiting to hear what’s next.
All the Secrets – A song like any other that I’ve heard before by Flylo or any other artist . This track just has an awesome feel. More jazz undertones and ideas that play off of a continuos tinny, closed hi-hat at 1/16th notes. The casio style bleeps and drums hit like an 80’s style theme song, but carry the weight of a well thought out and effective modern piece.
Sultan’s Request – Long drawn out bass line, with the most abrasive fuzz available. A mid-song change that has some original dub-step elements, but in the post dub, future beat tone. Low-End theory is going to love this track.
Putty Boy Strut – Very fitting to it’s name. I feel like a pompous, intricate strut is in order. A subtle, almost non-existent bass line, until the release of sound at around the halfway point. He chose this for a reason, but I’ll have to listen to the track again to see if I can figure out why.
See Thru U feat. Erykah Badu – Toms, low drums and Erykah Badu’s amazing voice opening the track. Reverting back to the original feel, this piece seems to be much more structured than most of the openers. Certain elements reminiscent of the Cosmogramma record, with off beat toms, free forming instrumentation and generally off put sounds.
Until The Quiet Comes – Another momentum shift. I feel the tone of the record coming back to life on this song. Another walking bass line that skips upward to usher in another new synth sound that we haven’t heard yet. With headphones on you may be able to hear the buzzing of bees.
DMT Song – Again, fitting to its name, built on a sea of cosmic, drug induced sounds. Thundercat’s songwriting and lyrics make you want to try this DMT shit on your own. With a catchy ‘DMT’ chant, or hum rather, as the backdrop for what seems to be the chorus: a sharp and effective sweeping vocal arrangement from start to finish.
The Nightcaller – Definitely the danciest groove so far. I can almost hear some new Toro y Moi influence? This will be a track I skip to if I only have time for one song. It features clever haunted synth sounds, and a spacey bass line that give this track a unique feel.
Only If You Wanna (correction: “Only If You Wanna” on the leak is actually “Electric Candyman”) – Another change of pace, which is pushing things in yet another direction. I feel like I need to slow down. More repetition, and it’s justified. Subtle outbreak of spooky vocal samples that sound like a defused and defeated Thom Yorke. What is he trying to say here?
Electric Candyman feat. Thom Yorke (correction: see above) – Another banger! I’ve heard this track before though, and I already loved it. I’m not sure where Thom Yorke fits into this song, or exactly what he did in the making of it, but this has that funky, new-school bounce that we have come to know in the past few years. Halfway through we are back into the free forming jazz environment, with what may be Thom humming us out the rest of the way.
Hunger ft. Niki Randa – The opening vocals are daunting, giving me a feel of a dark and whimsical momentum shift. A new starting point with a build up of tension that never seems to release in this track at least. Also within the piece, there are no use of drums or percussion really of any kind.
Phantasm ft. Laura Darlington – I’m kind of just lost right now. This song carries the weight of the most expansive and far reaching instrumentation of any of the tracks on the record so far. Chord progressions like stepping ladders with soft and elusive vocals that play nicely off of the washed out kick drum and appealing synth sounds.
Me Yesterday/Corded – Nevermind–this will be the first song you skip to. This sounds like an homage to his earlier work. I’ve heard it a couple of times now throughout the record, but this one feels like the most reminiscent. Criss-crossed bass lines that intersect in the middle of the track, which also gives way to the complete change of groove and texture. It feels like a realization, as does this whole record.
Dream to Me – Fuzzy outro, bringing the energy back down. An eerie, piercing sound in the background, which reminds me of the Twilight Zone. It seems like a dark, beautiful and dramatic way to finish an album.
Man, I need to take a break, that was amazing. Full review to come in the next few days. On first listen, I would have to say this album should receive high critical acclaim, and will be something I have on repeat for the next several months.