Not too long ago, the future of the vinyl record as a musical medium seemed pretty bleak. With widespread adoption of compact disc technology and promises of high-definition audio formats on the horizon, the common consensus was that wax had run its course. Yet, throughout the ’80s and ’90s, a small core of aficionados was keen enough to sustain a healthy demand for new releases on vinyl, and a handful of labels — mainly indie shops and audiophile specialists — stepped forward to meet the need. Now, in the age of MP3s and broadband Internet, even more bands are taking the step back to basic black.
“Vinyl is attractive to the music listener because of its fidelity,” says Danny Vescarelli, a longtime disc-slinger at Melodiya Records. “The purpose of recorded music is to capture the essence of some original sound. The vinyl record is just as guilty as the CD or MP3 for being a reproduction of the sound, but is generally less compressed and has fewer conversions than the latter formats, and is therefore that much closer to the original. Even casual listeners should eventually be able to hear and feel this.”
Another aspect of the appeal is the “vintage” factor associated with a dusty old stack of records. Along with ironic pieces of flair, limited-run sneakers, patchy beards, and really shitty bikes, the consummate hipster sees a vinyl collection as a badge of honour. What an LP lacks in practicality, it makes up for in nebulous “cred.” As such, it’s no surprise that indie labels have borne the vinyl torch for such a long time. Still, there are some very practical reasons that vinyl has stayed underground.
“The major label world is just very different than the indie world,” says Justin West, president of Montreal’s prolific Secret City Records. “The structure of a major doesn’t really allow for vinyl. Their business structure is better suited for high volume products. So I’m not sure it’s totally fair to say that the majors aren’t into vinyl — I think it’s more that they realize that it’s not their core competency, so they should stay out of it.”
It’s unlikely the big money-makers are totally unaware of the enormous potential of vinyl in the age of dwindling music sales of traditional media. Savvy indie types have long realized that the 12-inch format presents an ideal opportunity for value-added bonuses, from vinyl-only bonus tracks (the fourth side of Hissing Fauna, are you the Destroyer? by Of Montreal) to superior mixes (the White Stripes’ audiophile remaster of Icky Thump) to limited pressings (Wilco’s impossible-to-find Summerteeth). While manufacturing vinyl can be expensive and inconvenient, many see it as an irresistible opportunity to create collector’s items, which can be very good for business.
“Considering the amount of money that it costs us to make our vinyl and the amount of money that we sell it for, I think we make $2,” said Man Man front man Honus Honus in an interview last October, referring to the exquisitely crafted pressing of 2006’s Six Demon Bag. “Business-wise, there’s no reason why we should have vinyl. But we wanted to have something really cool for our fans. It looks great and the artwork’s amazing, and it has two 10-inch picture discs. Economically, it’s retarded, but it’s just great to have.”
For those interested in building a record collection, there are plenty of starting points, both online and in town. Melodiya (Bankview) and Sloth Records (Fourth St. S.W.) are great for new releases, while Hot Wax (Kensington) and Recordland (Inglewood) cater to the used record niche. For those willing to try their e-luck with newfangled mail order services, insound.com and scratchrecords.ca both boast excellent selection and reasonable shipping fees.
For those not quite convinced, vinyl-monger Vescarelli offers some parting words on the endurance of the medium. “My guess is [records will be around] as long as consumers are still purchasing music,” he says. “The way a friend once put it is that vinyl is like an artifact. If a record was buried — with some care of course — it could be dug up years later and the music would still be there. It would just be up to the person or thing that discovered it to figure out that it's just a matter of putting some sort of needle in the grooves.”
