There is no question that Burial is one of the pivotal artists of the current era. The electronic musician from London has taken on a transformative journey through the landscape of post-dance music. Techno beats, garage sensibilities, early dubstep notions and far out ambient leanings are melted together through a unique kaleidoscopic vision. It is an evolution that has occurred through time, and with each work Burial further augments this stunning sonic realm. The initial IDM identity of the self-titled debut and the wonderful Untrue, gave way to a series of intriguing EPs. And what started out in the familiar UK garage scene, transformed through deep house aesthetics to finally reach an abstracted form with masterpieces like Rival Dealer.
Still, in recent years Burial is again pulled towards new directions. The ambient element has always been prevalent in the project’s works, but lately it has taken on the spotlight. Longform opuses like “State Forest,” “Beachfires” and “Subtemple,” all point to this direction. And it is now complete with Burial’s latest album, excuse me EP (a 45-minute EP that is,) Antidawn. And while many of the core components that made Burial’s sound enticing are still here, from the altered vocals narrating tales of deep emotion to the otherworldly atmosphere, this feels like a new beginning for the artist.
While in the past Burial has not shied away from deconstructing electronic music, there was always a certain balance. The mesmerizing ambiance of “State Forest” was supported by the energetic and dance-infused beats of “Claustro.” Here however, there is no counterweight to the ambient self. The IDM structures fall apart, the post-dance ethos evaporates and from its fragments, Burial openly flirts with a musique concrete concept. Almost devoid of percussion to drive the record’s rhythm, Antidawn sees a much more daring perspective from Burial. Samples become a central component of the EP, while still slight melodic additions only work to boost this atmospheric quality. The organ sounds blend into the scenery, providing more color through their distorted timbre in opener “Strange Neighborhood.” And while this approach retains the overall serenity of Antidawn, further applications provide a pressure boost. “Shadow Paradise” is such an instance, the siren-like synthesizers tearing through the track, while “Upstairs Flat” bends the narrative with its off-kilter melodies.
But no matter the alterations on Burial’s form there is one key attribute that will never change. Throughout the project’s discography, be it with the upbeat tempos of “Archangel,” the frenetic rhythms of “Rival Dealer” or the subtlety of “Stolen Dog,” the one driving factor has always been the emotion. And that is something that remains true with Antidawn as well. Beneath the ambiance, the field recordings, the grand organ or the piercing synthesizers, there is a rich emotional depth that Burial brings to the surface. The pretty pads of “Shadow Paradise” is one thing, but it is the vocal mantra, repeating seemingly endlessly “Take me into the night,” that really does it. It washes over the beginning of “New Love,” this time the minimal synthesizers capable of infusing the track with a deep sense of serenity.
It is this dedication to sentimentality that ensures Burial’s continuity into Antidawn. And even though there is a missing link when it comes to the absence of heavier rhythms or IDM structures, there is no question as to whether the core components of Burial are not present.
