Flying Lotus is the moniker of L.A.-based experimental electronic musician, Steven Ellison. So far, “FlyLo,” as he’s sometimes refered to, has released four studio albums, and the most recent of which, Until the Quiet Comes, came out October 2. His 2008 and 2010 LPs Los Angeles and Cosmogramma were both received with widespread critical acclaim; “Los Angeles” is what landed him on the map of electronic music, while Cosmogramma solidified his abilities as a master producer. Now, with Until the Quiet Comes out, FlyLo continues to dominate in the genre of electronic, possibly even holding the title of “best.”

Until the Quiet Comes, like all of his preceding works, is 46 minutes of a massive sound collage with heavy, layered production. As opposed to his other releases, here FlyLo proves he is the great-nephew of saxophonist, John Coltrane because the music here seems to be based more on the style jazz. To say this is a jazz album though would be a lie. Where jazz has structure to its songs, Until the Quiet Comes differs. The 46 minutes of noise on the album are meant to be heard as a whole, not separate songs, as the 18 tracks flow into one-another seamlessly.  The changing of the tracks are only there to show a change in the moods being evoked. The album is more of a symphony in this sense, with several movements in place of individual musical pieces.

Until the Quiet Comes is one large piece of cohesive and excellent music. There is no way to determine which tracks are key because there are over arching musical motifs and less-prominent-though-strong songs on here that would be lost if the tracks were taken on their own from the album. Until the Quiet Comes is an easy contender for the best album to release this year and definitely is the best electronic one. It is even the best album he has made himself.