Burial – Untrue (Hyperdub) 2007


I’ve always been a little uneasy about hype. The reviews at the end of last year were all uniformly glowing. But there was something about another stupid genre being created which pissed me off. “Dubstep”. I mean how the fuck is that helpful.The someone suggested “Hyperdub” again I have no idea what that means. Grime, Math rock, Post punk, Post rock, avant pop. These are just fucking lazy pigeon holes . If one were to be honest the reason for creating a genre is to pigeon hole a record that is so fucking different it defies definition. Untrue is such an album and Burial is such a band. Screw pigeon holes. I’m not going to explain this record to you. I’ve posted a fan video of the wonderful track Archangel. You can make up your own mind.

My thoughts on Untrue (for what they’re worth) is that it may in fact be one of the most important records to be released last year. I have never heard anything that sounds like it. It made me think of Massive Attack, Tricky and the Postal Service yet without sounding like any of them. This is now in my Top Ten records of all time. Yeah it may be difficult to reconcile that an admirer of Merzbow is singing the praises of an isolationist R n’ B record but good music is still good music whatever the genre.


3 Responses to “Burial – Untrue (Hyperdub) 2007”

  1. Bill Bevan Says:

    Burial is the Fu£%ing Don! His 2 albums are the most original pieces of music to be made for a long long time (although the first one is the better). Anybody who claims it’s anything other than immense is either just being controversial for the sake of it, or got onto it too late and is wounded.

  2. Nice track, you have me interested enough that I’m downloading it now from eMusic.

  3. Here’s what eMusic have to say about “Dubstep” –

    “Part of the allure of dubstep, the sound that Burial — an anonymous London musician — helped establish, is that it’s so sparse and elemental that it eludes description almost by design: To formally address the qualities of dubstep is to paradoxically do damage to its most evocative parts — the parts that aren’t there, the haunted parts, the spectral spaces that surround the tangible sounds and make it all happen through the force of their very absence. It’s complicated, but it’s also extremely compelling — and more immediately so on Untrue than it was on the self-titled 2006 debut that made Burial’s name. “

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