Untrue
 
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Untrue

November 5, 2007

$8.99
Song Title
Time
Popularity  
1
Untitled
0:50
2
Archangel
4:02
3
Near Dark
3:58
4
Ghost Hardware
4:57
5
Endorphin
3:01
6
Etched Headplate
6:03
7
In McDonalds
2:11
8
Untrue
6:20
9
Shell Of Light
4:44
10
Dog Shelter
3:03
11
Homeless
5:24
12
UK
1:44
13
Raver
4:59

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Product Details

  • Original Release Date: November 5, 2007
  • Label: Hyperdub
  • Copyright: 2007 Hyperdub
  • Total Length: 51:16
  • Genres:
  • ASIN: B000X9NI5W
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (61 customer reviews)
  • Amazon Best Sellers Rank: #13,110 Paid in MP3 Albums (See Top 100 Paid in MP3 Albums)

Customer Reviews

There's a good flow to the album.
Matt Jacobs
Whether you love dubstep or not, this is just great music to get lost in.
Kelly Liston
It's very cinematic in that sense.
Ellipsis

Most Helpful Customer Reviews

180 of 186 people found the following review helpful By Mike Newmark on November 29, 2007
Format: Audio CD
The council houses in London possess an aura that is easier to feel than it is to explain. Often covered in fresh tile and paint and given attractive names, they contain many of the city's former criminals, violent children and sexual deviants. I used to jog at midnight and come upon the council houses, always devoid of life from the outside, yet teeming with rotten things behind its clean façade. Every night I would return to them, both repelled and magnetized by their unnerving paradox of innocuousness and evil, letting the ghostly atmosphere of the council houses take me over in some puzzling, profound way.

Whether he knows it or not, anonymous London producer Burial makes music sound like council houses feel. His eponymous debut in 2006 capitalized on the eerie sensation of London at night by taking the rhythmic patterns and instrumentation of dubstep, a chiefly British genre, and blackening the palette. The drums sounded like knives hitting steel; the record crackles evoked raindrops; the bass was so low that it seemed to operate at subsonic frequencies. Every so often, a voice would make its strangled way up the surface, crying for everyone in London who wanted out before trailing off into the unforgiving cityscape.

As a dubstep album, Burial did double duty by raising the bar and providing a solid introduction to neophytes, but it faltered whenever it moved too close to standard dubstep skank for comfort. Untrue--Burial's sophomore effort and masterpiece-- jettisons everything that kept his last record from being a truly immersive experience, ratchets up the emotionality, and comes bathed in an unearthly, ineffable glow.
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46 of 48 people found the following review helpful By Eliah Hecht on November 10, 2007
Format: Audio CD
...and it couldn't come a moment too soon. Easily my favorite album of 2007 so far. This blows his previous release out of the water in my opinion. "Massive Attack in 2020", like the other reviewer says, hits it right on the head. I can't stop listening to this, trying to get all my friends to listen to it, and now trying to get everyone on Amazon to listen to it.

It's dark, it's atmospheric, it's brilliant. Never pretentious, but always taking the next step. If you liked the trip-hop greats (Massive Attack, Portishead, DJ Shadow circa Endtroducing), you can't help but love this. In fact, this may be my favorite electronic album since Endtroducing, and Endtroducing changed my life. Untrue is that good.
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38 of 42 people found the following review helpful By Brandon Whitfeld on November 21, 2007
Format: Audio CD
Anonymous UK dubstepping phenom Burial has smoothly taken the decaying trip hop genre and shoved it into the 21st century. UNTRUE is a muted, whispery masterpiece with scratchy percussive dance beats and coiled echoing vocals; sorta like listening outside some underground London nightclub marked only by a humming caged blue light by its entrance. Awesomely addictive, with a seductive texture, this record is well on its way to making every Top 10 list for 2007, and speaks highly to what someone can do with a personal computer and an endless sonic imagination.
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16 of 17 people found the following review helpful By J. Brooks on November 6, 2007
Format: Audio CD
Did anyone think that Burial's sophomore CD could top his self-titled epic from 2006? I did not, but this does. For dubstep fans you are all ready all over this. For those wondered what Massive Attack would sound like in 2020? This is it. Nothing sounds this next-level, dark and beautiful. Burial delivers huge.
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10 of 10 people found the following review helpful By Sean Anders on December 22, 2007
Format: Audio CD Verified Purchase
I imagine this is what a vast intelligence hears when synthesizing data excavated from long abandoned hardware after a mass diaspora of Earth. This is what they pieced together.
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5 of 5 people found the following review helpful By Giuseppe A. Paleologo on September 18, 2008
Format: MP3 Music Verified Purchase
Burial is coming out of nowhere. He's publicity-shy, he's not touring and he concerns himself primarily with his beats. The palette is parsimonious: all is very sparse, but it never feels bare or cheap. Clearly, there are lots of influences here. Whereas the previous album was a nice crossover of dub, Drum & Bass, and Boards of Canada (!?), this one has an almost trance and garage feeling with eurotrash voices coming from another planet. There are echoing synthesizers that seem lifted from AFX Ambient Classic II and early Autechre (say, Garbage). The album is infectious and almost danceable (again, in a different planet). But the best thing about Burial is that his sound is instantly recognizable. It is original, honest. Given the intimate lyrics and melancholic mood, I would classify this as a Blues album for the next millenium.
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5 of 5 people found the following review helpful By Gerald Brennan VINE VOICE on March 23, 2008
Format: Audio CD Verified Purchase
Remember back in 1997 when techno and dance was supposed to be the music of the future? Remember that?

Journalists raved, but the public yawned. There were some great techno albums, but relatively few that demanded and rewarded prolonged attention. Many just didn't promise an interesting future--they offered us Hill Valley, circa 2015. Sonic landscapes that were mildly entertaining, but not compelling, with everything bright and precise and utopian--fine for the shiny-shirt club crowd, but unsatisfying for anyone craving complicated emotions and experiences.

Well, this album isn't "Back to the Future II." It's more like "Blade Runner." A dingy distorted place, depressing but fascinating, soulful and real.

It's ironic--digital audio perfection is more attainable then ever, but the stuff that sounds best often approximates analog authenticity. The tunes on Untrue snap, crackle and pop as if the DJ left an open mic next to his bowl of Rice Krispies, recorded everything on vinyl, then broadcast it to you over a static-filled radio station. The beats are perfect because they're imperfect, more man than machine. And over--or rather, around and through--them, warped vocals wander in and out like lost souls, ghosts of your exes wailing about desire and longing and betrayal. You can't quite make out everything they're saying, but because of that, you can't forget it, either.

It all feels natural and real, but like the best art, what looks effortless is purposeful. Calculated for maximum emotional effect, contrived without seeming so. These haunting tracks describe your world--or at least the way your world feels when you're walking home alone on a desolate city night. It's a grim dystopia of urban decay and existential emptiness, but still far more interesting than anything you'll find when the sun's up. The future's here, and it ain't a happy place, but you won't want to leave.
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