Adam Curtis is a film-maker who has made his name by assembling disparate, incongruous, often dissonant, images, sounds and stories into palettes and pieces that lay claim to hidden realities and subterranean narratives that may or may not lie beneath the post-war, neo-liberal consensus. When his films are at their best, they bring together wildly divergent elements to illustrate the completely unexpected, in ways which may not otherwise have been directly approachable.
The use of music – surprising, cinematic, evocative, contrapuntal – has always been central to his work. He uses it to open up emotions, to manipulate mood and, in combination with often dizzying, disorienting film footage, to suggest what seem to be entirely new ways of seeing, hearing and interpreting the world.
And so, when he speaks haltingly, gushingly of an artist like Burial, as he did (see below) to Adam Buxton last year, it’s clear that he feels he has found a common spirit.
“I think Burial is the genius of our time… The most important Burial song to listen to, which will tell you everything about him, is Come Down to Us… Why it’s so incredible, because what Burial does is he takes what is essentially industrial noise – and songs – but fuses them together to create something that is epic and romantic, and sort of gives you a clue of the sort of thing that might be coming, culturally – which is a higher system, I think. And I think he’s there ahead of everyone. It’s so emotional; yet, at the same time, just noise. And, I don’t know, it’s just, I can’t – sorry, this is me being inarticulate – it’s just… wonderful… It takes you into another world.”
‘Come Down To Us’ is the third and final track of the ‘Rival Dealer’ EP. By the point of its release, Burial’s approach had shifted radically from his beginnings in rainswept garage and two-step, but which retained throughout a constant, imposing sense of the cinematic possibilities of urban existence, For Curtis to describe the music as ‘just noise’ is misleading. The EP’s 28 minutes bristles and sways with ambient atmospherics, underscored by vinyl crackles, metallic weapon clicks and the sub-sonic alien buzz of concrete. But the two counterpoints of the set, the 10 minute title track and the 13-minute ‘Come Down To Us’ are compelling pieces of music, first and foremost, not noise. ‘Rival Dealer’ bustles and sprints, stumbles and surges, a flurrying beat pulling the track through what feels like a hurried escape. ‘Come Down To Us’ is entirely different, a mesmeric, devotional head-nod, underscored by a heartbreakingly delicate melody and skated over by a yearning vocal. It’s intoxicating and incredibly affecting. The entire EP is spun through with spoken snatches dealing with identity and the closing sampled speech from transgender filmmaker Lana Wachowski throws everything that has preceded it into a breathtaking new light.
“It’s just… wonderful… It takes you to another world.” And put together with the EPs that have followed in the 4 years since Rival Dealer, it really does seem as if Burial may have found a new way forward, and got there ahead of everyone.