Each track is recorded in one take in one day, with no lunch breaks, recorded without the use of headphones, mixed the following day, and released before the end of the following month, and all tracks must contain some kind of involvement of the analogue Swarmatron synth - very important, that.

This kind of enforced discipline not only ensures artist focus but also musical urgency, in terms of both release schedules and in the material produced. Such rules have resulted in a label that has so far failed to put a foot wrong.

Featuring the rock n roll sleaze of Archie Bronson Outfit, hip hop ‘poetry’ from Kate Tempest and 21st century r n b from Juice, Year 1 holds no regard for genre. Carey’s own history as a down-tempo/lounge producer in the late 90’s means that even the trashy indie of Childhood incorporates elements that wouldn’t normally be considered, synths, processed drums and flange are dazzlingly utilised on the dreamlike final third of this included track, “Pinball”.

Using a studio decked out with lasers, strobes, smoke machines and probably smelling of dirty jeans and unwashed hair has of course, led to some far out sounds, a late night woozy warmth probably brought on by empty stomachs and a deprivation of natural light. By working with artists that he has already produced, Carey has found an intimate, anything goes method - their own albums are business, this is for pleasure.

This leads to Natasha Khan (Bat For Lashes) collaborating with TOY on a theatrical cover version of an Iranian wedding song: “The Bride”, or the playful space rock of Carey’s own musical project: Scotti Brains and the electrifying highlight in “I Go Out”, an ode to relationship jealousy (“Where do you go when you leave me on my own?/What’s going on when I’m sitting in at home?/I just go out”) set to white noise laced krautrock, sung by Steve Mason, alongside Emiliana Torrini (who co-wrote Kylie’s last essential moment, 2003’s “Slow” with Carey) and music, again, supplied by TOY on dramatic form.

It’s fascinating to hear how he infiltrates the sound through these tracks – for instance, the drums have a monotone flatness to them that you normally only here on old krautrock track or techno. Carey lifts this flatness with reverb, flange and dub echo, probably a trick he learnt from producing Lee “Scratch” Perry, he takes totally disparate sounds, and makes them make sense alongside each other.

A vinyl only label could come across as indulgent, especially in these days of a media-led ‘vinyl revival’, but despite the almost anarchic, no nonsense ethos behind SpeedyWunderground, the resultant feeling of this compilation is that of a producer and a bunch of artists being allowed to unwind a little, here’s to many more starving indie bands playing for their supper on future Speedy releases.