Back catalogue: 50s/60s

Review: Few labels in the 80s embodied such a distinct and artful vision as El, the short-lived yet profoundly influential London stable founded by Mike Alway in 1984. The Rubens Room compilation serves as both an introduction and a tribute to the label's uniquely curated aestheticieschewing rock conventions for a sophisticated blend of chamber pop, 60s bubblegum, European chanson, Latin rhythms and cinematic soundscapes. Alway's hands-on approach shaped El's musical direction, working with songwriters like Nicholas Currie (Momus) and Philippe Auclair (Louis Philippe), whose compositions helped show the label's meticulous pop craftsmanship. Simon Turner (The King of Luxembourg), Dean 'Speedball' Brodrick, and producer Richard Preston contributed to a sound that was deliberately theatrical and often satirical, evoking a world of elegance and artifice. This was pop that borrowed from the pastiechoing Ennio Morricone's film scores, Gainsbourg's wit, and the romanticism of forgotten music hallsiyet remained forward-thinking in its stylistic fusions. Among the label's defining artists were the Would-Be-Goods, Anthony Adverse, and Bad Dream Fancy Dress, whose narratives often explored themes through a distinctly un-macho, female gaze. Unlike much of the indie scene of the era, El's output was a celebration of refinement, wit and melodrama. The influence of this approach extended far beyond the UK, particularly in Japan, where it directly inspired the rise of Shibuya-kei artists like Pizzicato Five, Kahimi Karie, and Cornelius. While El never achieved mass commercial success, The Rubens Room reaffirms its legacy as one of Britain's most inventive labels, where pop was not just music but a world of sound, style and storytelling.