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Do you find the terms: techno, drill’n’bass, house, heroin-house, micro-house, IDM et al. vexing? You may, like millions of other music enthusiasts, suffer from MGS — Micro Genre Syndrome. Thanks to MGS, I nearly overlooked this record and that would be a damn shame. You see, Burial holds the beachhead of a genre termed “Grime/Dubstep.” At face value, one has to be suspicious of hyphens, slashes and punctuation in general. Why don’t the artists collude to create thematic names like “The Grimy Dubsteppers” or “Dubstep 2000”?

Fear of punctuation aside, it turns out to be a relatively descriptive moniker. This music does have echoes of dub reggae and dancehall; hence, the term Dubstep. The Grime refers to the distressed veneer that coats everything from the keyboards down to the drums. There are nicks, scratches, scuffs and slashes; dings, dents and divots in plentitude. Coupled with the space that each instrument is afforded in the mix, the overall effect is haunting.

Untrue bears some resemblance to Massive Attack’s Mezzanine. Each song is literally soaked in dread. So much so that the tension becomes nearly asphyxiating. Untrue differentiates itself with its imperfections: the subtle shifts in the rhythm track, the scratch and dent instrumental treatments.

The first Burial record was instrumental. Untrue adds vocal samples to nearly every track. Curiously, the vocals samples are primarily R&B. Despite the fact that they, too, are blemished, they function as a redemptive contrast to the claustrophobic tenor of the music.

This is eerie, late night headphone music. This is music to retreat to the island of one's own mind with.

-— Jesse Srogoncik, February 7th, 2008

Burial — Burial (Hyberdub/Cargo, 2006)
Burial — Untrue (Hyperdub/Cargo, 2007)


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Wednesday, July 30, 2014 All Contents Copyright © 2014 Stinkweeds Music