Untrue

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a b c Rosenberg, Tal (13 December 2007). "Burial: Untrue". PopMatters. Archived from the original on 15 December 2012 . Retrieved 2 March 2008. NPR's 50 Most Important Recordings of the Decade" (PDF). NPR. Archived (PDF) from the original on 23 November 2015 . Retrieved 18 August 2013.

In the years following its release, Untrue has since been viewed as a landmark album in the dubstep genre, and in electronic music in general. In a 2017 article, Pitchfork called the album "the most important electronic album of the century so far". 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. 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 "Burial – Untrue – November 2007". Hyperdub. October 2007. Archived from the original on 18 August 2013 . Retrieved 18 August 2013. Levine, Noah (13 December 2007). "Burial – Untrue". URB. Los Angeles. Archived from the original on 29 February 2008 . Retrieved 29 February 2008.

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. 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. There is barely a day that goes by when this little number doesn't get played in the shop. Of all the artists past and present who claim to let their music do the talking for them, Burial is one of the elite band of whom this truly is the case. In fact, so reluctant is he to engage with the cult-of-personality hoopla that surrounds almost every modern producer and musician of merit, that he remains a genuine recluse; he has never appeared live, only one obliquely-angled publicity photograph is known to exist, and the number of interviews he has given can be counted on the fingers of one hand.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] The 2007 Pazz & Jop Critics Poll". The Village Voice. New York. 6 February 2007. Archived from the original on 19 January 2016 . Retrieved 18 July 2016. Self-indulgent is me. I've just explained to you a night that I experienced only a couple of weeks ago. One might wonder why people would decide to write about such unnecessary things in place of where a review for an album should be. But to be frank, not a single word or thought expressed here is off-topic; for you see, it was at the moment that I had this beautiful and wondrous senior year memory that I yearned to hear Untrue. A certain user once said that Burial isn't a band that you listen to while partying, but rather is a gem that you should reserve for the ride home after the party. Quite personally, I was reminded of his words when I realized my present state, and I made a date with myself to have it turned on as soon as I would get into bed. I only prayed that the feeling wouldn't be diminished from the hours inbetween. Reynolds, Simon. "Burial: Untrue". Blender. New York. Archived from the original on 8 February 2008 . Retrieved 18 August 2013. Burial’s initial intent was always to stay true to the radical anonymity and facelessness of rave culture and underground techno. Like some of us, he grew up fascinated by the enigmatic and outlandish artist names—LTJ Bukem, Rufige Kru, Foul Play, 2 Bad Mice, Dr S Gachet—that offered no clues to the color or class of these shadowy operators, no hint of where they came from, or even how many people were involved. (Omni Trio, for instance, turned out to be just one bloke.)

The Stylus Decade / Top Albums 40–21". Stylus Magazine. Archived from the original on 11 November 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. Additionally, you can opt out of some of these services by visiting the Digital Advertising Alliance’s opt-out portal at: http://optout.aboutads.info/. Birchmeier, Jason. "Burial". AllMusic. Archived from the original on 5 January 2014 . Retrieved 18 August 2013. Reynolds, Simon (26 October 2017). "Why Burial's Untrue Is the Most Important Electronic Album of the Century So Far". Pitchfork. Archived from the original on 26 October 2017 . 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. Beyond the overt religiosity of titles like “Prayer” and “Prophecy,” there’s a feeling in Burial’s music of reaching out in the darkness to higher powers. When collective dreaming—whether via progressive political projects or music movements like punk or rave—fades from the scene, people look to other sources of strength: traditional organized religions but also pulp spirituality, quasi-magical techniques of positive thinking, and other feel-good salves.Rewind: Records of the Year Top Ten". The Wire. No.287. London. January 2008. p.36 . Retrieved 25 June 2020– via Exact Editions.