“After making their 1997 album, Illumination, The Pastels followed it up with a remix set, Illuminati, which explained how their own world intersected with other like-minded artists. An invitation from Domino label head, Laurence Bell, that same year, suggested that the pair explore these relationships and think about The Pastels place in the new century. McRobbie comments: “The idea was to release beautiful semi-unknown music from around the world and to take it as far as we could in the spaces between releases by our group, The Pastels.”

And so Geographic was born based on eclectic tastes and keen ears for finding rich new sounds. The initial run drifted from the wild imaginary pop of Future Pilot AKA to the transcendent Bill Wells Trio, and from the psychedelic duo Nagisa Ni te to the quiet gorgeousness of Empress. “We lavished our time and love on every project,” McRobbie reflects. “Releasing a run of myriad records that on reflection were slightly wayward but optimistic and warm.”

After a welcome tip off from David Keenan at The Wire, Japanese improvisation ensemble group Maher Shalal Hash Baz, led by Tori Kudo, became one of the first signings to Geographic. McRobbie comments: “It was exactly the kind of music we wanted to release. It was kind of wild but totally melodic too – a mixture of original brass, outsider pop oddness and Tori Kudo’s brilliant cutting Syd Barrett-influenced guitar.”

Blues du Jour, Maher Shalal Hash Baz’s second album released on Geographic in 2003, was recorded in East Kilbride by David Scott and was the ensemble’s final record with their legendary euphonium player, Hiroo Nakazaki. A 41-track journey into their strange and wonderful world, it features some of their best known songs including Open Field later covered by Silver Jews. “Being able to help make and then release a record like this is one of the many reasons that Katrina and I are so proud of Geographic.”

The Last Great Wilderness (2003) by The Pastels arrived on Geographic that same year. The soundtrack to David Mackenzie’s film, it perfectly captures a mixture of thriller, horror and mystery. Engineered by John McEntire (Tortoise, Stereolab) at Glasgow’s CaVa studio, the album included a performance with Jarvis Cocker on the instant-classic album closer, “I Picked A Flower”. The slightly windswept chime of the album fits perfectly with the by then quickly developing Geographic aesthetic.

Lightships’ debut album, the brilliant Electric Cables, was released on Geographic in 2012. At its core is Gerard Love, enigmatic bassist and founding member of Teenage Fanclub. The release won supporters across the board with MOJO extolling in a 5* review the “sun-baked panoramas which dominate the record” and the Guardian praising Love’s “wholly distinctive (songwriting)…it’s a record to cuddle up and cherish”.

“Gerard spent a long time on it trying to find a sound that was different from Teenage Fanclub,” McRobbie comments. “He used a well-chosen collection of musicians including Tom Crossley from The Pastels and International Airport. It’s a glorious record, quite introspective in places but bold and timeless too. Everything on it seems to fit in place.”

Released on a label founded on a love of sharing music, these reissues represent the essence of everything Geographic represents. Welcome back GEOG18, GEOG24 and GEOG35 and long live Geographic!”
Monorail / taken from the Geographic press release