For many Creation is the label that defined the shoegazing sound. From the Mary Chain through to Ride and Slowdive via My Bloody Valentine and The House of Love, Creation released the records that are always top of any shoegazing lists. There can’t be any article or list on the genre that doesn’t mention Souvlaki, Nowhere and Loveless.
It’s a musical genre that was worshipped by the UK music press for a short period in 1991 only to be followed by an onslaught of derision when bands like Nirvana and Suede started having big chart hits. I’ve lost count of the number of journalists that claim to have invented the name as a form of ridicule, but later went on to champion awful tuneless Britpop bands like Sleeper.
The Shoegaze sound may have returned underground in 1992 to make way for Grunge and Britpop, but it’s influence and sound was copied and polished up for many of the stadium acts of the 90s to fill the airwaves with anthemic, more accessible versions of the genre.
With the arrival of the internet, the shoegaze genre was once again resurrected with many bands and record labels no longer reliant on the corporate friendly music press and radio. Alongside labels such as Sonic Cathedral, artists like Ulrich Schnauss, The Radio Dept, The Pains of Being Pure at Heart, Sigur Ros, Maps, Deerhunter, School of Seven Bells and M83 were all emerging and citing the original shoegaze records as influences and so the scene grew again.
Reunion tours of My Bloody Valentine, Slowdive and Ride also gathered a huge amount of attention and in many cases bands played to larger crowds that they did in 1991, this also gave audiences a chance to re-evaluate those wonderful records.
After last years Beautiful Noise film, now for the first time a box set is to be released that captures most of those bands together with many rarities you may never have heard before, including Creation bands like Medicine, Moonshake and a pre-Creation The Boo Radleys.
‘Still In A Dream’ is released on January 29th 2016. The full tracklisting is below:

擅长发掘编辑当代音乐档案的比利时名厂Sub Rosa，近日出版了4CD巨制：中国电子音乐选集（1992-2008）。包括了中国大陆，新加坡，马来西亚，香港台湾的华人音乐家。
中国大陆（北京，上海，成都，桂林，杭州，深圳，广州，福州，山西，哈尔滨）–香港–台湾–新加坡–马来西亚。这张合辑的特别之处在于被收录到合辑中的这48位艺术家的创作，都不同程度地受到中国本土环境与文化的影响与渗透。基于这样的原因，从整张合辑的意义上说，它已经被绘制成一幅展现当下正在发声的，在极端多元的介质中不断变化着的地下声音图景。
毫无疑问，它将带领你穿越地下云雨，聆听无限惊喜，让身体各处自由开启一趟全新的旅程。
这张合辑也同样着眼于不久以前的那些先锋开拓者们：王凡，姚大钧，以及在至少二十年间，不断致力于传播中国实验音乐，驻扎在香港的李劲松（dickson dee)，他也受Guy Marc Hinant之邀来协助这张合辑。同时也包含了Zbigniew karkowski和颜峻两位的共同撰文，颇具启发性地预见和详述了一切尚未到来的激情与紧张，以及中国噪音艺术迸发前进的历史。

If you are a psych/funk/jazz/prog/latin/soul/African/bla bla bla style record collector in this day and age, you could easily tend to get "compilation record saturation fever". Stuff is so plentiful nowadays, lavish fat gatefolds stuffed with 200 gram slabs o' pristine wax, nice color booklets in accompaniment...very hard to resist these things. Wax collectors usually don't. As you can see from my listings, I'm in that boat, and far beyond my disposable income limit. This one has all the trappings to put a mark like me flying to grab this off the racks like a moth suckin' neon. Triple gatefold, nice heavy wax, nice book, I gotta get that, and just look at those freaky Indonesians on the cover in those tripped out pastel getups, maaan. How's the music? Pretty damn good I gotta say. Waaay better than I expected it to be and in fact so good, I was listening to it amongst other stuff in the same vein and about halfway thru Side 2, I'm saying to myself, "Wow this is from 70's Indonesia?!" as in some of this has no business being as good as it is coming from that time and place which makes this all the more amazing. Bottom line is if you liked Shark Move and Ariesta Birawa Group (both represented here) from hearing their Shadoks releases, you should grab this, as many of the of the other tracks easily best the best of those 2 groups' reissues. A really consistent listen for a 3LP set.

German dance compilation featuring the finest in trance music featuring such artists as Talvin Singh, Afterlife, A New Funky Generation, dZian and Kamien, Mandalay and many more. 15 tracks in all. 1999 release. Standard jewel case.

What if Marco Polo had owned a tape recorder? And what if his epic travels along the Silk Road had taken place not at the end of the 13th century, but at the beginning of the 21st? Far-fetched conjectures to be sure, but our compilation The Silk Road: A Musical Caravan offers a glimpse of the rich musical life that an intrepid and curious traveler like Marco Polo might find in the lands of the Silk Road today.

Tuva, Among the Spirits is a sonic journey to the steppes of southern Siberia, the wellspring of Tuvan and Sakhan music, where the spiritual power of nature is manifested through its sounds. In these unprecedented on-site recordings, master musicians imitate and interact with the natural acoustic environment. Recorded in 1995-1998 on horseback, in creek beds, caves, canyons, and grasslands. Extensive notes, photographs, and discography. 1999 New Age Voice Music Awards: awarded finalist for Best Traditional World Album of 1999.

If you want to explore the music of the Far East there is no better place to start than Indonesia. This Rough Guide explores the wide diversity of Indonesian music from the entrancing, ritualistic gamelan of Bali, Java and Lombok to dynamic Indonesian pop (including dangdut, pop sunda and jaipongan) and Sundanese classical music.

Artists include: Rhoma Irama, Detty Kurnia, Imas Pemas & Asep Kosasih, Gentra Pasundan, L.S.Gelik and Sabah Habas Mustapha & The Jugala All-Stars

The Café del Mar was founded by Ramón Guiral, Carlos Andrea, and José Les on 20 June 1980. [2]. "Our aim was to create a special atmosphere, unique and unbelievable experience, a dream where perfect fusion of music and wonderful sights will take us to an unknown place." Therefore, Café del Mar was born to put music to the sunsets. [3]

Sub Rosa unearth an unparalleled archive of electronic music from Turkey, marking only their 2nd anthology focussed on a specific ”zone or sphere of influence” following An Anthology of Chinese Electronic Music 1992 - 2008, which was issued in 2009.
Perhaps an ostensibly unlikely place to hunt for electronic music, in fact Turkey has a rich and pioneering legacy of electronic experiments thanks to the early work of Bülent Arel and Ilhan Mimaroglu, who both started out in Ankara and Istanbul, respectively, before moving on to become pivotal figures in New York’s experimental matrix at the Colombia-Princeton Electronic Centre.
However, as the label point out, Arel and Mimaroglu’s influence upon Turkish experimental electronic music was quite indirect and wouldn’t manifest until decades later, “through the ‘serious’ music of conservatories and universities (Cenk Ergün, Koray Tahiro?lu, Mehmet Can Özer...) and the electronic/noise music avant-garde ((Mete Sezgin, Nilüfer Ormanlı, Utku Tavil...) - the great wave of the 2000s and 2010s.”
So this compilation is cleft in two broad categories: the first Electronic Music; bookended by Arel in the chasmic stereo explorations of Postlude from Music for a Sacred Service (1961) and Mimaroǧlu’s hauntingly spare and ominous Prelude No.17 Istanbul Fog (1996), and taking in other highlights such as the dense eruptions of Batur Sönmez’s Flash Mental Experiment No.23 (2012) and the Harry Bertoia-meets-Oud spaces of Resonating Universes Part 1 (2010) by Erdem Helvacioǧlu.
The 2nd disc is denoted Politic, Samplers, Ambient Music and renders 15 pieces ranging from the lower case glitch-pop jazz of Subconscious Memories (1994) by Mete Sezgin thru 2/5BZ’s gloaming concrète collage, Anadolog and right up to the most recent production, a pulsating study in swirling, stereo-strafing modern Turkish electronic composition entitled Democracy Lessons by Asaf Zeki Yüksel dating to 2013.

Pacific Breeze documents Japan’s blast into the stratosphere. By the 1960s, the nation had achieved a postwar miracle, soaring to become the world’s second largest economy. Thriving tech exports sent The Rising Sun over the moon. Its pocket cassette players, bleeping video games, and gleaming cars boomed worldwide, wooing pleasure points and pumping Japanese pockets full of yen.
Japan’s financial buoyancy also permeated its popular culture, birthing an audio analog called City Pop. This new sound arose in the mid ’70s and ruled through the ’80s, channeling the country’s contemporary psyche. It was sophisticated music mirroring Japan’s punch-drunk prosperity. City Pop epitomized the era, providing a soundtrack for emerging urbanites. An optimistic spirit buzzed through the music in neon-bathed, gauzy tableaus coated with groove-heavy strokes.
Pacific Breeze is an expertly compiled collection of choice cuts that range from silky smooth grooves to innovative techno pop bangers and everything in between. Long-revered by crate diggers and adventurous music heads, this music has never been released outside of Japan until now. Including key artists like Taeko Ohnuki and Minako Yoshida, as well as cult favorites Hitomi Tohyama and Hiroshi Sato, the long-awaited release also features newly commissioned cover painting by Tokyo-based artist Hiroshi Nagai, whose iconic images of resort living have graced the covers of many classic City Pop albums of the 1980s.
Many of the key City Pop players evolved from the Japanese New Music scene of the early ’70s, as heard on Light In The Attic’s acclaimed Even a Tree Can Shed Tears: Japanese Folk & Rock 1969-1973, the first release of the ongoing Japan Archival Series. In fact, you could say City Pop set sail with a champagne smash from Happy End, the freakishly talented subversives who included amongst their ranks Haruomi Hosono and Shigeru Suzuki, both featured on this compilation. As Michael K. Bourdaghs noted in his book, Sayonara Amerika, Sayonara Nippon, this music was, “Deconstructing the line between imitation and authenticity.” Some of the best City Pop teeters in this zone—easy listening with mutant exotica, tilted techno-pop, and steamy boogie bubbling beneath the gloss.