Track Listing

1. Untitled
2. Archangel
3. Near Dark
4. Ghost Hardware
5. Endorphin
6. Etched Headplate
7. In McDonalds
8. Untrue
9. Shell Of Light
10. Dog Shelter
11. Homeless
12. UK
13. Raver

Product Details

• Amazon Sales Rank: #1572 in Music
• Released on: 2007-11-05
• Number of discs: 1
• Dimensions: .12 pounds

Amazon.co.uk Review
Much speculation surrounded the identity of Burial, the creator of Untrue and its predecessor, 2006's eponymous Burial––speculation quashed when its maker dropped the mask and revealed himself to be William Bevan, a fairly ordinary South Londoner who was just quite fond of making and releasing tunes without all the surrounding fuss. Such revelations, however, cannot quash the haunting beauty of Untrue itself. Released as most of Burial's dubstep peers were chasing darker sounds and heavier, wobblier bass in an effort to move dancefloors, tracks like "Archangel" and "Etched Headplate" take an altogether different, rather more serene route. 2-step garage rhythms are drenched with glowing, ethereal synths and vinyl crackle, and where vocals appear, they're heavily treated, chopped-up and pitch-shifted, until they sound like the coos and croons of a particularly soulful angel. Aided by occasional snatches of found sound and spoken narrative--"He's not hardcore ... he's not setting out to hurt people" promises one lonely voice, out of the gloom--it's a record that flows remarkably, a journey through a lonely metropolis that's both melancholy and strangely uplifting. ––Louis Pattison

CD Description
Second album from the acclaimed dubstep producer, Burial. Adark sonic journey through an electronic landscape, punctuated with soulful vocals and synths, this album will appeal to fans of Aphex Twin and Dizzee Rascal. Includes the tracks 'Raver', 'Near Dark' and 'Homeless'.

Customer Reviews

Peerless
Never heard anything quite like this. It's haunting and magnificent, taking me on a journey round the streets of London I grew up in.

A muffled clatter of shutters, hissing neon lights, snatches of conversation and music drifting down from open windows. Late night buses. The last tube... And it's packed with emotion, the soundtrack to loners walking the streets, couples parting, doorway confrontations and confessions. Lush fragments of tunes overlaying irresistable beats.

Perhaps this is the album DJ Shadow should have made instead of the Outsider to keep fans of Endtroducing on side. But he didn't. It was left to Burial, unknown genius, to create this peerless masterpiece.

Epic, mournful brilliance
If anyone could be said to define the state of the nation, Burial would be that man.

This album is mournful, epic, and magnificent. It speaks of loss - a loss of what we once were perhaps. But to me at least it speaks of a loss of direction - not the loss of some kind of utopian prestige connected to a golden era. Burial speaks of Britain today, with all its gritty, dirty, messy, impersonality. He speaks of its faults - without forgetting its magnificent cultural, musical and historical achievements. His is a balanced, truthful account of what it is to be British today - an account with no words, just music.

Some people listen to this album and are put off by the 2-step sound and garage/R'n'B clips - they think they're listening to, as some have said, 'what a chav would play at the back of a bus'. But they miss the point entirely - Burial IS talking about that kid at the back of the bus. The kids who are a product of our society, whether we like it or not. He's trying to articulate the lifestyle of the majority of people living in this country - their hopes, fears, faults and virtues. There is no judgement here, just a condensed commentary on modern living.

This is definitely album of the year - what an incredible achievement from such a brilliant young talent.

And we still don't know who he is.

Absolute class.

Most definitely True....
Burial was definitely not something I thought I would enjoy. Underground dance music is not my thing at all. I have many friends into drum & bass, dubstep, jungle and all that type stuff and there's only so much I can handle before pulling my hair out (about 30 seconds).
However, I caught a few reviews online of Burial's self titled album and was intrigued. I thought "what the hell!?", if I don't like it it's no big loss is it?
Burial's brand of dubstep evokes visions of dark city streets in the early hours of the morning; distant car headlights seen faintly through thick fog; breath streaming from cold mouths; windy deserted streets lined by boarded up houses. It evokes the underlying sense of despair that permeates working class urban Britain at night. It's a fantastically deep album. And all this from simple machines and vocal samples.
Everything is very analog sounding and drenched in rich reverb. The vocal samples all sound very distant yet personal. The beats aren't quite distorted but thay are far from clean.
Untrue has a very melancholy vibe to it that is far from aggressive. Even though dubstep is sheltered under that broad umbrella we call `dance music' you really couldn't dance to Burial. You could sway or nod your head but you wouldn't get Burial being played very often in the massive underground club scene Britain is nurturing at the moment.
I'd say Burial's closest spiritual partner is Portishead. They're both very dark, very mysterious, and very British at the same time. The only thing stopping Burial becoming big it it's very nature. Many people would be put off by it's darkness. It's not easy listening at all and it's not catchy. Portishead was very catchy and won lots of people's hearts because of the human element in Beth Gibbons' fragile voice. Burial uses detached, echoing samples and mechanical, repetetive beats. I think possibly the 2 step beats will put off a lot of people, just because it's reminiscent of how utterly awful garage music is, which is a shame.
I'm absolutely loving Burial at the moment and I don't really know why. It has that special something that will attract people from all types of musical backgrounds.
Great stuff.