Untrue

Product Information

Burial releases Untrue". Resident Advisor. 16 October 2007. Archived from the original on 19 December 2013 . Retrieved 18 August 2013. I don't know how long I was out for, but waking up in however many minutes later that I did was the most beautiful experience I can recall ever having. Now all they needed was to be brought to vivid screaming life on record. Enter Mr Jim Sclavunos, the multi talented Grinderman and Bad Seed, not to mention the superbaaad connoisseur of the mixing console, fresh from producing the storming second Jim Jones Revue album. One of their shows was all it took. a b c d e f g h i j Fisher, Mark (December 2012). "Burial: Unedited Transcript". The Wire. London. Archived from the original on 30 July 2013 . Retrieved 18 August 2013.

The last voice we hear on Tunes 2011 to 2019 is that of The Wire’s inscrutable villain Marlo Stanfield: “Don’t rush me on shit. I’ll get at you when I’m at you.” Stanfield goes from being untouchable to considered a diminished force, but fundamentally stays undefeated. Given that all his moves seem loaded in one way or another, it’s easy to imagine Burial wielding this sample with deliberately renewed purpose. He’s there when he wants to be, out of the shadows, often at a moment and in a form you don’t expect. He was the beneficiary of an unrepeatable set of cultural and technological circumstances, but he’s massaged the myth adroitly. It makes following him as fun as any other musician working today—so we remain hooked, even if we kid ourselves that we’re over it. The 100 Best Albums of the Aughts". Slant Magazine. 1 February 2010. Archived from the original on 18 June 2013 . Retrieved 18 August 2013. These featureless expanses of sound parallel the steadfast erasure of Burial’s public profile since Untrue. To my knowledge, since the spate of interviews around that album, he has not spoken to the press. Most likely his withdrawal is a reaction to the forced exposure of his real-world identity in 2008. He went public with his name and face that year, but only as a preemptive measure to undercut mainstream newspaper journalists bent on sleuthing out the truth. a b Christgau, Robert (February 2008). "Consumer Guide". MSN Music. Archived from the original on 15 August 2013 . Retrieved 18 August 2013.Selected items are only available for delivery via the Royal Mail 48® service and other items are available for delivery using this service for a charge. The mix of vocals and skipped drum patterns on Untrue has been likened to 2-step garage and early jungle music. [2] Dan Hancox of The Guardian wrote that while the album is "still distinctly DIY, some of the melancholy of Burial's debut has dissipated on [ Untrue], which is more heavily loaded with garage-inflected vocals, and more upbeat as a consequence." [2] Dave Stelfox of The Village Voice expressed a similar sentiment, noting a "shift from dystopian melancholy to restrained optimism." [13] Critics have noted that the increased emphasis on vocal effects on Untrue over his previous works contributes to its more emotional nature. [11] Pitchfork critic Philip Sherburne wrote that Untrue is "not a pop album, at least not by Top 40 standards, but his voices—male, female, and ambiguous—wriggle deep into the listener's consciousness." [7] Burial uses pitch-shifting to make male vocals sound feminine and female vocals sound masculine, resulting in the album's vocals taking on a more androgynous nature. [1] Sherburne stated that "they toy with r&b's conventions, heavy with breath and rippling with trills and melisma, some of it digitally imposed." [7]

King, Tom (14 November 2007). "Album Review: Burial – Untrue". Drowned in Sound. Archived from the original on 7 April 2013 . Retrieved 2 April 2014. a b "Burial – Untrue – November 2007". Hyperdub. October 2007. Archived from the original on 18 August 2013 . Retrieved 18 August 2013. Reading about how Burial liked to test his tunes by driving around South London in the dead of night, to see if they had the quality of “distance” he sought, always reminded me of the tales of Joy Division producer Martin Hannett making similar psycho-geographic jaunts through the post-industrial zones of Manchester in the late ’70s, listening to contemporaries like PiL and Pere Ubu in his car. Both Hannett and Burial share an obsession with using reverb and near-subliminal sound effects, often taken from the real world, to conjure an atmosphere of eerie space. Top 50 Albums of 2007". Pitchfork. 18 December 2007. p.5. Archived from the original on 2 September 2013 . Retrieved 18 August 2013.This draw is conducted in a secure enivironment selecting an identifier which can not be used to access your account and the data is deleted as soon as the draw has been conducted. Chart: CLUK Update 17.11.2007 (wk45)". Zobbel.de. Archived from the original on 10 October 2012 . Retrieved 18 August 2013. Wuethrich, Matthew (5 November 2007). "Burial – Untrue". Dusted. New York. Archived from the original on 7 April 2014 . Retrieved 2 April 2014.

a b Birchmeier, Jason. "Untrue – Burial". AllMusic. Archived from the original on 30 July 2013 . Retrieved 18 August 2013. Stelfox, Dave (13 November 2007). "Burial's Untrue: Dreamlike dubstep, anonymous but optimistic". The Village Voice. New York. Archived from the original on 12 October 2013 . Retrieved 18 August 2013. a b c Rosenberg, Tal (13 December 2007). "Burial: Untrue". PopMatters. Archived from the original on 15 December 2012 . Retrieved 2 March 2008.

Reynolds, Simon. "Burial: Untrue". Blender. New York. Archived from the original on 8 February 2008 . Retrieved 18 August 2013. Finally, we may also share your Personal Information to comply with applicable laws and regulations, to respond to a subpoena, search warrant or other lawful request for information we receive, or to otherwise protect our rights. a b c d Mann, Chris (5 December 2007). "Burial – Untrue". Resident Advisor. Archived from the original on 21 September 2013 . Retrieved 18 August 2013.