Dreamfear/Boy Sent From＜数量限定盤＞

突如〈XL Recordings〉よりリリースされた最新トラックを数量限定12インチでリリース!!

2006年の傑作デビュー・アルバム『Burial』、そして「今世紀の最重要エレクトロニック・ミュージック作品」として最大級の賞賛を獲得した2007年のセカンド・アルバム『Untrue』という2つの金字塔を打ち立て、未だにその正体や素性が不明ながらも、多くの音楽ファンを魅了し、また多くのアーティストに影響を与えてきたBurial。2022年には実に15年ぶりとなる長編作品『Antidawn』をリリースし新たな次元へと到達するなか、突如〈XL Recordings〉より最新トラックを数量限定12インチでリリース。

Burial previously surfaced on XL through collaborations with Thom Yorke and Four Tet, but Dreamfear is the enigmatic producers first solo release for the storied label. Though XL has expanded its range and released successful albums in a wide variety of genres, Burial seems well aware of its place in rave history, and the record is filled with ecstatic samples and breakbeats that seem cribbed from early Prodigy records, or other artifacts from the same era. At one point, a synth riff similar to Draxs acid trance classic "Amphetamine" surges beneath vocals wailing "Take me away in ecstasy." An about-face from the lengthy ambient EPs Burial released on Hyperdub earlier in the decade, this is a return to the epic 12-minute suites of releases like Truant and Rival Dealer, flashing back to some of the same samples and themes. Second side "Boy Sent from Above" is the more soul-searching of the two, with lonely vocals calling out from the fog of vinyl crackle and spray can shaking. The beats are closer to racing electro rather than breakbeat hardcore, and it reaches a feverish peak when countless layers of bleary synths and yearning vocals (including the Mad Professor sample used as the hook for the Orbs "Blue Room") are messily piled on top of each other. It ends with a rush of hip-house samples and storming beats, suggesting a party thats nowhere near finished, even as daylight approaches. ~ Paul Simpson