Burial: Street Halo EP

Street Halo presents an even more compromised, even more ambiguous, Burial than before. Existing outside of hi-fi, lo-fi, and ghettoising genre divides, his is a shattered appeal and it's difficult not to get sucked in.


Street Halo EP

Label: Hyperdub
US Release Date: 2011-03-28
UK Release Date: 2011-03-28

You’d have to be a really staunch emotion-denialist to not be moved by Burial’s music. While it’s a kinetic criss-cross of what we used to call two-step and what we probably need to stop calling dubstep, it shares very little with club music’s characteristic gurning embrace. It’s not meant for you to shake your body. Instead, Burial wants to move something a bit deeper. Something a bit closer to home. Something you’d probably be too embarrassed to admit to.

Every single second of Burial’s corpus is sublime. All of it. He deals in bittersweet blends: trembling vocal snippets punctuated by nervy stop-start beats; melted strings embalmed in ambient gloom. Tracks like the debut’s “U Hurt Me”, “Shutta”, and the candid fragments of “Archangel” are some of the most genuinely beautiful and beguiling pieces of music of the century so far. And you know what? That isn’t necessarily an overstatement. These aren’t tracks that you rant about and rave to (they’re too hard to beatmatch to for a start). Instead, they’re broken little symphonies, and you can only really talk about them with a hushed, solemn reverence.

All three tracks on Street Halo are even more compromised, even more ambiguous, than anything we’ve heard from Burial before. They seem to exist outside of our conventional understanding of production values – neither hi-fi nor lo-fi, but some burnt-out sonic middle ground that exceeds both and which answers to neither. It’s the same principle that runs through the music itself. And, as much as it’s really easy to fall into the trap of weepy adolescent schmaltz, Burial’s shattered appeal is one to which you cannot help but relate. With Street Halo, he continues to make beautiful, relevant, completely non-partisan music that stands outside ghettoising genre divides.

“Street Halo” recalls “Moth”, or Untrue-closer “Raver”. Here, a blunt 4/4 house beat pummels through, and hi-hats puncture, a smeared, distorted haze. The string sounds sob. They sound like warped G-Funk samples played on a broken boom box. It’s like Dre on anti-depressants.

After about a minute, the bass drops. It’s confusing: dense but not warm, unclear but not unpleasant, like being confronted by the ruffled memory of all the nights out you’ve ever been on. But, of course, it’s the cooing siren-like vocal sample that wins out. Her words aren’t clear. Does she say “I’ll never forget you…”? Whatever it is she’s getting at, it complements the prevailing sense of upset ambiguity, providing glints of light amid the gloom. It’s a ruined bit of bliss.

“NYC” is like watching your most barren disappointments played out in a weirdly comforting slow-motion replay. Indeed, at 115bpm it’s one of Burial’s slowest ever offerings. And at almost eight minutes it’s his longest. But it’s locked between two different worlds – too quick to skank alongside the trip-hop mastered by the boys from Bristol, too slow to make sense on a dancefloor. It’s a hazy sludge.

And she won’t go away. But we don’t really want her to. What is she singing about this time? Did she say “they say he’s in love when I’m around…”?. Does she complain that “[she’s] not sleeping…”? She’s singing above a swishing, buzzing synth pad which is periodically interrupted by a lonely cowbell. It comes in towards the three-minute-mark and then again before seven minutes -- the ghost of disco percussion, all that ersatz joy confronted by its own emptiness. There’s some radar blooping at five-and-a-half minutes, indicating that we can make sense of all these little confusions, but it isn’t easy going. A warped, churchly keyboard sigh rears its head at several intervals. It’s upsetting.

Everything on “Stolen Dog” is submerged, but underwater dancehall this ain’t. There’s a shuffling sense of loss here, indicated by the title, and it sounds like it could be the prequel to “Dog Shelter” from Untrue. And her lament continues. Does she say “your love…is all gone…”?. Burial seems to have recorded her from some haunted crevice of memory, but he manages to distract us from this with some deeply padded drums – triplets of an inverted, prodding snare are matched by hi-hats in the right channel. But there are windchimes that breeze in towards the end, and it all finishes with what sounds like a child sweetly saying “okie dokie”. It’s the promise that everything will be just fine. It’s a fitting end.

Is Street Halo going to be a game-changer? Who knows. With the radiation from the dubstep fallout spreading far and wide into scenes both “underground” and “overground”, it probably doesn’t even matter. It would be a shame to spoil something like this with journalistic semantics. The most worrying thing about this is that we might not even be that sentimental after all. This might all be for real. Maybe.


Kuinka appeal to ornery Renaissance royalty with a joyous song in their infectiously fun new music video.

With the release of Americana band Kuinka's Stay Up Late EP earlier this year, the quartet took creative steps forward to deftly expand their sound into folk-pop territory. Riding in on the trend of moves made by bands like the Head and the Heart and the National Parks in recent years, they've traded in their raw roots sound for a bit more pop polish. Kuinka has kept the same singalong, celebratory vibe that they've been toting all this time, but there was a fork in the sonic highway that they boldly took this go-around. In this writer's opinion, they succeeded in once again captivating their audience, just in a respectably newfound way.

Keep reading... Show less

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.

60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

Keep reading... Show less

The Best Country Music of 2017

still from Midland "Drinkin' Problem" video

There are many fine country musicians making music that is relevant and affecting in these troubled times. Here are ten of our favorites.

Year to year, country music as a genre sometimes seems to roll on without paying that much attention to what's going on in the world (with the exception of bro-country singers trying to adopt the latest hip-hop slang). That can feel like a problem in a year when 58 people are killed and 546 are injured by gun violence at a country-music concert – a public-relations issue for a genre that sees many of its stars outright celebrating the NRA. Then again, these days mainstream country stars don't seem to do all that well when they try to pivot quickly to comment on current events – take Keith Urban's muddled-at-best 2017 single "Female", as but one easy example.

Keep reading... Show less

It's ironic that by injecting a shot of cynicism into this glorified soap opera, Johnson provides the most satisfying explanation yet for the significance of The Force.

Despite J.J. Abrams successfully resuscitating the Star Wars franchise with 2015's Star Wars: The Force Awakens, many fans were still left yearning for something new. It was comforting to see old familiar faces from a galaxy far, far away, but casual fans were unlikely to tolerate another greatest hits collection from a franchise already plagued by compositional overlap (to put it kindly).

Keep reading... Show less

Yeah Yeah Yeahs played a few US shows to support the expanded reissue of their debut Fever to Tell.

Although they played a gig last year for an after-party for a Mick Rock doc, the Yeah Yeah Yeahs hadn't played a proper NYC show in four years before their Kings Theatre gig on November 7th, 2017. It was the last of only a handful of gigs, and the only one on the East coast.

Keep reading... Show less
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.