ASOK レコード& CD

Review: The Liverpool-based DJ and producer ASOK returns to DVS1's Mistress Recordings with his most diversified EP yet: "Mistress 14" unfolds ASOK's raw, analog-heavy sound aesthetic full of broken kick drum patterns, stepping basslines, and lush synths.

Review: More from Liverpool-based analogue freak ASOK, a producer who is quickly becoming "Mr Reliable". Inner Circle marks his first appearance on Lobster Theremin offshoot Mork and sees the Scenery Records founder showcase a quartet of analogue deep house jams. Both "Inner Circle" and "Planetfall" are marked out by an appealing combination of spacey chords, Motor City electronics and on-point - if pleasingly off-kilter - drum machine programming. Intergalactic melodies, drawn-out sub bass and Chicago influenced machine drums come to the fore on the superb "30 Hours", while closer "Terran Envoy" sees out hero make merry with distorted drums, ghostly chords and some seriously trippy vocal samples.

Review: Having disowned his drum and bass and disco re-edit roots, Stu Robinson has enjoyed a career revival following the adoption of the ASOK moniker in 2012. This upturn in fortunes is no freak occurrence, though; Robinson's productions during the period, which make great use of vintage analogue gear, are better than ever. That much is clear from A Mind Forever Voyaging, his debut album on Creme Organization. Rooted in early '90s techno - both American and European - the set blends distorted drum machine rhythms and intergalactic synthesizer motifs with booming basslines and spooky, outer-space textures. There are, naturally, a few ambient excursions dotted throughout, as well as an impeccable trip into the lesser-explored world of tech-jazz ("Journey Through Fractal Mountain").

Review: Asok touches down on Holland's excellent MOS Deep label with another headstrong four-tracker primed and hand built for the dancefloor. "Future Wars", as the name suggests, is a forward-thinking acid chugger boasting a gorgeous collection of chords and pads, and "Final Battle" is a darker, heads-down kinda joint. Flip the plate and you have "Interaction", its banging kick drum dominating the groove among grizzly percussion shots, and the more lo-fi "Abandoned Places"... a true Chicago house nodder that'd sound just fine on Trax!

Review: Having got a taste for all things Liverpool with last year's long overdue MOS Recordings debut of John Heckle, Aroy Dee has clearly surveyed the area for further talent and struck gold once more with this slammer from ASOK. The production mantle of Scenery Records boss Stu Robertson, ASOK has seen him trade his D&B roots for raw, analogue house and techno and following the one contribution to a Use Of Weapons records this Poltergeist slab represents his most high profile release to date. Ease yourself into the four tracks on this MOS DEEP release and you can hear why Aroy Dee wanted some ASOK action, with lead track "Project Poltergeist" using the minimum of elements - cascading acid lines, swift hats and a fluttering chord line - to impressive effect. "Smash Dimensions" and "Walker" are ASOK in stripped back and deep mode respectively whilst "Captain Blood" is the sort of ascendant B Side a jobbing house DJ will gravitate towards. A superb release on MOS - just as you'd expect!

Review: There's no doubt that ASOK - AKA Liverpool-based producer Stu Robinson - has been one of the success stories of 2014. Following knockout releases on M/O/S Deep and his Scenery imprint, he pops up on Good Ratio Music with two more far-sighted and fuzzy sci-fi-tinged jams. There's a delicious shuffle to "The Fifth Book" - all bubbling Motor City electronics and foreboding chords - while "Probability Drive" joins the dots between vintage techno and sparse, otherworldly deep house. Flip for two tracks from Barcelona-based Good Ratio regular Baldo, who impresses with the fizzing analogue rhythms, Larry heard chords and subtle acid of "Axel Nebulae". His other contribution, "Seventh Dimension", comes on like the soundtrack to a drunken late night jog through desolate, post-industrial landscapes.

Review: Scenery White is as you'd expect, a white label offshoot of Stuart 'ASOK' Robinson's Scenery label, a Liverpool operation that has really developed over the past 12 months thanks to material from Mark Forshaw, Versalife, and John Heckle. Robinson himself features on this debut 12", going toe to toe with UK legend Neville Watson. Two sides, two tracks each: ASOK calls shotgun and delivers the grainy house textures of "The Future", and the driving, deep space squelches of "Perspective". Watson marks the B-side with "Idolatrous", a percussion-heavy bit of tribalism, followed by the dense and meaty arrangement of "Big Unit".

Review: Asok's Scenery imprint continues to go from strength to strength, with the boss man following up Bantam Lions' recent Recollections EP with a single of his own. "Hunter" is undoubtedly the Liverpool-based producer's strongest track yet, with woozy, soft-focus chords and alien electronics riding a dusty, analogue-rich groove. As with much of the label's recent output, there are distinct hints of Mood Hut, Future Times and Mister Saturday Night. Experienced producer Versalife reworks the title track, turning it into a blissful chunk of Drexciya-style electro. Flip to the B-side for "Cabal", an ultra-deep and occasionally discordant concoction, and the fuzzy, Detroit-influenced bounce of "Millennium 2.2".

Review: Following up their last compilation 12" with another spread of artists, Deep Space Orchestra's Use Of Weapons imprint hits release number five in fine, classic techno style. The A-Side presents plenty of elegiac goodness to expunge in the peak of the night, not least from Asok with the wistful emotion of "Amber". On the B-Side, Perseus Traxx is especially on point here with his shimmering, Carl Craig-indebted groover, while Other Worlds finds an excellent nagging groove that edges towards hi-tech jazz with its jerky hats and intricate melodies. Ruf Dug is on more mellow form, but no less rooted in the fine approaches of the Detroit godfathers with his warbling pad lines and curious bass.

Review: It's Various Artists time for Mistress Recordings, continuing the hair colour theme that has been running with The Brunette and The Redhead. DVS1's sublabel is known for opening up to more diverse sounds and it shows here, as you get treated to bouncy deep abstractions from Jonas Friedlich, dirty analogue immersion from ASOK, dreamy house music from Nicson and An Gelo, and crisp mournful techno from Kirill Mamin. What binds all these tracks together is the melancholic atmospheres and the tough line in rhythm that goes hand in hand with DVS1's artistic temperament. Both playable and intriguing, there's nothing not to love about this EP.