Asiko is a mountain range in Greece. Pinpointing the reason for a Lagos, Nigeria based funk and rock ensemble using the name to perform under is probably lost to time. And even if were properly explained, the reasoning behind it all would most likely be relatively convoluted. Whatever the case, though, Asiko Rock Group issued a self titled album during the late seventies, which has been reissued by the venerable and ever dusty Academy LPs. Of course, the imprint’s website doesn’t sport too much information about the release, nor do the interwebs offer up anything in the way of edification. That, though, might have to do with the relative lack of quality spread out over the album’s seven tracks.

With the wealth of dug up and mostly masterful takes on African funk and psych musics, there was bound to eventually be some sort of drying up period. Over the last decade, innumerable compilations – of which Asiko Rock Group has been included on – that seek to wrap up what was going on in West Africa and specifically in the port city of Lagos. Musically at least.

And that’s an important point to make.

On a huge number of this recast recordings, including Fela’s work, there’s an insurgent sense of politicism and purposeful lyrics. Asiko Rock Group, while occasionally commenting on interpersonal relationships, see “People Talk,” gives most of its attentions to the male/female dance that counts as courtship.

Songs like “Let’s Marry” certainly most have provided some swooning fans for the ensemble. Apart from the trite platitudes included in that track, the music, especially when compared to other recently excavated afro-whatever albums, is truly lacking. This particular track makes use of a cheeseball synthesizer which might have come off better with different back. Asiko goes in on a slowly paced, almost ballad that doesn’t deliver any of the genre’s much appreciated frenetic tempos and interesting melodic tropes. The slinky guitar is all but absent as the track really arrives sound as a lesser effort from a forgotten southern soul group.

What’s as interesting as the music here, and probably more so, is the posed figure on the album’s cover. He stands, seemingly defiant with arms raised and fists clenched in what most people would assume to be a sort of politically figured protest. Finding iterations in a huge number of documents focusing on Fela, the whole thing just becomes a confusion. And not one that really needs to be listened to. Bummer.