B: Fuck that. If my tunes sounded like Herbalizer or some shit, I’d shoot myself. I’d throw myself under a train at Clapham Junction.
B: When I started sending music to Kode 9 he sent me CD back all this music with glitches and crackles. And I was like ‘aw fuck.’ He played me Rhythm and Sound, and told me about Basic Channel and Pole and I thought ‘fuck it sounds like I’m making some kind of electronica’ and I fought so hard against that because I wanted it to be just vibes, urban, that sound I love, proper UK. No genre, just a sound.
Do you like anything of his? Have you ever liked anything of his?
This one's always stood out to me. Shame he never really did anything like that again.pirates
This one's always stood out to me. Shame he never really did anything like that again.
Always been curious about that really dark album he shelved, the one he said sounded like taking a gun apart.
"I was worrying, because after my first album I felt a bit of pressure to follow it up. I worked for hours on these tunes, and I was trying to learn these programmes. These tunes were darker, more technical, all the tunes sounded like some kind of weapon that was being taken apart and put back together again. But then I got sort of sick of them, because I spent so long on them, I was moody about other things. So I wanted to make a glowing record, I wanted to cheer myself up. Instead of doing those dark tunes that took ages and were really detailed, I wanted to make a record fast. Something warm, glowing, junglist and garagey."
jiggawhat October 7, 2012
referencing Street Halo, 12", EP, HDB013
This release is rated 5 stars
The reason why Burial is such an icon in today's music scene is because it's a dramatic contrast to the oftentimes soulless music you hear being churned out by typical house/dub/techno producers today. You know - the dark, unresponsive, mechanical, over-digitized, and needlessly complex music that gets played in today's clubs. Entering the picture is Burial, with their moody songs filled with emotion and melancholy, their atmospheric landscapes, and their soulful vocal snippets. In "Street Halo" and other releases, Burial is putting back the "music" into "electronic music". The title track is the strongest, and most danceable one on this record, but don't sleep on any of the others, as they all demonstrate a comparably high level of production quality.
Another change is he's really leaned into his thing for The Chemical Brothers, Luke Slater etc. I remember him going on about Hold Tight London in one of the Blackdown interviews and you can really hear that sort of thing in some of the later tunes.
Street Halo was the release where I felt something had changed and he was starting to lose it. That was when I started to get the Four Tet "indie electronica" vibe from him.