Here at The SUL we have, for the past few months, been discussing the culture, and more importantly the consumer behaviour, of the post modern (and we say postmodern with a purpose!) music fan base. Now, we're not talking about those who draw their musical nourishment from the top 40 charts, as these musical civilians are mere bystanders on the wider scene. No, we are talking about those who actively take an interest in sourcing new artists, outside the humdrum outposts of Radio 1. It would be an easy mistake to make to suggest that the way in which we buy (or not buy) our favourite artist's latest tunes hasn't changed in recent years. If you were to ask about the busy streets of Manchester you'd still hear people talking about downloads and download charts, and downloading and download sites. But are downloads as relevant as they were, say 10 years ago? Speaking with a couple of comrades in Manchester's Idle Hands Coffee Shop we discussed the nature of consumerism in the alternative market. We all agreed that music was for the vast majority of people seen as a byproduct of their day, simply giving their commute to work or evening work-out a sound track or distraction from silence. However, one thing that has certainly come into prominence in recent years is the success of the vinyl industry. Vinyl sales have shot up to an 18 year high and has risen from a market value of just £3million to £20million in 3 years. Now if that doesn't suggest a dramatic change in the way in which people are approaching music in 2015, I don't know what can.
Around the UK you have new bars, coffee shops and record stores that symbolise this diversion in trend. Take The Jacaranda on Liverpool's Slater Street, where patrons are encouraged to enjoy their favourite vinyl tracks over a hot drink, or something stronger, in individual booths. Nice idea. One can definitely envision arguing with friends over which tunes to go with over a few jars. You've got the 3 story Rough Trade outlet in Nottingham, showing that people still do want to take the time to purchase music, even three years after HMV filed for bankruptcy. There are a myriad of examples, stretching as far as Belfast's Good Vibrations, still owned by the (in)famous Terry Hooley, but no matter whether its North West, Midlands or North of Ireland... the point remains the same. People want more from their music than just an electronic piece of metal and some white headphones. People want to feel engaged... part of a movement. The vinyl revival shows us that young people still yearn for the excitement of finding something rare, taking it home, dusting it off and actually enjoying it beyond more than background noise.
What The SUL is trying to get at here is not how much we love all things vinyl (but we do love it though, its ever-so-retro); its more important to note what the increase in vinyl sales represents. Everyone knows that downloads and streaming will always come up trumps when talking about convenience, but for the music that you want to own and listen in the comfort of your own home, vinyl is rapidly becoming the choice format. Symbolism is important here, especially when discussing the younger generation who haven't had the same type of movements and subcultures that previous ages would have experienced. Being part of a vinyl revival gives us a chance to be part of something and it gives us a tangible memory that we can look back on in years to come, unlike those iPods that break every couple of years, or downloads that get lost over time. To summarise I will draw reference from The Courteener's front man who, during the launch of their 3rd album Anna, spoke of how "music shouldn't be convenient ... it should be a pain to go and get it", and that's just it. Music should be something that means enough to us to take time out of our day to think about, be awe struck by and feel. That's the vinyl experience.
