I'm always a bit wary of compilation albums. I'm not sure what it is about them, though it may have been all the bad experiences they've inflicted on me in the past. The thing about compilation albums is that they're rather difficult to do well as they are so dependent on the quality of the bands and artists you have at your disposal, and even then you have the task of choosing particular tracks by particular bands, and then placing them in a particular order so a seemingly natural flow is created. Therefore many compilation albums are left sounding disjointed or forced, with weaker tracks dragging down stronger tracks into a puddle of audio dribble. However with Everywhere You Are, Saraseto Records have created a record that not only overcomes these potential pitfalls, but comes out the other end stronger for it.

Based in Glasgow, Saraseto Records are new label that appear to epitomise all that is good about independent music. Inspired by independent labels such as Fierce Panda and Fat Cat, Saraseto Records was created to release music by bands and artists that excited founders Wull and Andrew in their creativity and enthusiasm, so far so good then. The first track on the record, 'Warning Bells' by Mitchell Museum, is a upbeat introduction that dabbles in MGMT-esque vocals with vibrant percussion and swathes of distortion that create a track which is both interesting and whole heartedly enjoyable to listen to. 'Warning Bells' leads on to Canadian outfit's Loon Choir's debut single, also through Saraseto Records, 'Bricks'. A beautifully lo-fi track, a gentle climax builds to a sound that is reminiscent of The Postal Service, though far more pop influenced and, as a result, more optimistic and resilient. 'Bricks' is very much a definite highlight of the record.

Blue Sky Archives 'Crash Your Face' somewhat slows the tempo of the album, however this rest bite is still laden with crashing percussion while featuring fantastically impassioned vocals which create a track that is just as epic as it is contemplative. Eastern Conference Champions 'Bloody Bells' transports us away from the sounds of Glasgow to the loose rhythms of California, equipped with cow bells and easy listening guitars, before the album moves us back to Canada with Bravestation's 'Clocks and Spears'. Another highlight of the record, 'Clocks and Spears' produces a sound that has smatterings of the new romantics of past, while remaining underscored with a modern edge of darkness. This mysterious sound runs well into S A F A R I's 'Quicksand', which too feels reminiscent of the new romantics, with soaring lead vocals that are matched with splashes of synths to exaggerate each moment of emotion. My biggest surprise of the album so far? The fact I'm comfortable acknowledging influences of Depeche Mode and Spandau Ballet, and in turn I'm thoroughly enjoying listening to the resulting tracks.

Moving in to the latter half of the album, Glasgow's own Nevada Base furthers the electronic trend of the record, with a sound that could be safely compared to the likes of Everything Everything. However where 'Electric Touch' differs from the tracks of Everything Everything is a greater focus on the electronic rhythms present within the track, and less focus of the feeling of showmanship that one could identify with Everything Everything. This intensity shifts to Callel's 'Best Foot On The Ground', which is barely three minutes long but still manages to jam in a raging guitar solo that underpins what is an unashamed pop song. What could have been the weak point in this album is inevitably saved by the fact it is so unashamed in its pop euphoria. However while Callel may have had a lucky escape, it is Little Fire's 'Fire Me Up Now' that reveals itself as the weak link. It is not that the track itself is inherently bad, even though it is nothing exciting, rather it simply feels out of place as a purely acoustic track within this album. Wheat's 'Changes' returns to the catchy, hook driven sound this album has made the listener familiar with, before Welcome Back Sailors' 'Skateboard' calms proceedings with an echoing easy listening sound. The Cinnamons lead the charge to the finale of the album with 'Welcome to The Business', which sounds somewhat like a stripped back version of The Drums combined with an 8-bit, and very reminiscent of Say Hi (formerly Say Hi To Your Mom). While the track risks becoming stagnant in parts, it is still catchy enough to remain listenable. Reinvigorating the final furores, She Said Resist produce another highlight of this album with their track 'Chasing Elliot'. A six minute epic of distorted vocals and guitars, Chasing Elliot throws the listener about in a fury of melodrama before leaving them in a state of pained rest. Over The Wall round up Everywhere you are with their eclectic and incredibly powerful track 'Thurso', which, unlike Fire Me Up, does not feel out of place. Rather, Thurso marks a very appropriate finale to Everywhere we are, incorporating the musical and lyrical dexterity present in the whole album, and leaving the listener with a sense of satisfaction and optimism that will last long after the album has finished. Photobucket