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like rain on your window when you're in bed at night.
walking through the underpass from the tube station and out into the rain, crossing the road while dogding the taxis.
"I would sit around waiting for night to fall, wait for summer to end. Or I would go out, wait for it to get dark, and then I'd go back and work on it, sort of hypnotise myself. I love that feeling when you know that almost everyone in your city is asleep, or you go out and listen to your tunes in someone's car at night. It's like hibernating.
"When I'm awake all night, sometimes I see the people and the city waking up around me. I feel a little bit moody at them for stepping into my night-time. What I want is that feeling when you're in the rain, or a storm. It's a shiver at the edge of your mind."
Those last few minutes when you're home from a rave, it's still dark outside and everyone else has gone to bed but you sit at your window, mind still fizzing and the sound of traffic driving past forming ghostly beats in your head.
Did anyone read the interview with him in Wire at about the time of Untrue's release? It was a great bit of scene setting and an excellent way of contextualising his music.
like you say, really great insight into the mindset of where his music is coming from.
Burial is travelling home on the night bus in silence after being at a rave, being totally lost in those solitary & melancholy moments, whilst simultaneously feeling a profound sense of hope & comfort.
I'm in the middle of it at the moment - it's essentially a history of the evolution of rave and the impact of ecstasy on dance music culture. It got me thinking about Burial - how the music he makes is absolutely intertwined and fundamentally linked to ecstasy, the lonely but warm 'still-buzzing-on-the-journey-home' feeling that makes quiet streets and buses which might ordinarily feel threatening or unsafe feel strangely familiar and comforting.
Foyles don't seem to have any in stock, there's a few on Amazon marketplace though. I've quite enjoyed the other stuff of his that I've read (like the post-punk one which I read a few years ago).
I remember in one of those interviews (pretty sure it's the one from The Wire) where he was talking about how he hadn't been to festivals in his youth but yet at the same time his music was inextricably linked to both 90's dance culture, drug culture and that lonely dazed post-club feeling, the dream-like sensation of everything that's happened reverberating around your mind in this really tender and soulful way, which isn't something that you'd automatically associate it with. Uniquely close & personal feelings, but at the same time we can all understand and relate to it.
But I hadn't found it anywhere else I'd been looking. Its circulation obviously isn't as wide as some of his other books.
Yeah I think it was the Wire interview - he was saying that he was a little too young to have gone to outdoor raves and the like but that his brother used to come back and play him tunes. What I found really refreshing about Burial in the first instance was that it was the first 'post-club' (zzzz) music I'd heard that was was influenced by how it really feels when you stagger out of a rave and head home by yourself, rather than your standard post-club 'chillout' fodder that's seems pretty much designed to be mellow and boring.
For someone who had no way of experiencing it back then it's a great insight. Especially love the idea of people coming out of raves and still partying their way up Tottenham Court Rd. Also amusing at times when describing the scenes I never would have gone near like Gabber and that Candy Raver crap.
Comes with a decent CD too.
Stuff on further evolution of garage/grime/dubstep, the 'nu-rave' explosion etc.
in all these interviews.
http://www.thewire.co.uk/articles/347/... Read more
Much appreciated for linking all these interviews - cheers! This'll do for some afternoon work reading...
I had no idea there was this meany I just stole them off a dubstepforum thread.
still in the shops with his Four Tet collaberation it keeps getting a re-press its on about its 3rd/4th now or something if people have missed it or gave up lookin cos all the reviews/press said it was gona be super rare.
So excited to hear it :D
Its really freakin good and gets better with each listen, its a subtle one.
I'm really impressed by how great it actually is, it would be good to hear more from them.
Don't be surprised if you have it on repeat for weeks
but god knows if it will ever see the light of day, Loefah said in an interview recently that Burial has done quite a few collaberations but doesn't let them out.
...the picket fence and the house.
Burial is ketchup fights and tiggles and giggle.
FUCK OFF U LOT...THIS IS MAKING ME CRINGE.
Although you can't really compare him to Burial. If you get to see him play through a decent sound system it's quite a fantastic experience.
I wouldn't bother comparing them though sayin ones better than the other, they do two very diffrent things for me. Most of Distance's stuff is made for the dance floor and to be massive room shakers its really physical dance music that also happens to sound nice at home. Burial's almost the oposite it sounds perfect at home and just so happens to sound nice on the dance floor.
I remember being surprised when he said he used to be a nu-metal kid. But you can see the guitar crunch is heavily influential in his stuff. That track 'Empire' was such a belter.
I was suprised to hear that he's a builder.
don't think i could take anybody seriously who says distance is better than burial; distance is angry young male meathead music, burial is complex, innovative and takes you to a very specific place the guy's amazingly communicated through soundscapes alone
he is easily one of the better metaly hard hitting producers. His last album had lots of cool rhythmic bits n bobs and not much in the way of metall riffing either. He is deffinatly built for the bug riggs though where the spacious plodding stuff becomes a massive full body bass workout.
Burial is indeed more complex and innovative maybe but labelling Distance as 'angry meathead music' and 'chugga chugga nonsense filtered though dance music production' seems a little over the top to say the least. Maybe the more metallic and brutalist sound isn't to your taste but at least it isn't just wobble-overload.
but i don't like it on dancefloors. yea, its no chainsaw calligraphy or whatever, but i still think those kind of melodies on a dancefloor are really cringe worthy. its like what burial said in one of those interviews up there
"that’s what I love and original jungle was like that, before it went shit. I mean I like a dark bassline like the next man, but you can’t have ‘male rage’ music"
I'd never heard 'Chainsaw Calligraphy' until now. What is that?? What is that even called? This youtube comment says it all really- 'this song makes me want to sledge hammer a mans knee caps, tie ropes to his? legs, string him up upside down from a tree, bind his hands, then shit inside an armored bag filled with rats, scorpions, spiders, worms and centipedes, attach the bag to his face, then piss on him and pull the rope tighter so it strains his shattered knee caps some more.'
i think it'll be a landmark track in the demise of dubstep, it pretty much embodies that hyper aggressive idiocy that the genre's rife with at the moment completely.
there isnt even a groove to it, its all stop start riffing and sound effects. I enjoyed it when Gaslamp Killer played it though as he bounces up and down and pretends to shoot the audiance with a big fucking lazer when its playing, plus he only plays it for about a min if that.
oh my god
must really get the party moving
Lacking in space, subtletly and any semblance of swing or sexiness. Respect to him for what he's done in the past but Goblin, whilst amusing, is just boring. There's no mood-setting or atmosphere, just a sixteen-bar intro and GRRRRRRRRRRRR.
Ditto most of the hyper-OTT-aggy stuff that seems to be everywhere at the moment, it does nothing for me. Distance has moments - his remix of Mala's Changes is great but at least a part of that will be that the source material is so strong - but again, not really my thing.
Not even comparable to Burial, or to a lot of the producers working along dubstep's boundaries (Hessle Audio lot, Skull Disco, Apple Pips) - dark as a lot of the music can be it doesn't lack atmosphere.
all thats required is an old zippo-lighter to be clicked at 4/4 time and an airing cupboard or fridge.