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In fact, so reluctant is he to engage with the cult-of-personality hoopla that surrounds almost every modern producer and musician of merit, that he remains a genuine recluse; he has never appeared live, only one obliquely-angled publicity photograph is known to exist, and the number of interviews he has given can be counted on the fingers of one hand. \u003c\/p\u003e\u003cp\u003eBurial returns with \u003ci\u003eUntrue\u003c\/i\u003e, a new record of weird soul music, which lovingly processes spectral female voices into vaporised r\u0026amp;b and smudged 2step garage. Vocal lines are blurred, smeared, pitched up pitched down and pitch bent until their content is cast adrift from their original context and they whisper their saccharin sweet nothings into the void. 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It explores a tangential, parallel dimension of the growing dubstep ouevre, using sounds set in a near-future South London submerged underwater. you can never tell if the crackle is the burning static off pirate radio transmissions, or the tropical downpour of the city outside, taking its loud quiet aesthetic neither from the latest digital glitch software nor a mere nostalgia for vinyl's intrinsic physicality. In their sometimes suffocating melancholy, most of these tracks seem to yearn for drowned lovers, as haunted echoed voices breeze in and out, on roads to and from other times. The smouldering desire of \u003ci\u003eDistant Lights\u003c\/i\u003e is cooled only by the percussive ice sharp slicing of blades and jets of hot air blowing from the bass. 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