Alutepena Hughes-John’s The Burial – Tepilunia Soundscapes Version is an emotive and intricate reimagining of her earlier work, transforming the raw energy of its original into a tender, orchestral composition. Released in September 2024, this version draws us into a lush, melancholic world with softer instrumentation and a focus on emotional intimacy. The result is a masterclass in storytelling through sound, where pain and heartache are laid bare yet delivered with elegance.
The song, which would be perfect for a James Bond movie soundtrack, opens with a delicate arrangement of strings and piano that sets a contemplative and wistful tone. Olexander Zhadan‘s piano work gently tugs at the heartstrings, providing a reflective base for the lush orchestration. Peter Voronov’s violin and viola, accompanied by Dmitry Mikhailov’s deep cello tones, weave a harmonic tapestry that feels deeply cinematic. This softer, more nuanced sound palette offers a contrast to the anger and frustration that characterized the original recording, allowing us to immerse ourselves in the emotive depth of the lyrics.
Hughes-John’s vocal performance is nothing short of sublime. She begins with breathy, controlled ad-libs that introduce the song’s emotional narrative without overpowering the arrangement. Her delivery is husky and intimate, carrying a weight of sorrow and regret that resonates throughout the track. Unlike the original version, where the anger was more front and centre, the vocals here feel like they’ve passed through grief and settled into a calm acceptance, making the song feel both deeply personal and universally relatable.
As the strings swell, Hughes-John’s voice unfurls to reveal the heart of the song: the buried pain of a broken relationship. The lyrics are achingly raw – lines like “You never loved me / Not an ounce that you gave” and “Betrayal carries so much pain” speak to the devastation of realizing a love was one-sided. These themes of loss and betrayal are underscored by the orchestral arrangement, which sways between moments of vulnerability and strength. The repetition of “I’m burying your heartache” becomes a cathartic refrain, symbolizing the protagonist’s attempt to move past the pain.
The decision to strip away the production layers from the original version and opt for real strings and drums (masterfully played by Karl Thompson) instead of samples is a crucial one. It aligns with Hughes-John’s ethos for this version: to create a more authentic, intimate portrayal of her story. The result is a soundscape that feels richer, more alive, and in harmony with the deep emotional themes of the song.
The Burial – Tepilunia Soundscapes Version also marks a significant creative shift for Hughes-John, who has often been compared to the likes of Kate Bush, Bjork, and Skunk Anansie. This track, leaning into orchestral pop, showcases her ability to balance theatrical, emotionally-charged performance with refined and minimalist arrangements. This new version avoids the pitfalls of overproduction, making space for us to connect more deeply with both the music and the narrative.
Lyrically, the song is an introspective exploration of heartbreak, regret, and the realization of unreciprocated love. Hughes-John’s writing is evocative, poignant, and precise. She does not shy away from the rawness of emotions, particularly in lines like “So many times / I wished you were dead / Vacate my heart / Vacate my head.” There’s an unfiltered honesty here that mirrors the stripped-down production style, which in turn helps elevate the song’s emotional resonance.
In terms of production, Max Read’s work at The Lodge Recording Studios ensures that the track has a polished yet organic feel. Every element is carefully balanced, from the light touch of drums to the subtle rise and fall of the strings, allowing Hughes-John’s vocals to shine at the forefront without being overshadowed by the instrumentation.
In revisiting The Burial after years of emotional distance from the original, Hughes-John has created a version that is both a reflection of her artistic growth and a form of personal closure. What once was a song she felt compelled to disown has now become a powerful testament to her resilience and creativity. The decision to frame this version within the context of her Tepilunia Soundscapes project further adds to the song’s layered complexity, grounding it in a sound that is more in line with her recent work while still standing as a standalone piece of art.
Overall, The Burial – Tepilunia Soundscapes Version is a moving, elegantly crafted piece that exemplifies the power of reinvention. It’s a journey through heartache and healing, where the intricacies of Hughes-John’s songwriting and the lush, orchestral arrangements come together to form something that feels timeless yet deeply personal. The opus can also be purchase via Alutepena Hughes-John’s BandCamp page.