No one is really surprised anymore by the fact that the worldwideweb can show musicians new ways of how to deal with old, new and/or unknown music. Flying Lotus, who has been something like the Jack Kerouac of the wonky-something-beat-generation, has just cemented his pole position at the front of digital diggin’ with his new LP. Yet again, his concept is down to something simple yet efficient: imaginativeness. A tumbling drum-beat, glittering synthesizers, and wobbling bass lines are still the ingredients from which the humming FlyLo-dreams are made. It’s this mix that has made him become a synonym for the bridge between J Dilla, Burial and Miles Davis, especially after releasing »Los Angeles«. With »Until The Quiet Comes«, it seems as if Steve Ellison has reached a point in his career where he seems to be able to turn virtually anything into great music. No matter whether it’s combining a swampy synth-soul together with his feature-guests Niki Randa and Laura Darlington, or an electronic Jazz&B with the ever engrossed Erykah Badu on the already familiar »See Thru To U«. Radiohead’s Thom Yorke presents the »Eletric Candyman«, Thundercat sings his »DTM Song« and FlyLo pours free-jazzy spaceship-operas like »me Yesterday // Corded« into our brains, if he’s not busy squeezing overlapping synth-fusion-collages like »The Nightcaller« into his midi-files. The number of sketches, patterns and visions that the producer from California blows on a single record is enough for others to fill a full discography. Sub-terrestrial, celestial, extraterrestrial. »Until The Quiet Comes« is a computerized jazz-impro. A spiritual flight through 18 songs, after which it’s more than certain that there won’t be any peace and quiet on the planet Fyling Lotus anytime soon.