Burial – Untrue

fk am skinto and thiis is cheap a chiips mayy as well melt it down haha take care folks ! uk music is good tbh happy sunday

** unplayed - apart from that one with 50 cent sample

Smooth, yet anxious, deeply resonant soundscapes that have elusive form and fluidity.

A melancholic soundtrack to urban landscapes in november evenings. The deliberate roughness and imperfections of the production make this album sound warm, personal and sincere.
In my mind I often pair "Untrue" with FSOL's "Dead Cities", which is quite different in style, but perfectly complementary.

Perfect ambience. This album either speaks to you or it doesn't. If you are a night owl, spending time at night thinking, remembering... this might be up your alley. Introspective, intentionally imperfect garage - romantic and depressing.

When I first got this album when it came out I never thought I'd stop listening to it. Obviously, I have and hardly ever listen to it today. For some reason it hasn't quite lasted as some other great albums (e.g Blue Lines mentioned below), but part of that I think is that it is an album that only real works when its dark, raining and you are on a bus passing through London. What was so great about this album was the way it captured London of the 90s and transported it into the mid 2000s with a sound that was very fresh and (then) unique. It was both fresh and nostalgic. If anyone asked to tell them what London sounded like I'd refer them to this album.

When i first listened to this album it sounded a bit strange and with comercial vocal songs, but after listening to this Album several times i end up loving it, most of the musics are very satisfying, very emotional, evoking wide open spaces filled with giant historical buildings and with people going about their business.My favourite tracks are "Endorphin", "etched headplate", "In Mc Donalds" and "Dog Shelter", they are very melodic, melancholic and emotional. "Homeless" is the less satisfying music for me.
This is the best Album by Burial. Hope there is more Burial Albums to come.

This album probably has more in common with downtempo, IDM, or trip-hop than dubstep, per se. In any case, its one of the most talked about releases of the 2000s, and for good reason. "Archangel" is the crown jewel of the album, but each song is great in its own right. If there's a single criticism to be had, it would be that the album is too homogeneous and is lacking in variety. Nonetheless, it's one of the defining releases of the past decade and a testament to the power of the modern music album. 2012 has arrived and this record is still in the top 10 most sold here on Discogs.

Whatever genre people are calling this album, I'm going to stick to electronic as a base simplification for Untrue. Its an alright album, but it is not going to save any electronic genre from anything. The beats are one dimensional and thin sounding, there are no two tracks on this album that are outstanding. Maybe a generation of mp3 kids with attention deficit disorder think this is "wicked" because they've been force fed a short lifetime of rubbish pop music and they don't have the balls to break from their pack mentality to explore outside of there cliques to find truly ground breaking electronic music. This is an alright album at best, but not the best produced album of whatever genre people are calling this, but he has time on his side and the future will prove if he has the talent.

Despite being oft-labeled as the 'godfather' of dubstep, I think Burial's UNTRUE excels not necessarily as a dubstep album, but as a creation of pure atmosphere: the strings and vocal samples of "Archangel" hint at dark clouds covering a dark sky, and if "Near Dark" and "Ghost Hardware" don't differ greatly, they both maintain an ominous -- but also strangely romantic -- feel. Indeed, all over the album, the repurposed soul vocal samples help cast the darkness in cement. Stripped of context, the voices become singular howls of pain, or plaintive calls in the empty spaces that Burial's music creates, becoming another texture: "Etched Headplate" resists having the 'lyrics' be understandable, consumed as they are beneath the bass, while the momentary piano of "In McDonalds" echoes the female whisper. The title track, too, hinges on the darkness of telling lies, as brief as that sample is. The sweeping synths and bell tones of the ambient "Dog Shelter" resonate into the more energetic "Homeless," as the layered voices become a chorus. The final track, "Raver," goes between the spareness of the rhythm and the fullness of sound. Forget dubstep being all about the wobbly bass -- here, it's all about the atmosphere.