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Untrue album cover
Near Dark
Ghost Hardware
Etched Headplate
In McDonalds
Shell Of Light
Dog Shelter
Album Information

Total Tracks: 13   Total Length: 51:16

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Wondering Sound

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Andy Battaglia


Andy Battaglia writes about music and culture of various other kinds from a home base in New York. His work has appeared in the Wall Street Journal, the Wire, t...more »

Burial, Untrue
2007 | Label: Hyperdub / The Orchard

We all know about the "Difficult Second Album" — the oft-rushed record made amid suffocating expectations and incessant touring. But some follow-ups not only make good on a promising debut but also retroactively imbue the entire enterprise with more intrigue than could have been recognized at the start. In 2007, M.I.A.'s Kala and LCD Soundsystem's Sound of Silver entered the ranks of this special kind of second album, and so did Burial's Untrue.

Part of the… read more »

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I don't know how I find these sounds musical but they are

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Yes correct on two counts


RTC wrote tried to like it and couldn't and that those who like the samples will undoubtably like the whole damned thing. So yes correct on both counts. It isn't for everyone. But there are those of us who find it highly listenable and intriguing with a shallow depth. It fills space with time and cold warmth. It's equal parts IDM and ambient and dubstep and good and not for everyone just like I tried to like, but couldn't, Taylor Swift. (ok so I didn't really even try)

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I'm another who doesn't understand all the praise this album gets. It sounds to me like the same undercooked song, over and over. Needed a lot more variety.

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I Bought the album just coz and im glad i did it is good dub its not over the top either its nice and chiiled i thought the album was fantastic and if you like this one you should deffo buy his other one =]

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i don't really understand why this is getting so much attention! it sounds totally 90s... but maybe the 90s are back!

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could have been gold for me...


i love the instrument production and beat treatments...and then those terrible soul/r&B voice samples ruin it all. so too bad. maybe leave that crap off the next album, call it a subtle new direction, deliver it and make new fans...

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Will you..


Marry me? - oh god of truly romantic but musically credible tunes... awwww the lyrics, the smooth, sexy echoing sounds. Want some thought provoking music?.. here it is

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I just don't understand


I just don't understand why this is so well regarded. I tried and tried to like it, and it just sounds so unforgivably generic to me...

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darkly shimmering


I just don't grow tired of this one. Certainly it's dark, but within dense grooves there is always a shimming light, whether a yearning human voice or rising snippet of melody. Very well conceived from end to end, Endorphin and Etched Headplate remain my highlights, though. Nothing else in music is quite like Untrue.

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unearthly beautiful


passionate and mesmerizing! what other reviewers are describing as "the same beat over and over" is more what i characterize as the cohesiveness of sound on this record. it seems to have more of a defined artistic viewpoint from a holistic sound perspective than his self-titled debut album, which i also love. the way burial reinterprets songs through his use of sampling is very amazing. i wish he would release more work! read the entry on him in wikipedia if you are curious because it explains a lot. much in the vein as sigur ros i think anyone from any culture can emotionally connect with this record. highly recommended.

eMusic Features


Discover: Hyperdub Records

By Joe Muggs, Contributor

Hyperdub is a label that came very gradually into being. Existing first as a blog, then purely as an outlet for Kode 9's fearsome reductions of dubstep and grime to their barest essentials, its output was sparse until the emergence of mystery producer Burial propelled it into the wider public eye. Since then it has grown exponentially, taking on a motley crew of artists orbiting — but never quite exactly part of — the UK… more »

They Say All Music Guide

Burial, the self-titled debut album by an anonymous dubstep producer from London, proved one of the more surprising success stories of 2006. It was voted Album of the Year by the influential experimental-electronic magazine The Wire and was fawned over by a long list of other media, from Mixmag to Pitchfork. Upon the release of Untrue, the second Burial album, the cycle of acclaim appeared likely to repeat itself. While Untrue isn’t likely to win many, if any, Album of the Year honors (in the wake of the debut’s acclaim, the novelty of Burial lessened considerably), the album’s arguably even better than its predecessor. Untrue finds its anonymous producer streamlining the varied approach of his debut, resulting is a uniform collection of tracks that are subtly evolving variations of each other. Following an untitled, foreboding intro, Untrue kicks off with the simply melodic “Archangel” and culminates 45 minutes later with the majestic “Raver,” a summary conclusion. There aren’t any MC-featuring tracks such as “Spaceape” as there were on the debut, nor is there any hard-hitting tech-step à la “Southern Comfort”; instead, every track on Untrue seems cut of the same cloth, emphasizing ghostly vocal loops, shadowy ambient motifs, and the warped rhythmic signatures of 2-step. One of the key highlights is “Ghost Hardware,” the closest the album comes to genuine dance music. It’s followed by another standout, “Endorphin,” an ambient interlude that shimmers for three minutes, entirely free of beats, before the sub-frequency bassline of “Etched Headplate,” one of the album’s most melodic and memorable songs, cuts through the stillness. Untrue is most evocative when listened to in sequence, for the moods and characteristics of each track evolve as the album progresses. Once “Raver” brings the proceedings to a close, though, it’s the overall impression of the Untrue that stays with you, more so than any particular tracks. If you can appreciate the style of dubstep employed by Burial, it’s easy to fall head over heels for Untrue, an album on which there are absolutely no mainstream-crossover concessions, no ego trips, and no willful stylistic variation — an album where the music, a singular style of it, takes center stage with no distractions or sideshows, where there’s never the urge to skip to the next track, because they’re all part and parcel of the greater whole. – Jason Birchmeier

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