Review: Again with the very unique sounds of Lobster Theremin we are treated to some truly experimental composition here as ASOK brings forward four stunning creations. We begin our journey with the emotional soundscaping and shuffling subtle percussive processes of 'Hex', before landing on the more expansive breaks work on the title track 'How It Is'. Next, we find ourselves treading into a more up-beat design in 'Hyperspace', again packed with well cleaned rolling breaksy drum works and expansive pads, before we finish up on the nostalgic waves of 'We Are', rounding up proceedings perfectly.
Review: Stu Robinson aka ASOK returns to MOS after four years with his idiosyncratic take on techno and house music. The title track is a stripped back, bleep-laden affair, its gritty rhythm underpinning fuzzy, hazy synth lines. On "Find A Way", the UK producer delivers crisp break beats, busy percussion and a lumbering bass as a backdrop for shiny hooks and bubbling acid lines, while "Many Locations" sees the UK producer go deeper. Similar in style to other contemporary producers like Simoncino and John Heckle, the rolling drums and atmospheric synths sound inspired by vintage Larry Heard. Changing course once again, Robinson ends his comeback on Aroy Dee's label with the beatsy "Baal".
Review: For his debut release on Lobster Theremin, ASOK aka Stu Robinson goes deep. The title track features rolling break beats, layered textures and a smokey vocal sample. "Frontier" is based on a similar approach, although this time the rickety 808s underpin a melancholic feeling and a brooding, dark bass that works its way through the arrangement. "Nowwhat" sees a flurry of dense, rhythmic activity, with Robinson dropping wired tonal sequences and eerie chords, while he closes out this atmospheric, moody release with "It's Over". Featuring the same type of vocals as the title track, it unravels over tight electro drums and woozy filters
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: Stu 'Asok' Robinson has come a long way since making his debut on Use of Weapons in 2012, progressively moving further towards the analogue-rich sounds of vintage Motor City techno. The Liverpool-based producer's full conversion to the Detroit cause can be heard on this sampler for forthcoming debut album A Mind Forever Voyaging. Robinson begins with the intergalactic ambience of "6800", before blending classic Motor City chords and punishing broken techno beats on the impressive "The Killing Game Show". Finally, he pushes a pounding kick drum to the fore on the Model 500 influenced throb of "Loom (Special Beats Mix)".
Review: Stu Robertson aka Asok comes through on his very own Scenery label after a rather glorious first outing on the ever-reliable MOS label from Holland. "Hunter" takes a gritty, broken house groove and chucks in a rolling punch made of distorted 4/4 kicks. Conforce appears under his Versalife moniker for the remix of the title track, transforming the original into an even deeper, more sinister affair boasting dreamy pads and a rickety, swinging percussion. "Cabal" is a little lighter and more club-ready, and the same goes for "Millenium 2:2" - what a punch on that bassline! Strong sounds on this sixth release from Scenery.
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 track a jobbing house DJ will gravitate towards. A superb release on MOS - just as you'd expect!