'Matter' by Ashok Prema.

Comments from Fans

"Tremendous!" - Ken Onstad (USA)

"Excellent cd, well done. Love it." - Mike V

'Matter' by Ashok Prema

Review by Eurorock

Hold onto your hats listening to this one. Recorded Live at the Jodrell Bank concert in 2002, this performance by Ashok and guitarist Rob Jenkins has to be one of the best UK examples of classic electronic/ guitar space music I’ve heard. Whether it’s the soaring waves of electronic space music, pulsing Berlin School sequences, or powerful melodies intertwined with celestial guitar solos, every track takes you to a higher level of sound. From cosmic percolating synths to flowing waves of electronic sound and laser-like guitar MATTER has it all and should not be missed.

'Matter' by Ashok Prema

Review by Steve Roberts - SMD

Recorded on the 28th September 2002 with Ash Prema on keyboards and sequencing and Rob Jenkins on sequencing, programming and guitar, 'Matter' is a reminder of just how good those gigs were at Jodrell Bank. 'Enigma' opens the set with Rob Jenkins' hypnotic, echoed guitar cross fading into 'Electric Eyes' which begins with bright synth lines and sequencing, then slows down before more layers of sequencing are steadily built with subtle guitar added to the mix.

Already the clever use of dynamics is apparent and the two musicians create their music with attention to detail and light and shade. 'Matter of Time' starts with bright rhythms and phased effects which provide the backdrop to melodic lines and terrific sequencing and some scorching guitar. Like many of the tracks on offer here, there are enough ideas to extend the piece further. Two short pieces, 'Galleria' and 'Unicorn' follow. The former creates a powerful, orchestral, gothic atmosphere which serves as a dramatic prequel to the excellent 'Unicorn'. Superb bass sequences lay down the backbone as tabla effects, guitar and finally a terrific, ethnic tinged motif combine together to make an exotic and intoxicating brew. Add More sequences and some Tangerine Dream style chords and 'Unicorn' is a bona fide classic and over in under 3 minutes! I must admit to listening to this several times on 'repeat' before progressing on to 'Radioscope'.

Changing the pace somewhat 'Radioscope' begins slowly but the omnipresent sequencers are deployed straight away and provide the backdrop to more reflective electronic textures and some outstanding guitar work which scorches across the channels. At just under 10 minutes this is the longest piece of the set and ends with phased choral effects and appreciative applause. 'Nature of Abstraction' features some good piano and synth interplay before cross fading into the more impressionistic opening to 'Driftward' which goes on to lay down some good rhythms, bass sequences, guitar and climaxes. 'Illuminate (in memory)' is a short, melodic and reflective piece followed by 'Prismatix' an inconsequential miniature.

'Coarse Matter' starts with some phased effects and symphonic textures before the sequencers make a welcome return but the melodics here are not as convincing as previous outings. 'Rise' is a short powerful track again with sequencing, percussion and cross fades into 'Search' which drifts pleasantly enough into 'Matter and Fact' which brings the guitar back into prominence with dramatic, sustained notes being the prime focus to a low key ending to the live performance. The signal is very clear and but for the applause at the end of the first half and the end of the set you wouldn't guess this was a live performance as the sound is studio quality.

Overall, I generally preferred the earlier tracks but this is an impressive set with no shortage of ideas and will appeal to those who like layers of sequencers. Essential to the faithful who enjoyed the gig but also of appeal to those who enjoy 80's Tangerine Dream style electronic music. Further evidence that Ash Prema and Rob Jenkins are quietly building a reputation for carefully crafted, quality music and deserve more credit for their efforts. ....Now back to track 5........

Stranger in a Strange Land

Review by Graham Getty - SMD

Ashok’s previous release ‘Of Times & Places’ was a bright uptempo offering which he described as “East ‘n Synth”. After a couple of minutes of his latest album I fully expected more in the same vein but suddenly 2 minutes into the opening track ‘Unicorn’ a sensational “classic” sequence bursts onto the scene backed superbly by tabla percussion. It fades after a few minutes then returns for a brief reprise - and all this packed into a smidgen under 5 minutes.

It’s an opening which I didn’t expect and now I’m fascinated to hear what comes next. ‘Searcher of Souls’ opens with foreboding chords then breaks into a soulful motif. Excellent sequencing then re-emerges accompanied by a poised melody which fits the rhythm perfectly. The sequences constantly ebb and flow as complimentary themes weave a skilful thread. At the five minute mark guitar also emerges from the mists - again this track really does pack in the content and style.

‘Dancing Dust’ opens with syncopating effects which then lead to a plucked guitar theme very reminiscent of John Dyson. The approach is measured rather than powerful and again the piece twists and turns until another delightful sequence emerges at the 5 minute mark. ‘Triangular Succession’ combines a heavy drum beat and various synth lines to create a very unusual piece. Equally unusual is the title of track 5 - ‘Artists Palette at Wai O Tapu’. The opening refrains are symphonic in nature, somewhat reminiscent of Tomita in places. Enter a short burst of vocal effects closely followed by pulsing sequences and again we have a top notch outing. The rhythmics are superbly judged and there are some choice melodics on show too. ‘Letters from Here and There’ opens brightly and, yes you’ve guessed it, another storming sequence then hits home - and what a corker, possibly the best so far as it follows the melodics in classic fashion. ‘Messenger of Malicious Truths’ is yet another superb outing, airing measured themes before strange effects and echoed guitar take centre stage.

Finally we have ‘To Turn and Turn’ and yet again Ashok Prema produces a magnificent slab of pulsing electronics and beguiling themes - and do I detect a sniff of Kraftwerk in there? This is a gem of an album. Wavestar style sequencing, Dysonesque melodics, and Ashok’s own unique style. Highly recommended. (GG)