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Metal - Released April 13, 2012 | Burial

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Alternative & Indie - Released February 19, 2015 | La Vida Es Un Mus Discos

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Alternative & Indie - Released October 23, 2015 | La Vida Es Un Mus Discos

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Electronic - Released November 5, 2007 | Hyperdub

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Electronic - Released May 15, 2006 | Hyperdub

Burial is the first great dubstep album, legitimizing a style -- a generally dark, emotive, and faceless dub offshoot of 2-step -- that had thus far been confined to 12" vinyl and the underground club scene. Even though a couple of the tracks ("Southern Comfort," "Broken Home") had been previously released on the South London Boroughs EP (2005), Burial doesn't sound like a compilation of one-off productions to date, as is often the case with music of this kind. It's a true album, a unified collection of songs similar in style as well as mood yet also distinct enough from one another to remain engaging over the course of 13 tracks in 51 minutes. As if it were a well-selected mix album, Burial flows well from one track to the next; the exception is "Spaceape," the only song featuring a vocalist (and unfortunately sequenced third, disrupting the flow just as it begins). While some tracks stand out ("Distant Lights," "Southern Comfort," "Gutted," "Broken Home"), they're interspersed by low-key tracks such as "Night Bus" and "Forgive" that enhance the overall mood and space out the highlights. As the hazy, mostly black cover art of the album (a nighttime aerial photograph of South London) suggests, the mood of Burial is dim, distant, and rather dreary; from a subjective standpoint, one might characterize it as the sound of 3:00 a.m., a time of reflection and perhaps remorse, of being alone after the party's come to an end. There is an emotional aspect at work that is key to this mood, a sullen sense of despair especially evident in the ambient interludes, communicated also in the ghostly vocal samples. The technical aspect of Burial is remarkable, too. The album's subterranean basslines and skittering rhythms, along with its array of found sounds and production effects, are simple yet inventive, austere yet evocative. Other dubstep producers have crafted a similar style, make no mistake, but Burial is the first to craft it on the scale of a full-length album so effectively. © Jason Birchmeier /TiVo
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Electronic - Released November 13, 2015 | Hyperdub

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Metal - Released April 29, 2016 | UKEM

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Electronic - Released November 28, 2016 | Hyperdub

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Surprise released at the end of November in 2016, Burial's Young Death / Nightmarket carries the distinction of being Hyperdub's 100th catalog entry. Like the elusive artist's previous EPs, the two tracks here are filled with crackling sounds, pitch-shifted voices, and subdued atmospheres. They play like dream sequences rather than club tracks, and this one is less dance-minded than most Burial releases. "Young Death" features a shimmering electro pulse for its first four minutes, but its ending is slower and trippier, filled with sinister laughing voices and thunder clouds. "Nightmarket" is closer to ambient, only barely flirting with a beat at one point. Its chilly melody ebbs and flows throughout the first half, and it changes into something different during the second. Compared to more dramatic Burial EPs like Kindred and the utterly devastating Rival Dealer (one of the decade's best releases, full stop), this one might seem a bit underwhelming. It may not be as riveting or intense, but it still has the unmistakable Burial sound and it's still unpredictable, so it's still well worth the listener's time. ~ Paul Simpson
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Electronic - Released May 26, 2017 | Hyperdub

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Electronic - Released September 22, 2017 | Hyperdub

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Metal - Released February 28, 2019 | RockCD Records

Metal - Released April 26, 2019 | Redefining Darkness Records

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Electronic - Released June 14, 2019 | Hyperdub

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Electronic - Released December 6, 2019 | Hyperdub

Distinctions Pitchfork: Best New Reissue
Only two albums in a thirteen-year career (Burial in 2006, and Untrue a year later) is very few for an artist of Burial’s calibre - especially since the enigmatic English producer has never performed on stage. It is also very few given his huge fan base, who clear out the pre-orders of his EPs in just a few hours, which he has released at regular intervals over the last ten years, mostly on his faithful label Hyperdub led by Kode9, bar a few times when he was collaborating with Thom Yorke and Four Tet (on the unforgettable album Moth in 2009). This first compilation, which comes just in time for Christmas, gives a better idea of the pace at which Burial has been composing, from 2011 to 2019. He offers up 17 tracks, the equivalent of two albums, bringing his average up to a decent level. The Londoner has always dug the same furrow - a mixture of dubstep, jungle, garage and ambient music, always tinged with melancholy – and so the record feels wonderfully coherent. The best part is that for those who haven’t followed all the releases of Croydon’s genius, this compilation can even serve as a double album. Ahh, the magic of Christmas! © Smaël Bouaici/Qobuz
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Metal - Released March 13, 2020 | Apocalyptic Witchcraft