UTQC is a testament to imagination and vision and the capabilities of the human soul by way of music.
Ellison struck out into uncharted territories, taking the basic elements that have shaped his landmark works and applying them to this new, dreamy and subdued affair.
This is not a collection of songs so much as it is a patchwork of different moods, sewn together to form a distorted stream of consciousness.
After multiple listens, the album reveals itself to be as nuanced, as subtle, and a lot more digestible than its predecessor, a sidestep into sonic territory that’s no less admirable for its comparative somnolence.
He is, however, a radiant example of an artist with the ability at his fingertips to close the schism between the true avant-garde and the leftfield mainstream, and in this respect Until the Quiet Comes is the record to date we’ll most likely crown his masterpiece.
With this record, Flying Lotus has continued his explorations of the outer regions of sonic experience whilst simultaneously creating a playful, and thrillingly visceral, listening experience
While this might be Flying Lotus' most accessible record, it's less about being pleasant and more about deep focus.
FlyLo silenced the external forces and produced an album that is dark enough to spin at LA’s Low End Theory, yet smooth enough to garner listens from fans well outside of the club’s beat freaks.
The more you listen to Until the Quiet Comes, the more you get the sense that you’re only scratching the surface of how much is really going on with it.
Every track and sound feels new and experimental; much of Until the Quiet is so wonderfully weird, there's no way for it to be boring.
For an album that, at times, is beautiful, it doesn’t hypnotise you, it doesn’t entrance you, and even its best moments fail to stay in your head
It is coming straight from Warp to a cocktail bar near you and, soon after that, a Starbucks. It is the sound of an artist in retreat from the shadow of his own success.
|# 6 -||AllMusic|
|# 1 -||Beats Per Minute|
|# 7 -||Clash|
|# 12 -||Cokemachineglow|
|# 49 -||Consequence of Sound|
|# 4 -||Exclaim!|
|# 18 -||FILTER|
|# 30 -||Gorilla vs. Bear|
|# 8 -||MAGNET|
|# 23 -||musicOMH|
|# 49 -||NME|
|# 8 -||No Ripcord|
|# 11 -||Obscure Sound|
|# 22 -||Pitchfork|
|# 42 -||PopMatters|
|# 12 -||Pretty Much Amazing|
|# 22 -||Slant|
|# 39 -||Spinner|
|# 50 -||Stereogum|
|# 1 -||The 405|
|# 19 -||The Guardian|
|# 33 -||The Line of Best Fit|
|# 41 -||Uncut|