Until the Quiet Comes

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Until the Quiet Comes
Studio album by
Flying Lotus
ReleasedSeptember 26, 2012 (2012-09-26)
Recorded2011–12
StudioHome recording (Mount Washington)
Genre
Length46:42
Warp
ProducerFlying Lotus
Flying Lotus chronology
Pattern+Grid World
(2010) 		Until the Quiet Comes
(2012) 		Duality
(2012)
Singles from Until the Quiet Comes
  1. "See Thru to U"
    Released: August 16, 2012
  2. "Putty Boy Strut"
    Released: September 19, 2012

Until the Quiet Comes is the fourth

Laura Darlington. The album also continued his creative partnership with bassist Thundercat, who had appeared on Flying Lotus' 2010 record Cosmogramma
.

An electronic jazz album, Until the Quiet Comes features free jazz elements, varying musical tones, contrasting scales, and shifts in rhythmic feel. Its songs are sequenced together and characterized by what music journalists noted to be ghostly vocal production, irregular drum beats, pulsating percussive textures, trembling basslines, trilled synthesizers, and fluctuating samples. The album has a journey-like concept and dreamy musical narrative, which Flying Lotus conceived while imagining himself in the process of astral projection. He later said the album could be interpreted uniquely by listeners; it has been interpreted by writers as a musical accompaniment to dreams and a process of emotional introspection by the producer.

Until the Quiet Comes was marketed with two

sound engineering
.

Background

I feel like that [dream] world fascinates me so much. That feeling is very present in the artist's mind where creative ideas flourish. The notion of the unknown and beyond is something that I've always been curious about, and the music and work that do [sic] is where I can ask those questions.

—Flying Lotus, Vibe[4]

In 2010,

musical ideas together, from which Flying Lotus culled and produced for Thundercat's debut album The Golden Age of Apocalypse in 2011.[6][11]

For Until the Quiet Comes, Flying Lotus was inspired by African percussion music and psychedelic bands such as Silver Apples, Can, Stereolab, Portishead, and Gentle Giant.[4][11] He also returned to listening to the music of his relatives Alice and John Coltrane after listening excessively to austere electronica while recording Cosmogramma.[7] Musically, he wanted to avoid repeating himself and chose a more minimal direction for the album,[12] seeking to eschew the "strange sense of urgency" of Cosmogramma's music for "tension and release".[13] He elaborated on his direction for the album in an interview for The National, saying that "I think I'd have been in a bad position if I tried to recreate the same energy as I did on Cosmogramma – like, go in further. How about we pull back, try to do something that gets to the core of the emotional sentiment. Not so grand, more intimate. But still have the core of what it is."[14]

Conceptually, Flying Lotus pursued

hero's journey literary theory to introduce a world, characters, and situations musically.[16] He characterized the album as both "a collage of mystical states, dreams, sleep and lullabies",[18] and "a children's record, a record for kids to dream to".[19] He clarified the idea in an interview for Spin as "that whole experience of being innocent in this new world that you don't really understand. I imagined Little Nemo on a flying bed floating over the city, and this is the soundtrack to it."[20] Flying Lotus felt more confident in his ideas and as a recording artist after striving to distinguish himself from his contemporaries on previous albums.[21]

Recording and production

[Flying Lotus] used to be printing mixes that were completely maxed, so this record was definitely different ... he's become more aware of the limitations of plug-ins, how far he can really overload things without the signal falling apart. Looking at way back until today, his compositional understanding, his ability to balance arrangements, has really moved forward into a less-cluttered headspace.

—Daddy Kev, Electronic Musician[22]

Flying Lotus started working on Until the Quiet Comes at his home in

Echo Park.[22] He recorded the album for two years,[23] using a spacious room there as a recording studio.[13] He revisited scrapped ideas from the sessions for Thundercat's debut album and revised their direction for Until the Quiet Comes.[6] The song "Hunger" developed from a demo he had recorded for the soundtrack to one of the Twilight films, and "Sultan's Request" was performed live by Flying Lotus for three years before the album.[24] For "Electric Candyman", he used a beat he had prepared for sessions that ultimately fell through with Burial, and he used a five-year-old recording with Samiyam for the second half of "The Nightcaller".[24]

Flying Lotus recorded Until the Quiet Comes in a three-part process—first composing rough drafts for songs, then refining them for several months with additional instrumentation to make them substantial, and finally mixing the songs for a cohesive album.

song structure elements such as hooks and choruses, Flying Lotus composed instrumentals that he found to be more intellectual and less danceable than Cosmogramma and treated them as the basis of tracks when recording the album.[4][27] He also recorded melodic refrains to evoke feelings of childlike innocence on songs.[22]

Flying Lotus used analog and digital instruments including percussion and the Ableton Live sequencer (pictured).

Flying Lotus worked primarily with an

Wurlitzer electric pianos, Access Virus and Minimoog Voyager synthesizers,[22] a drum machine, three Mac Powerbooks, and a DSP unit.[13] He played drums without quantizing them and referred to the personal library of samples he had amassed over his career while producing the album.[22] He recorded the song "Dream to Me" the day after purchasing a microKORG synthesizer.[24] He ultimately recorded over 60 songs for the album before editing them down.[11]

To attain certain dynamics on songs, Flying Lotus studied different

side-chain compression technique to trigger compression of different organ, strings, and bass sounds upon a drum kick on a song.[22] He said of his production and the music's dynamic range in an interview for Electronic Musician, "I've been learning to bring things down before I even start. I'll start composing a track at like −8dB, then I have all this headroom to play with afterward. I've learned how to tuck and limit things, learned to EQ before you limit."[22]

As with his previous releases, Until the Quiet Comes was mastered by engineer

harmonic distortion and maintain Flying Lotus' minimalist aesthetic,[22] which, along with his need to find a quiet mental space,[22] inspired the album's title: "I wanted to set people up to this idea, before they even heard it, that the quiet was a key word in the whole thing ... [A] part of pulling it back is some kind of growing up."[28]

Collaborations

Flying Lotus collaborated with other musicians for additional elements on songs.

ideas into the interface, which allowed him to manipulate their tone and integrate them with digital instruments and samples on songs.[22] He attributes the continuity of the album's music to Thundercat's bass playing.[11] For certain tracks on the album, Flying Lotus wanted to use vocalists that would "see their sound as texture as opposed to the song", and said of this preference in an interview for Vibe, "Sometimes singers overdo it so that you only focus on the voice, which is cool sometimes, but it's my record – I'm producing it – so the songs should be about the track as a whole. The people that are my favorites are ones who have such a respect for what's already there. They don't try to approach it thinking they're going to turn it into a song, but rather going to add to it."[4]

Flying Lotus enlisted other vocalists, including Thom Yorke on "Electric Candyman", Laura Darlington on "Phantasm", Erykah Badu on "See Thru to U", and Thundercat on "DMT Song".[31] Yorke wanted to be involved with the album after collaborating on "...And the World Laughs with You" for Cosmogramma,[16][21] and exchanged his vocals via email.[25] Flying Lotus admired him for knowing "when things work and [when] they don't. He doesn't bullshit in that way. He spends his time wisely. I wish I could say that about a lot more people."[21] He met Badu through Thundercat, who had played in her backing band and collaborated with her on The Golden Age of Apocalypse,[11] and started working on her own upcoming album while recording Until the Quiet Comes.[13] Flying Lotus also planned to work with Jonny Greenwood,[32] but the collaboration fell through.[11] Instead, he appropriated music from one of Greenwood's film soundtracks for the song "Hunger",[11] for which Greenwood is credited as composer.[29]

Music

Until the Quiet Comes conforms to its own internal logic. Tracks shudder to a halt midway through their

development only to return as mutated shadows of their former selves and continually jarring juxtapositions
of disparate stylistic features punctuate the album's progression.

—Thomas May, musicOMH[33]

Until the Quiet Comes is characterized by varying

The Huffington Post notes an emphasis on timbre throughout the album.[36] Mark Richardson of Pitchfork observes Flying Lotus "putting a smaller frame around each individual part" throughout the album's shifts and finds the "energy" to be "just as strong" as on his previous albums, but "concentrated into a smaller space."[8] Although he finds it less "imposing" than its predecessor, Thomas May of musicOMH comments that "Until the Quiet Comes is like a chamber concerto to Cosmogramma's symphony", noting "an increased sense of space and separation" on the former.[33]

Songs on the album incorporate ghostly vocal production,

irregular drum beats, accompanied by Thundercat's trembling basslines.[30]

Stylistically, the album eschews Flying Lotus' hip hop roots for jazz influences,

Consequence of Sound's Derek Staples perceives a "free jazz aesthetic" similar to "his great-uncle John Coltrane's Ascension", viewing both albums as "exercise[s] in dense rhythmic layers and melodic dissonance."[37] The album also repurposes elements of pop, soul, fusion, and psychedelia in a modern classical fashion.[9] Q describes the album as "a lush, almost psychedelic mood piece."[42] Lucy Jones of NME attributes the album's "meander[ing] and experiment[ing]" to a progressive rock influence.[7]

Concept and interpretations

Until the Quiet Comes has been described by Uncut[41] and Mojo as having a dreamy musical narrative; the latter magazine said it is, "quite literally, a dream album".[43] Andy Beta from Spin likened it to the "dreams within dreams within dreams" concept from the 2010 film Inception.[20] Karen Lawler of State said "if the limbo between awake and sleeping, dreams and nightmares could be expressed through music, this album might well be it."[44] Jeff Weiss, writing in LA Weekly, felt the record had a loose concept that "surrounds the nocturnal visions of a child lost in spacedust dreams" and likens it to a narcotic film in the vein of Little Nemo and Michel Gondry, writing that "swirling voices seem like clouds communing. Snare crashes mimic obscene villains. Hard beats propel chase scenes. Basslines gurgle like goofy dancing sidekicks. Erykah Badu plays the all-powerful good witch. Thom Yorke guests as the gnomish sorcerer with the seraphic yawp."[45]

The album's concept was inspired by Little Nemo, a fantasy comic strip about a little boy's nightly dreams.[20]

In the opinion of Will Ryan from Beats Per Minute, Until the Quiet Comes was another "journey" concept work by Flying Lotus, but distinguished it as an introspective, "subconscious" journey following the "temporal" journey idea of his 2006 debut 1983, the "geographical" 2008 album Los Angeles, and the "cosmic", "out-and-out musical" Cosmogramma.[9] Rory Gibb from The Quietus wrote that the narrative on this album veered into "the corridors" of Flying Lotus' "own mind", interpreting his guest vocalists as "disembodied phantoms, reanimated figments of his imagination stripped of agency and directed to their roles by [his] subconscious."[46] Gibb argued that Until the Quiet Comes was "an important and significant album" partly for engaging with "grand narratives" such as "the shifting identities of both humans and electronic music forms in a digital age", and "the internet's erosion of memory processes".[46]

Reef Younis of

postmodern experience of everyday life" and views that Flying Lotus' subtle, "sentient and sensual" details throughout the album's music represent "an undertone of yearning emotion and even soulfulness that separates [his] aesthetic on Quiet from that of other producer-types who may be just as proficient, technically speaking."[35]

Songs

The opening track "All In" incorporates bells,

walking bassline.[37] It has heavy emphasis on the first and third beat of every measure.[36] "Until the Colours Come" contains modulated synthesizers.[35] "Heave(n)" features bright, round keyboards,[9] jazz and electronica elements, and tonal shading.[35] Mark Richardson of Pitchfork views that the music from "All In" to "Heave(n)" comprise an opening section on the album that "functions as a sort of miniature suite of downtempo jazz."[8]

"Tiny Tortures" features echoing, tendrillar guitar,

post-dub elements.[37] "Sultan's Request" has a square wave bassline,[48] tense synthesizers, and transitioning pitches and textures, spanning from a low-end drop to an upper register of high-pitched samples and steady hand claps.[31] "Putty Boy Strut" features an alien critter voice,[30] complex drum programming,[20] and acousmatic jazz guitars.[19] It concludes with a brief violin section.[34]

"See Thru to U" incorporates

crescendo.[30] The densely textured title track features expressive bass playing by Thundercat, continuous gong and handclaps, and J Dilla-like keyboard.[8] "Only If You Wanna" is a futuristic jazz trio piece with both digital and analog sounds.[30] AllMusic's Andy Kellman delineates the songs from "See Thru to U" to "Only If You Wanna" as the album's most musically connected and "least divisible" section.[30]

"me Yesterday//Corded"
28-second sample of "me Yesterday//Corded"
Problems playing this file? See media help.

"Electric Candyman" has a dreamy R&B style and features distant, cooing vocals by Thom Yorke, a rattling drum sample, ghostly

electro-acoustic "Phantasm" contains slinky vocals by Laura Darlington, metronome clicks, oscillating string arrangements, and agitated downtempo sounds.[37] "me Yesterday//Corded" features bright arpeggios, twisted bass grooves, and a subsuming vocal chorus.[9] Flying Lotus characterizes the song as a reflection of his past emotions.[17] "Dream to Me" has overlapping synthesizers and serves as an exodus in the album's conceptual arc.[9][16]

Marketing and sales

Nickerson Gardens in Watts, the setting for Until the Quiet Comes' promotional film of the same name

Two

teaser video called Small Moments, in which previews of the album's songs were accompanied by mysterious, botanical imagery.[50] "Putty Boy Strut" was released on September 19 with an accompanying animated, robot-themed video by Cyriak.[51] A music video for "Tiny Tortures" was released on November 29 and featured Elijah Wood playing a depressed man without a right arm who envisions objects in his room recreating his arm, but is revealed to be torturing himself.[52]

A short film promoting the album was released on September 6, 2012. It was titled after the album and directed by

African-American youth's death, segues into a scene of affection shared among other African-American males, and concludes with the shooting of another, whose death is reversed to the effect of a dance.[56] A scene in the film also features an inner city youth wearing a shirt bearing the words "J Dilla Changed My Life", an allusion to the influence of J Dilla on Flying Lotus.[57] The film received praise from critics, and its viral success led to Warp Records' decision to pitch it to a music video network; it was ultimately accepted and aired by MTV2.[58] Hilton Als of The New Yorker called the film "an amalgamation of horrifying beauty" and wrote of Joseph's use of rewind, "the character's fall becomes a kind of dance—for life."[56]

Until the Quiet Comes was first released in Japan on September 26, 2012, as a CD,

vinyl, and digital—by Warp Records on October 2.[60] It was also made available for streaming online from September 26 to October 2,[18] the date of its release in North America.[61] Until the Quiet Comes was sent as a single 47-minute digital track to music critics who would be reviewing it.[35] Flying Lotus intended for the album to be listened as a whole instead of skimmed through by listeners.[16] During October, he appeared at several release events, including in-store appearances, signings, DJ sets, and interview sessions at music venues and retailers.[62]

In the first week of release, the album debuted at number 34 on the

Nielsen SoundScan.[63] The album also debuted at number 34 on the UK Albums Chart,[64] becoming Flying Lotus' highest-charting record there.[65] In Belgium, it charted for four weeks, peaking at number 26.[66]

Critical reception

Professional ratings
Aggregate scores
SourceRating
AnyDecentMusic?8.2/10[67]
Metacritic83/100[68]
Review scores
SourceRating
AllMusic[30]
The A.V. ClubA−[34]
Financial Times[69]
The Guardian[70]
The New Zealand Herald[71]
NME9/10[7]
Pitchfork8.5/10[8]
Q[42]
Rolling Stone[72]
Spin7/10[20]

Until the Quiet Comes was met with widespread critical acclaim. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album received an average score of 83, based on 36 reviews.[68]

The album was hailed by

sound engineering".[71] Reviewing for AllMusic, Andy Kellman said Flying Lotus "not only peels away layers from his sound but organizes his tracks into a gracefully flowing sequence" on what is "his most accessible and creative release yet."[30] Filter magazine's Kyle Lemmon found his musicianship deft and the songs invariably "vaporous and angelic or menacing and silhouetted",[73] and Thomas May from musicOMH praised both the difficult concept and its execution. "With an unprecedented melodic disposition and busy yet rarely cluttered arrangements", May wrote, "this album possesses remarkable poise and balance in the face of its fearsome complexity."[33] Drowned in Sound's Jazz Monroe believed it may prove to be the producer's best album because of his ability to "close the schism between the true avant-garde and the leftfield mainstream".[74] Arnold Pan of PopMatters said that his amalgamated music was achieved with admirable ease and lucidity, as Flying Lotus "conducts a master class on both how to create flow as well as how to maintain it through an entire album."[35] While finding the record's "complicated brilliance" less "boisterous" than Cosmogramma, Jonah Bromwich of The A.V. Club claimed the album "does a better job than its predecessor of weaving together the tangled strands of" disparate styles and concluded, "after multiple listens, the album reveals itself to be as nuanced, as subtle, and a lot more digestible".[34] Also in comparison to Cosmogramma, Vincent Pollard wrote in Exclaim! that it accomplishes a more spiritual yet unpretentious depth, resulting in "one of the most rewarding and beautiful albums of the year".[10]

Some reviewers were less impressed. State magazine's Karen Lawler said the songs are "too short for any single musical concept to fully develop",[44] and Alex Macpherson from The Guardian found the record to be "packed full of ideas" on tracks that "feel less like fully fleshed-out compositions than lightly drawn sketches started, but not always finished".[70] In Rolling Stone, Will Hermes applauded Flying Lotus' "taste for 21st-century soul jazz with swarming high-end displays", but said "it all adds up to something so captivating that vocal guests ... can get a little lost. Although maybe that's the point".[72] Robert Christgau named the title track and "Sultan's Request" as highlights but was lukewarm about the jazz-inspired musical concept, saying that it "achieves the sopranos-and-tinkle phase of sophisticated aural pansensuality".[1] Jazz critic Tom Hull called it a "dreamy series of blips and voices" that is "mostly pleasant enough but a couple trigger my classical gag reflex."[75]

Touring

Flying Lotus performing in 2012

Flying Lotus first performed in promotion of the album at the Hollywood Bowl in Los Angeles on September 23, 2012.[5] He then embarked on an international tour for the album during October to November 2012,[5][76] playing 11 concert dates in North America and eight dates abroad, including Europe and Japan.[76] He performed strictly with his laptop,[19] and excluded takes of songs he had recorded with Miguel Atwood Ferguson's string quartet, feeling that the strings would not translate live.[11] Along with his own material, Flying Lotus included remixes of other artists' songs in his live sets, including Jay-Z, Alicia Keys, and Kanye West.[77]

Flying Lotus felt that his grasp on new mixing techniques helped make his live shows more "evolved and changed a little bit", telling Exclaim! in October 2012, "It's more dynamic. But still a party! Not like my albums, [which] are more like personal exchange; [live] it's nice to have that social experience."

Danforth Music Hall that month, Now journalist Kevin Ritchie observed a "resoundingly maximal aesthetic and sound" that was "way more bombastic EDM" than the album's "IDM abstraction". As an example, Ritchie cited the producer's mixing of "the recognizable with the weird, like when Kanye West's Mercy gave way to the hand-claps of Quiet cut Putty Boy Strut."[78] Flying Lotus also worked with longtime collaborator Dr. Strangeloop to create collage-like imagery during the shows,[58] including geometric visuals synched to the performed music.[78] Joshua P. Ferguson of Time Out wrote of the visual effects in Flying Lotus' performance at Metro Chicago, "all manner of Tron-like halos, expanding and contracting orbs, starscapes and unidentifiable amorphous globs of color raced, shot and oozed their way across screens placed both in front of and behind Flying Lotus."[77]

Track listing

No.TitleWriter(s)Producer(s)Length
1."All In"
Laura Darlington
)		Laura Darlington, EllisonFlying Lotus3:51
17."me Yesterday//Corded"EllisonFlying Lotus4:39
18."Dream to Me"EllisonFlying Lotus1:36
19."The Things You Left" (Japanese bonus track)EllisonFlying Lotus2:49

Notes[29]

  • (add.) denotes additional production.
  • "Hunger" incorporates elements from "Guitar 12" by Jonny Greenwood.

Personnel

Credits are adapted from the album's liner notes.[29]

  • Sam Baker – composer
  • Brandon Coleman – keyboards
  • Gene Coye – drums
  • Daddy Kev – mastering
  • Laura Darlington
    – composer, vocals
  • Dorian Concept – keyboards
  • Erykah Badu – composer, vocals
  • Miguel Atwood Ferguson – strings
  • Flying Lotus – composer, producer
  • Jonny Greenwood – composer
  • The Integration Players – strings
  • Dan Kitchens – photography
  • Austin Peralta – composer, keyboards
  • Niki Randa – composer, vocals
  • Stephen Serrato – art direction, design
  • Thundercat – bass guitar, composer, vocals
  • Thom Yorke – composer, vocals

Charts

Chart (2012) Peak
position
Belgian Albums Chart (Flanders)[66]
 26
Belgian Albums Chart (Wallonia)[66] 142
Dutch Albums Chart[66]
 72
German Albums Chart[66]
 83
Irish Albums Chart[79] 50
Italian Albums Chart[80] 89
Japanese Albums Chart[81] 41
Swiss Albums Chart[66]
 99
UK Albums Chart[64] 34
US Billboard 200[82] 34
US Independent Albums[83] 7
US
Top Dance/Electronic Albums[82]
 2

Release history

Region Date Label
Japan[59] September 26, 2012 Warp Records
Netherlands[84] September 27, 2012
Australia[85] September 28, 2012
Germany[86]
Ireland[87]
United Kingdom[88] October 1, 2012 Warp, PIAS Recordings
Canada[89] October 2, 2012 Warp
United States[90]
Sweden[91] October 3, 2012

See also

References

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External links


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