Flying Lotus, and his occasional band, Infinity, certainly lives up to the Tap postulate. They are loud, but then they go one louder. They are fast, but then they go one faster. They start off a bit jazz, then they go way off the scale.
Performing live, Steven Ellison – he who is Flying Lotus – would normally be found on his own, in the default digital musician's setting: behind a bench, prodding his laptop, tweaking the mix of another visionary post‑hip‑hop opus.
He certainly didn't start out as a progressive jazz-monger. Making beats in his bedroom, in thrall to hip-hop producers such as the late J Dilla (Erykah Badu), Ellison gradually began being spoken of as a new DJ Shadow around the time his second album, Los Angeles, performed a great leap forward in hip-hop comparable to that executed by DJ Shadow's landmark Endtroducing album of 1996.
Endtroducing took hip-hop out of the realm of swaggering rap and into a more experimental place. A generation on, Flying Lotus introduced more abstract digital textures and trace elements of Ellison's family business: cosmic jazz. Not for nothing is one of his tracks called "Auntie's Harp": Ellison's great aunt was Alice Coltrane.
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