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King, Tom (14 November 2007). "Album Review: Burial – Untrue". Drowned in Sound. Archived from the original on 7 April 2013 . Retrieved 2 April 2014. a b "Burial – Untrue – November 2007". Hyperdub. October 2007. Archived from the original on 18 August 2013 . Retrieved 18 August 2013. Stelfox, Dave (13 November 2007). "Burial's Untrue: Dreamlike dubstep, anonymous but optimistic". The Village Voice. New York. Archived from the original on 12 October 2013 . Retrieved 18 August 2013. The post-punk connection helps to explain why Burial is the one dubstep artist that people who don’t follow dubstep, or even electronic dance music, have latched onto. His albums have been embraced by music fans whose preferred listening might be the Cure (a group whose early and gloomiest music Burial is said to adore) or Radiohead. It makes sense to slot Burial in that pale lineage of “young men [with] the weight on their shoulders,” to quote an Ian Curtis lyric—to see him as another of those sad-eyed “missing boys” who left “some signs” and is “now a legend,” to quote the Durutti Column’s tribute to the dead Curtis, “The Missing Boy.” Burial’s initial intent was always to stay true to the radical anonymity and facelessness of rave culture and underground techno. Like some of us, he grew up fascinated by the enigmatic and outlandish artist names—LTJ Bukem, Rufige Kru, Foul Play, 2 Bad Mice, Dr S Gachet—that offered no clues to the color or class of these shadowy operators, no hint of where they came from, or even how many people were involved. (Omni Trio, for instance, turned out to be just one bloke.)

Birchmeier, Jason. "Burial". AllMusic. Archived from the original on 5 January 2014 . Retrieved 18 August 2013. These featureless expanses of sound parallel the steadfast erasure of Burial’s public profile since Untrue. To my knowledge, since the spate of interviews around that album, he has not spoken to the press. Most likely his withdrawal is a reaction to the forced exposure of his real-world identity in 2008. He went public with his name and face that year, but only as a preemptive measure to undercut mainstream newspaper journalists bent on sleuthing out the truth. Chart: CLUK Update 17.11.2007 (wk45)". Zobbel.de. Archived from the original on 10 October 2012 . Retrieved 18 August 2013.Album Releases by Score: 2007". Metacritic. Archived from the original on 13 November 2013 . Retrieved 18 August 2013. Arriving at the area where they were to serve us the free food with a couple of friends, we found ourselves disappointed. Cold hamburgers, greened hot dogs, placid buns, and sour macaroni and cheese was to be our diet until we opted to spend money on expensive park food later (which, to my distaste, was quite unsatisfying). There was at least an hour before they would allow us to enter the actual park, so we traversed around through the City Walk area. Restaurants and coffeehouses appealed to us, but they appeared to be barricaded off, as if a message that we had no choice but to go by what park administration said we, teenagers of Florida, should be consuming. The few places we did bide our time with until the park opening were loud, smokey clubs with nothing but Top 40 songs playing. I can't even begin to count how many times I heard "Poker Face", "Down", and "I Got a Feelin'" than on this one evening. Even the Karaoke Bar was replaced with lame, teen club music. Ultratop.be – Burial – Archangel" (in Dutch). Hung Medien. Archived from the original on 13 January 2014 . Retrieved 18 August 2013. Untrue is the second and most recent studio album by British electronic music producer Burial. Released on 5 November 2007 by Hyperdub, the album was produced by Burial in 2007 using the digital audio editing software Sound Forge. Untrue builds on the sound established by Burial on his eponymous debut album from the previous year, notably through its more prominent use of pitch-shifted and time-stretched vocal samples. The album, like Burial's previous work, also draws on influences from UK garage, ambient, and hardcore music.

Beyond the sonic resemblances and a shared aura of desolation, there are other parallels between Burial and Joy Division. Both released startling, out-of-nowhere debuts that introduced a revelatory sound that felt visual, making your ears gaze into the distance. Both followed those up with immaculate sequels that completed and perfected the initial statement. Neither released a third studio album—although in Burial’s case, that remains a (seemingly faint) possibility.British album certifications – Burial – Untrue". British Phonographic Industry . Retrieved 6 May 2016. Burial: Melancholic Electronic Dub". NPR. 17 December 2007. Archived from the original on 15 December 2013 . Retrieved 18 August 2013. There is barely a day that goes by when this little number doesn't get played in the shop. Of all the artists past and present who claim to let their music do the talking for them, Burial is one of the elite band of whom this truly is the case. In fact, so reluctant is he to engage with the cult-of-personality hoopla that surrounds almost every modern producer and musician of merit, that he remains a genuine recluse; he has never appeared live, only one obliquely-angled publicity photograph is known to exist, and the number of interviews he has given can be counted on the fingers of one hand. The Stylus Decade / Top Albums 40–21". Stylus Magazine. Archived from the original on 11 November 2013 . Retrieved 18 August 2013.

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