Burial - Burial
- Thread starter beesonthewhatnow
- Start date
The_Reverend_M
More bass, vicar?
beesonthewhatnow said:
When you hear that on the Mass sound system it's far from chillout ...!
BadlyDrawnGirl
Piano Tuna
'Burial' is the soundtrack of the early 21st century post-millennial blues. Of dashed hope for anticipated technological and spiritual meltdown. Of pedestrian ambition rocketed skyward by chemical euphoria thwarted in the face of insurmountable oligarchic avarice. Of a single tear-encrusted guitar chord hanging in the air amid slowly descending dust on a silent, bloodstained stage. Of crosses and the bones of children lit through poky portcullis cleavages by the fires of South London riots that will claim all our souls.
While 'Distant Lights' is a direct response to the post-modern sturm und drang of Coldplay and James Blunt, there is a distinct Franz Ferdinand influence (tribute?) contained within the testifying vocal and Marillion-like guitar peals of 'Night Bus'. Close your eyes, and 'Pirates' almost - almost - conjures the ecstatic spectacle of U2 jamming with Keane on the last remaining island before the interstellar tsunamis of Armageddon engulf all while an icily apocalyptic hologram of Charlotte Church looks on.
Some say that 'Gutted' should have been omitted from the final tracklisting given its inherent lack of killer hooks and commercial viability, but skip over this single unfortunate experimantal abberation and recognise that the crowd-pleasing likes of 'Southern Comfort' and 'Forgive' will elevate these troubadours to the stadiums where they are no doubt destined to stand shoulder-to-shoulder with Snow Patrol and The Kooks. It's only a matter of time.
While 'Distant Lights' is a direct response to the post-modern sturm und drang of Coldplay and James Blunt, there is a distinct Franz Ferdinand influence (tribute?) contained within the testifying vocal and Marillion-like guitar peals of 'Night Bus'. Close your eyes, and 'Pirates' almost - almost - conjures the ecstatic spectacle of U2 jamming with Keane on the last remaining island before the interstellar tsunamis of Armageddon engulf all while an icily apocalyptic hologram of Charlotte Church looks on.
Some say that 'Gutted' should have been omitted from the final tracklisting given its inherent lack of killer hooks and commercial viability, but skip over this single unfortunate experimantal abberation and recognise that the crowd-pleasing likes of 'Southern Comfort' and 'Forgive' will elevate these troubadours to the stadiums where they are no doubt destined to stand shoulder-to-shoulder with Snow Patrol and The Kooks. It's only a matter of time.
TorchSong said:'Burial' is the soundtrack of the early 21st century post-millennial blues. Of dashed hope for anticipated technological and spiritual meltdown. Of pedestrian ambition rocketed skyward by chemical euphoria thwarted in the face of insurmountable oligarchic avarice. Of a single tear-encrusted guitar chord hanging in the air amid slowly descending dust on a silent, bloodstained stage. Of crosses and the bones of children lit through poky portcullis cleavages by the fires of South London riots that will claim all our souls.
While 'Distant Lights' is a direct response to the post-modern sturm und drang of Coldplay and James Blunt, there is a distinct Franz Ferdinand influence (tribute?) contained within the testifying vocal and Marillion-like guitar peals of 'Night Bus'. Close your eyes, and 'Pirates' almost - almost - conjures the ecstatic spectacle of U2 jamming with Keane on the last remaining island before the interstellar tsunamis of Armageddon engulf all while an icily apocalyptic hologram of Charlotte Church looks on.
Some say that 'Gutted' should have been omitted from the final tracklisting given its inherent lack of killer hooks and commercial viability, but skip over this single unfortunate experimantal abberation and recognise that the crowd-pleasing likes of 'Southern Comfort' and 'Forgive' will elevate these troubadours to the stadiums where they are no doubt destined to stand shoulder-to-shoulder with Snow Patrol and The Kooks. It's only a matter of time.
Stop reading the guardian....
Dask said:
he's still listening to shitty acid techno
beesonthewhatnow
going deaf for a living
Modern folk's my thing at the monent actuallyDubversion said:he's still listening to shitty acid techno
Besides, at least acid techno dosen't sound like a bloody funeral.
beesonthewhatnow
going deaf for a living
Nowt wrong with the QuoBlagsta said:No, it just sounds like Status Quo.
have you heard the burial album?TorchSong said:'Burial' is the soundtrack of the early 21st century post-millennial blues. Of dashed hope for anticipated technological and spiritual meltdown. Of pedestrian ambition rocketed skyward by chemical euphoria thwarted in the face of insurmountable oligarchic avarice. Of a single tear-encrusted guitar chord hanging in the air amid slowly descending dust on a silent, bloodstained stage. Of crosses and the bones of children lit through poky portcullis cleavages by the fires of South London riots that will claim all our souls.
While 'Distant Lights' is a direct response to the post-modern sturm und drang of Coldplay and James Blunt, there is a distinct Franz Ferdinand influence (tribute?) contained within the testifying vocal and Marillion-like guitar peals of 'Night Bus'. Close your eyes, and 'Pirates' almost - almost - conjures the ecstatic spectacle of U2 jamming with Keane on the last remaining island before the interstellar tsunamis of Armageddon engulf all while an icily apocalyptic hologram of Charlotte Church looks on.
Some say that 'Gutted' should have been omitted from the final tracklisting given its inherent lack of killer hooks and commercial viability, but skip over this single unfortunate experimantal abberation and recognise that the crowd-pleasing likes of 'Southern Comfort' and 'Forgive' will elevate these troubadours to the stadiums where they are no doubt destined to stand shoulder-to-shoulder with Snow Patrol and The Kooks. It's only a matter of time.
Appassionata
gets bare gash-f*** Z*rra
The last time I played out, I had planned on playing much more dubstep than I did, but I completely cleared the floor with it.
Though, oddly enough (even though I'd be the first to admit that Burial's stuff isn't as good for the rave as other producer's material), it was when I dropped "South London Boroughs" that the floor began to fill up again!
Possibly because that tune feels more like early dubstep/dark 2-step garage used to, rather than the wobbly bass halfstep stuff which has grown in popularity recently. The crowd were definitely feeling that sort of thing, so I played more of that sort of style before filling the floor with an hour of grime.
Though, oddly enough (even though I'd be the first to admit that Burial's stuff isn't as good for the rave as other producer's material), it was when I dropped "South London Boroughs" that the floor began to fill up again!
Possibly because that tune feels more like early dubstep/dark 2-step garage used to, rather than the wobbly bass halfstep stuff which has grown in popularity recently. The crowd were definitely feeling that sort of thing, so I played more of that sort of style before filling the floor with an hour of grime.
SL Boroughs was definitely a kinda transition release.
you heard his remix of that Jamie Woon folk song? lovely
you heard his remix of that Jamie Woon folk song? lovely
BadlyDrawnGirl
Piano Tuna
I thought I had...rutabowa said:
Appassionata
gets bare gash-f*** Z*rra
Dubversion said:
no, but I'll try to find it somewhere
to explain more,
when i go the album i was expecting it to be like the music at Forward, upfront heavy bass, rave music,
then when i heard it it sounded like pussy chillout music so i was disappointed.
but then when i go back to it expecting the pussy chillout music, i find out there is a bit more to it, more like ambient works than dinner party chillout, so i like it better listeing to it with that expectation.
ps ignore my myspace page.
when i go the album i was expecting it to be like the music at Forward, upfront heavy bass, rave music,
then when i heard it it sounded like pussy chillout music so i was disappointed.
but then when i go back to it expecting the pussy chillout music, i find out there is a bit more to it, more like ambient works than dinner party chillout, so i like it better listeing to it with that expectation.
ps ignore my myspace page.
Negativland
Pope Handsome VII
The Jamie Woon remix, FUCK. It's like looming rainclouds!
