| Title, Format | Label | Cat# | Country | Year | |
|---|---|---|---|---|---|
| Untilted (CD, Album) | Warp Records | WARPCD180 | UK | 2005 | |
| Untilted (2xLP) | Warp Records | WARP LP 180 | UK | 2005 | |
| Untilted (CD, Album) | Beat Records | BRC-122 | Japan | 2005 | |
| Untilted (CD, Promo, Album, Car) | Warp Records | WARP CD 180 P | UK | 2005 |
referencing Untilted, CD, Album, BRC-122
referencing Untilted, CD, Album, BRC-122
referencing Untilted, CD, Album, WARPCD180
referencing Untilted, CD, Album, WARPCD180
referencing Untilted, CD, Album, WARPCD180
referencing Untilted, CD, Album, WARPCD180
referencing Untilted, CD, Album, WARPCD180
referencing Untilted, CD, Album, WARPCD180
referencing Untilted, CD, Album, WARPCD180
If you really want to know what I think:
Untilted shows progress in compositional techniques, freeing individual sounds from their role or function in the song and allowing them to retain their autonomy as discreet phenomena. Where previous albums have been sonic "landscapes," I hear the movement toward "still life" from Drafts much further developed here. In other words, if you want to think of previous albums as showing what another planet might look on the surface (or even what the architecture might look like), Untilted perhaps details the specificity of objects in alien life. What do alien plates, fruit, umbrellas, piggy-banks, and toys look like? Listen to this album and you will see it in your mind. And yes, there is a track called 'the trees' on there, but I still see it as a departure from soundscapes and an arrival at integrated beats.