Flying Lotus, when on his game, is a masterful craftsman of electronic eddies of sound. His latest record, Until the Quiet Comes, is a superb example of this keen attention to detail. His songs flow into one another as two plumes of gaseous smoke collide and then combine, a somehow wondrous moment yet shaded by an eternally twilit sky. It’s an ethereally chill record that manages to stir together textural percussion, giddy jazz bass, diluted dub, and ghostly vocal theatrics. There will be something on here for most listeners, hidden in the airy maze. The first track to really stand on its own is “Tiny Tortures”, with its haunted beats and drifting back passages. The title track adeptly stakes out abstract territory and builds to a busy glide of notes, including one of the record’s many instantly snappy bass lines. Thundercat’s playing earns him all the kudos. “The Nightcaller” saunters along on woozy synth lines, sounding a bit like Burial blended with Tycho. One of my favourite tracks is “Electric Candyman”, which begins as a loopy soup of bass and synths before morphing into a dazy piece of ambient jamming, augmented by a vocal contribution from Thom Yorke. “Me Yesterday/Corded” journeys from threadbare beginnings to trippy triumph. For all its dreamy aspirations, though, the album can’t escape the shadow of its predecessor. 2010‘s Cosmogramma remains a bristling thicket of instantly confounding (and addicting) electronica, and while Until the Quiet Comes does carve out its own, more reflectively hovering spatial niche, it does so in a less gripping manner. Still, with its floaty design and heady sequencing, the record hangs together as another bag of eclectic sonics from Flying Lotus. Until the quiet comes, you should be bobbing along pleasantly.