What Cosmogramma achieves is not easily or often accomplished. The sounds are immediate and explode outwards from the record. One could say Flying Lotus has perfected the art of recording, but to call what Flying Lotus does “recording” is too passive; he’s more of an architect of sound and form. Also, the idea behind a recording is that something was captured onto tape: it implies a source. The sounds are too novel to be such, but still Flying Lotus doesn’t rely on the novelty to capture your attention, the sounds are merely part of the overall idea of the album. It’s an album with a very concrete overall idea– space– which permeates through every aspect of the album: its soundscape and its structure.

Me with my sparkly copy of Cosmogramma outside Chicago's Reckless Records

Regarding the narrative of Cosmogramma, the track “Intro // A Cosmic Drama” is placed four songs into the album, implying a sort of prologue of the first three tracks, which sound like false starts considering their short and choppy nature. Nevertheless these tracks work to the effect of immersing the listener into the universe of Cosmogramma, because let’s face it, Flying Lotus didn’t just make an album, he created a whole new alternate dimension to put it in. The side-chained compression of “Nose Art”, which gives the song its dance floor pulsating feel, is an example of Flying Lotus’ ability as a producer to create otherworldly effects which only add to the total development of the album. FlyLo’s production is not an end in itself but rather an inseparable component of the album’s general aura. If the first three tracks frame the Cosmogramma universe, then the subsequent track, “Intro // A Cosmic Drama”, begins to fill that vacuum and from there forth, the songs just ooze into frame.

A third of the way into Cosmogramma, “Computer Face // Pure Being” hits you in the face. Its fugue-like sonic incline builds until a final collapse and release. Then comes magic– “…And the World Laughs With You”. How appropriate for a cosmic album and quite the “star-studded” collaboration. Thom Yorke’s vocals ask, “I need to know you’re out there/ I need to know you’re listening.” We’re listening, Thom.

At this point, it would be worth mentioning the slightly less prominent but nevertheless ubiquitous (he appears on nearly half the album’s tracks) collaborator, Thundercat, whose basslines move tracks like “Satelllliiiiiitee” and “Dance of the Pseudo Nymph” from sick to uber-fly. These songs are part of the jazz heavy, climactic second half of the album, a standout of which is “Do the Astral Plane” whose percussive drive makes it one of the danciest, grooviest tracks on the album (not to mention I think I hear Buddha laughing on that track).

In the same fashion that the first three tracks introduced the listener to the world of Cosmogramma, the last three tracks return to the album’s namesake mysticism, working off of the previously constructed stellar environment. Cosmogramma is in no way a traditional concept album but rather, it is simply one of the most unifyingly thematically cohesive albums I’ve ever encountered. Forget prosody and don’t even try to atomize; just soak it all in and make way for Flying Lotus, who will likely become the DJ Shadow figure of the 2010′s, at the very least.

Thom Yorke has ever wanted to do was make dance music.

If you’ve listened to The Eraser though, you’d hardly ever guess this was the case but if you look closely, Thom has left us some subtle clues. Most obviously, a lot of his stage presence is centered around his awkward squirmish dancing (perhaps his inability to dance normally stems from his inability to make traditional dance music/or vice versa). However on Sunday when I saw Atoms For Peace, Thom’s solo band, play at the Aragon Ballroom in Chicago, I thought to myself, “by George, he’s done it!” What I meant is that Thom finally was playing really groovy dance tunes he had been going for since his college days as a DJ. The live band he assembled perfectly transformed The Eraser into an album of dance music. The entire floor was dancing more erratically and consistently than I’ve ever seen at a Radiohead concert. Even Thom’s onstage dancing was a bit more like normal. It was a powerful performance.

The Full Band at the Aragon playing Black Swan

Flea, Thom’s bassist, was an even more incredible dancer than Thom and commanded the focus on stage almost as much as Thom did. I think at one point they were trying to out-dance each other. Flea not only made the concert more visually appealing (a beautiful light show really fit the mood of the performance) but I think he is the reason that the songs turned out so well. His bass playing was infectiously sick and without him I doubt the concert would have been half as good. The bass line on “Black Swan” was especially milky and made me wanna go “Oh YEAH!!!!!”

The main part of the concert was them playing straight through The Eraser and without a doubt, every song sounded far better live than recorded with the exception of “Analyze”, which just sounded muddy and confusing live.

Thom Yorke playing "Airbag" on his acoustic. Note the Lighters.

The band played a seven song encore with the first half of it being Thom solo. Highlights from the second act were Thom playing “Like Spinning Plates” (a sublime performance) and “Airbag” which surprisingly sounded like a Neil Young tune and had people waving their lighters at the end.

It was a fast paced, visually pleasing, and very, very danceable concert. The crowd was fun and I’d give a lot to be able to go back to it. Wow.

Anyway…

Flying Lotus' Cosmogramma

Lastly, I want to say something about Thom Yorke’s opening act, Flying Lotus. This guy is like the next DJ Shadow. His beats is ILL and he’s not bringing it next level, he’s making a whole new level for himself. He’s already got the production credits, the incredible mastery of splicing, looping, and layering, and most importantly, he’s got Thom Yorke behind him. I can’t believe that after that entire concert, the only piece of audio I can offer you guys is a leak from FlyLo’s next album. I mean it’s the best new song I’ve heard all year but I stood there at the concert thinking I was recording the entire concert binaurally (which would have been a trip to listen to) but alas the recording sounds like robotic vomit as a result of super hard clipping. But don’t be sad, cuz this track kicks serious ass; it’s sure to make your head spin.

LISTEN

EDIT:
I found these videos of “Black Swan” and “Harrowdown Hill” from the concert I saw. Good example of Flea’s awesome playing and personality on stage. The quality of the audio is not such that you can really tell how incredible the bass playing was but at least it’s better than what I came out with.