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Review: Marie Davidson's latest single 'Y.A.A.M.' is a poignant critique of power dynamics in the music industry - favouring authenticity and passion in a world that thrives on branding and transactional relationships - out of which the Canadian artist finds fuel to fan the driving flames of existential industrial electro-techno. The track opens with a juddering, in-between-4x4-and-2-step electro beat, which lasts for over a minute before Davidson takes up the mic: "do you follow me?". What ensues is an imperfect list of music industry quibbles, which flow over the monstrously huge backing - "entrepreneurs, influencers, producers, managers / nothing for you and me" - in stark but gallows-comedic contrast to the plea to relocate our arses to the dancefloor. In Davidson's own words, the track was inspired by a haughty, lecturing email from a music industry insider: "I took the opportunity to write down how I felt about the words," she recalls, "and the overall tone of arrogance of what I had just been sent quickly, I found myself having a bit too much fun."

Review: Greymatter can probably be considered a Wolf Music stalwart, appearing on a couple of the London-based label's various artist 12?s, most memorably with the "Give It To Me Slow" cut that featured on WOLF 09. For the next release on Stu Clark and Matt Neale's label, Greymatter holds court for a solo EP, with the shimmering arpeggiated exotica of "Tisno" sharing space with basement house jam "Sweat" on the A-Side. On the flip you'll find the revving synths of "Pick & Roll" alongside a shuffling US garagey remix of "Sweat" from James Welsh.

Review: Omar S is clearly having fun this year - the subtle euphoria of "Here's Your Trance Now Dance" was followed by a new studio album, released recently with about six days notice - and now he's popped up with a new 12" featuring Colonel Abrams on FXHE. The legendary urban crooner turns in a typically soulful vocal turn on "Who Wrote The Rules Of Love", which comes in three versions: two R&B mixes (short and long) and a remix from Shadow Ray. It's the Shadow Ray tweak that will turn on the house heads, with a beefy acid line and chopped up vocals forming the backbone of the arrangement. Those who get in quick can grab the lovely coloured vinyl version!

Review: After more or less owning 2011 with a surprise album, a collaboration with urban crooner Colonel Abrams, an ahead-of-the-game reissue of Marc Kinchen and the all-conquering "Here's Your Trance Now Dance", FXHE don Omar S kicks off a new year with Wayne County Hills Cops Pt 2 (where, we ask, was Part 1?), a hook-up with the mysterious OB IGNITT. The eponymous A-Side is characterised by the kind of glistening synths last seen on "Here's Your Trance...", with a rugged analogue bass line giving the track with the requisite bump. A tired cliche it may be, but this could easily soundtrack an 80s cop movie: clearly Omar has this in mind given the 12"'s title and the fact the record's centre label features a doctored image of Eddie Murphy from Beverly Hills Cop! On the flip, Omar S provides his own remix, drowning the synths in dubby textures and showering them with shuffling hats for a more heads-down take. Another killer 12" - business as usual at FXHE, then.

Review: Of all the artists past and present who claim to let their music do their talking for them, Burial is one of the elite band of whom this truly is the case. 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. Yet despite this, his music speaks loud and wide, and the world has been listening ever since his 'South London Boroughs' EP debut on Hyperdub in March 2005. His eponymous album, which began life as a low-key release in May 2006, is now widely regarded as the benchmark release of the ever-widening dubstep genre, picking up unanimous critical acclaim along the way, and ending the year heavily featured in many 'best of' polls. Now Burial returns with 'Untrue', a new record of weird soul music, which lovingly processes spectral female voices into vaporised R&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. The album continues with the debut's crackle-drenched yearning and bustling syncopations, haunted by the ghosts of rave, but also reveals some new Burial treats with a more glowing, upbeat energy. Kicking off with the skittering 2step syncopations and vocal science of 'Archangel', 'Near Dark' and 'Ghost Hardware', before long it descends into a space of radiant divas and ambience. Where 'Burial' first was humid, suffocating and unrelentingly sad, 'Untrue' is less sunless. Many of the tracks are so sweet, they become toxic, underscored by the almost geological rumbles of growling basslines. Unlike the overpoweringly melancholic prevailing mood of before, Burial's sound is now better defined as a downcast euphoria typified by the epic, muted optimism of the album's last track 'Raver'. Forget central heating the radioactivity of this album is all that you'll need to keep you warm this winter. 'Untrue' is available as full 13 track digipack CD, including recent underground hit 'Ghost Hardware', and 9 track DJ friendly double vinyl set, from which some of the beatless pieces have been edited.

Review: A new imprint arises from mainland Europe in the shape of the mysterious Rawax with the debut twelve presenting a quartet of Untitled Tracks from Siberian producer Unbroken Dubs. Given the mood present throughout and the location of the producer, obvious parallels can be drawn with the excellent output from Ethereal Sounds, and that should be recommendation enough for people to investigate. Should you require further enticement, this release opens with wormhole traversing rhythms cutting through the sonic ether, though distant chord embellishments add a touch of warmth to the slightly alien tones that circulate constantly. The subsequent two tracks continue in this manner as Unbroken Dubs seeks to flush the stripped down patterns of drums and fuzzed out bass in ever increasing expanses of sonic dust. It's the final track where a more apparent sense of urgency is introduced as the Siberian lays down a tropical shower of percussion over intrusive chords.

Notes: UDG CD Player/Mixer dust cover made from high quality material with exclusive UDG logo's printed in plastisol ink will be the best choice to protect your gears from dust and liquid drops.

Specifications
Colour: Black
Weight: 0,10 kg / 0.22 lbs
Outer Dimensions (W x H x D) cm: 45 x 32 x 13 | inch: 17.7 x 12.6 x 5.1
Inner Dimensions (W x H x D): Not Applicable
Material: Water Resistant Nylon 210D
Protection: Various equipment

Extras

UDG logo printed in plastisol

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CD Players/Mixers

Review: Having previously graced Anton Zap's Ethereal Sound imprint with three warm deep house cuts, the mysterious Pjotr moves to Udacha, and finds himself in the esteemed company of Rawax alumnus A5 and Vakula collaborator Dices. This record is even more stunning than his first, drawing comparisons to the finely crafted house of the aforementioned Ukranian Vakula. "Sky Is The Limit" opens proceedings with its bubbling, sun-drenched mid-tempo lounge tones given definition with a subtly urgent arpeggio, while "Mariya" picks up the pace with its gently jacking snares, plucked guitar and organic bass. On the flip, "True Spirit" wraps silky chords around unpredictable MPC style drums, opening out into a Pepe Bradock-inspired string arrangement, while "I See" buries its raw drums deep within a muggy low end filter, allowing a blissful melodic arrangement that is recalls a more contented version of a Madteo track. Highly recommended stuff.

Review: Continuing his foray into 4/4 after his very recent turn on Futureboogie, this time Marco Bernadi has linked up with the Rawax crew for some more of that gutsy, full-bodied groove business. The synths on "The Garden Of Secrets" once again reveal Bernadi's electro roots, while the crisp and bumping beat stays slow and seductive. "Don't Bother" gets into a more twitchy frame of mind, opting for a more dystopian sci-fi kind of demeanour that leans towards techno drum patterns and interlocking melodies. Things remain decidedly freaky for the deadly "Synthetic Squyrs", albeit in a simmering under the surface fashion, and "Marching Ants" rounds things off with some dusty beat science and plenty of atmospherics.

Review: FXHE has been brimming with activity in recent times, with a steadfast flurry of singles refusing to let the quality drop, and now the big bossman delivers another two slices of finely cured business in his inimitable style. The lead track is an arresting piece with just a kick to drive proceedings, leaving ample room for a haunting array of bleeps and a 'speak & spell' vocal until the track slowly ramps up with some more prominent drum programming. "Mayall II" on the flip is a less tense affair, with a cheery string refrain and old school jack-in-the-box beats disseminated in a plain and simple fashion.