Jackson Scott: Crackle crackle.
TP: What could it all mean?
JS: 1, 2. 1, 2. 1,2.
TP: If you’re gonna use one drum loop, better make sure it’s a good one.
JS: Burial is amazing at that. Anybody else bobbing in their seat?
TP: He’s also really good at making voices sound like they’re melting. I’m looking forlornly at the rain as it slowly slides down the windowpane.
Michael Frett: Echoes, too?
JS: Not Untrue.
MF: Because he seems pretty fond of echoes.
JS: Not sure echoes is the right word, but I’ll get back to you on what I think that feeling is.
TP: Whatever, this album is all about dat bass.
JS: Actually, yeah. It may be.
TP: There’s that rain again, never trust it.
TP: Dude comes out guns blazing on this thing. He’s all “yo, this right here is what’s happening”.
2) Near Dark
JS: This record is perfect at being emotional as well as completely nonchalant.
TP: I envy the guy.
JS: It’s the album you listen to in the rain on a bus home after getting fired or dumped. And just want to disappear.
TP: I think the rhythm section helps a lot with that.
TP: It’s very organic but sounds mechanical. CONTRADICTIONS.
MF: It’s the rhythm section that’s actually sticking with me. I enjoy the whole simple beat thing. Subtle but stands out.
JS: Yeah, for sure.
TP: It’s very insistent even though it sounds like it’s trying hard to catch up. Something something off-beats.
JS: Like it’s trying to catch… a bus.
3) Ghost Hardware
JS: I’ve been listening to a lot of his 2-song EPs lately, so it’s cool to hear the ol’ 4 minute song thing.
MF: I like how there’s an echo that sticks with the songs as they go on. It’s otherworldly.
TP: These songs don’t stop. Except at the end.
JS: But at the same time, totally profane. It’s more of a tunnel sound. Namean?
TP: I can’t imagine ever listening to this on a sunny day.
JS: Might be interesting to do.
JS: See if it changes the context.
TP: I can guarantee my head’ll still be nodding.
JS: I was under the impression Burial sang some of his stuff. I guess that it speaks to how well he makes sampled voices all sound similar.
TP: It’s a great aesthetic. Especially given the varied source material.
MF: It’s like club beats too far gone to hear.
TP: Climbin’ out da k hole.
JS: Memories of club beats dance in our heads.
TP: DON’T HATE ME FOR IT but I get kind of a Boards of Canada feel from this track. Kinda nostalgic but warped in a way.
JS: That makes sense. Isn’t nostalgia just warped memory?
JS: DON’T HATE ME FOR THAT
5) Etched Headplate
JS: Oi oi oi.
TP: Heaven almighty.
JS: Dat beat. What IS that even? Filthy wobbles.
TP: This is such a perfect beat.
JS: Very natural yet mechanical. I sense a theme.
TP: The bassss. And I like how the vocals have more of a melody to them. This feels to me like a more traditional song given the Burial treatment.
MF: I was actually going to say something about the melody.
TP: Not that the other songs suffer for it at all, but this song really speaks to me for some reason.
MF: I’d say this one’s probably my favorite on here so far.
JS: I just read that some of these vocals are friends of his singing over the phone.
MF: Sounds kind of like a ghost of a pop song.
JS: Yeah. Totally that.
TP: That’s why it’s so haunting! Ha cha cha chaaa!
JS: And if you look at the liner notes, that’s totally actually what a lot of this album is. We’ve already heard a Christina Aguilera sample and Beyonce is yet to come.
TP: GET HYPE!
MF: Yeah, that sample list is pretty out there.
JS: Also, Aaliyah. Rest in peace.
TP: Pour some out.
TP: Then rock the boat.
6) In McDonalds
TP: Where I’m from, the McDonalds just sounds like disappointment.
JS: Where are all the people? Oh no. I’m alone at McDonalds.
MF: Guys, this Big Mac doesn’t taste like a Big Mac.
TP: WHO PUT ALL THIS AMBIENT IN MY MCNUGGETS?
JS: I’m tired and I wanna go home. But I haven’t eaten all day and there’s many miles to go.
MF: Guys, my shake tastes like distortion.
TP: We love to see you skulk.
JS: I thought you were going to say something about how this is shaking your tastes.
MF: Hear the gnarly wipeout? Them were skates.
JS; But it’s nighttime. Forever.
TP: Shaka, brah. I like this song a lot too.
JS: This is the Beyonce sample, by the way.
TP: Usually it’s the vocals that push these songs from “awesome” to “stuck somewhere in my head forever”. Much props to Beyonce.
MF: Beyonce, you sound different.
TP: Feelin’ a little off today.
JS: It’s a Beyonce cover of a Curtis Mayfield song, I believe.
MF: The wikipedias tell me Curtis Mayfield co-wrote the song.
JS: Performed by Victoria Beckham. Yeah. This is definitely a liner-notes album.
MF: Yeah, the samples list alone is fascinating. Between the Beyonce and the Metal Gear Solid OST.
TP: Can’t I just watch all the interviews with Burial talking about this record?
TP: Hell yeah MGS. I knew there was a reason I liked this Burial chap so much.
JS: And Alien 3?
TP: Well, I still think he’s pretty cool I guess.
MF: Bullet Boy DVD cast interviews?
8) Shell of Light
JS: There’s a reason this is called drum ‘n bass. Geeez.
TP: I’m trying to think of creative ways to say how much I like these songs. Mostly they’re just really really good.
JS: This is like a ray…or…shell… if you will… of light after a rainstorm.
TP: Can I hear the ocean in it?
JS: If you wish. Shout out to my grrrl Ciara.
TP: BURIAL INVENTED VAPORWAVE
JS: Actually, MF Doom did that in 1999.
TP: MF DOOM INVENTED VAPORWAVE
JS: Like, actually though. Look up Operation: Doomsday.
9) Dog Shelter
MF: Where are the… um… dogs?
JS: This must be a dog shelter in Heaven.
TP: Someone better call a hearse.
JS: Crackle crackle.
TP: Pop pop.
JS: SNAPBACK. Poppin’ in to a street chapel on the way home from a rough day. Because the chapel is a shelter. And YOU’RE the dog.
TP: Ah! Quite an ending to that song.
TP: The plattah’s me mum’s from back in the day.
JS: It’s how it’s spose ta sound.
MF: And now I don’t even know what it is.
TP: This song sounds threatening in a way.
JS: Yeah. But not violent.
TP: A little more confrontational.
JS: Just uncomfortable.
TP: VERBAL ABUSE IS STILL ABUSE.
JS: I mean, yeah.
TP: Burial wouldn’t hurt a fly. Just sample it and make it sound all woogly.
JS: Make it immortal through the power of tunes. Also, Burial refers to all of his music as “tunes”. If you didn’t know.
TP: As well he should.
MF: Wub-WUB. WUB-wub. BEEDLEBEEDLE.
JS: Damn you Skrillex.
MF: That’s my air-bleeping. This is infinitely more engaging than anything I’ve ever heard from Skrillex.
TP: Skrillex did an EP that sounds hella like this, which is kinda funny. Snake eating its own tail kinda thing.
JS: Yeah, I’ve heard. Weird how genres develop in different contexts.
MF: Guess he just needed to… dubstep-up his game!
TP: THAT DOESN’T WORK EVEN SCREW YOU
MF: I heard you like house music, so here’s some of that but not really at all.
TP: Plink plink plink plonk plonk plonk.
MF: Guys, that was pretty.
TP: I believe that was also pretty too. As well.
JS: It was pretty… pretty.
JS: Count off. Glow sticks.
TP: Dang Burial, you done got pretty.
MF: This is, like, a really dance-able song.
JS: I’d say all of this album kind of is. At least skeletally.
TP: This one sounds way more like traditional “dance” music though. But I agree. It’s an interesting change-up.
JS: Like. Perhaps. A RAVE song.
TP: Because this still sounds a ton like Burial.
MF: About a RAVER?
JS: End on an upbeat note. But still a bit melancholy. And lonely.
TP: And fownky.
JS: And soulful. Souwl. Speechless.