15/07/2026
This hooded figure, head down in the quiet night, straight out of Burial’s world.
Untrue (2007) is the blueprint for a different kind of bass music. William Bevan took the rolling rhythms of UK garage and jungle, the weight of early dubstep, and turned them into something that feels like actual memory: chopped vocals that drift in and out like overheard conversations on a late train, vinyl crackle and rain as the texture of old recollections, sub-bass that sits deep in your chest while the whole track stays warm, human, and a bit broken on purpose.
He worked fast in Sound Forge, editing drums by eye so they keep that loose, skittering swing instead of sounding robotic. No massive drops for the club - this is music for night buses, empty streets after closing, or lying in bed replaying the day. It captures urban loneliness but also quiet hope, and it shifted underground electronic music toward real emotional depth that still influences producers today.
19 years later it still sounds fresh and personal.
What’s your go-to track on Untrue? Or which newer artists carry that same memory-like feeling?
呢個戴帽人影低頭企喺夜晚靜巷 — 完全係 Burial 嘅世界。
2007 年《Untrue》就係 bass music 嘅藍圖。William Bevan 將 UK garage 同 jungle 嘅流動 rhythm、早期 dubstep 嘅重量，變成聽落去好似真實記憶咁：切碎嘅人聲好似半夜喺車廂聽到嘅斷斷續續對話，黑膠雜音加雨聲似舊時回憶嘅質感，低音重沉打入胸口，但成首歌又畀人溫暖、真實、帶少少不完美嘅感覺。
佢用 Sound Forge 快手整碟，鼓點刻意唔整齊，保留自然 swing，唔係機械式。唔係大 club 爆場歌，而係夜巴、散場後行街、或者瞓唔著重溫一日嘅音樂。佢講得出城市入面嘅孤獨，但又有細細個希望，徹底改變咗地下電子音樂對情感嘅表達，到而家仲影響緊好多製作人。
19 年後重聽都一樣新鮮同私人
你最鍾意《Untrue》邊首？或者而家邊個新 artist 有類似記憶感？下面分享啦。
