Replacing the faceless corporate stranglehold of the major record label system with an equally dominative digital cabal, the music industry has seen a momentous shift in power. Whilst many lament this change, others romantically – and rather naively in my view – herald a new age of autonomy and freedom.
However, in any so-called progressive revolution – and we are in perhaps one of the most seismic since the industrial – there are always losers.
You can hardly call them luddites but the majority of the populous often looks at the vinyl enthusiast with a perplexed frown. Despite the many arguments and debates on its value, of which digital will never quite match or produce atmospherically, vinyl is marketed as an artefact, promoted as the enviable version of the download or bolstered with added veneer in a overly-expensive ‘deluxe’ fashion. The physical is fast becoming ‘objet d’art’.
Not so much the savior of the tactile High Street – or backstreet for that matter – experience, vinyl is at least challenging the transient, fancy-free, nature of the MP3, by its almost ritualistic, pertinaciousness. An investment, not just the monetary kind, but of time and diligence is needed on our part, as attention is directed towards the placing down of the record in anticipation. Its very rigidness is perhaps its most redeeming feature. Sure if you want to you can get up off your ‘easy chair’ to skip a track manually, but if you follow the rules than you’re encouraged to absorb the intended running order until the end.
Along with the much maligned, though tenaciously hanging on in there and still selling by the skip load, CD format, vinyl at least helps to keep the independent record store alive: an experience happily devoid of analytics and algorithms; one that demands interaction and the personal touch.
Gaining momentum over the last decade, the clarion call celebration of ‘Record Store Day’ has swelled in popularity, mainly via the ever-expanding rooster of limited edition and exclusive releases, distributed throughout the UK’s still thriving record stores. Boosted by live performances and countless other promotions, everyone from the most obscure potting shed, D.I.Y, label to the big players, wants in.
The full itinerary can be found on the official RSD website HERE
Personally I’ve eyed up the Krautrock duo of Conny Plank (The Conny Plank Rework Sessions 12”) and Can (Pavement’s inimitable front man, Stephen Malkmus, has a pop at the Cologne sonic magi’s Ege Bamyasi) tributes.
Other notable releases include Miles Davis’ 1957 LP Round About Midnight, a Fela Kuti 12” of Sorrow Tears And Blood/Perambulator, and the strange bedfellows, jamming assemble of Michael Horovitz, Damon Albarn, Graham Coxon and Paul Weller’s jazz poetry superjams (two 12” and an LP’s worth of material) sounds a shambling lark. There’s also a rather fetching 3xLP version of The Band’s swansong, The Last Waltz on offer.
If you haven’t tired of David Bowie by now then there’s a trio of 7” singles and an EP that may take your fancy: The Stars/WAWN, 1965, 1965! EP (limited to a 1000 copies) and Drive In Saturday.
In a polarized ocean of soulless digitalization and indifference, RSD attempts to rebalance our relationship with music, something we’re pleased to support with our own month long celebrations.
GIITTV’s team of writers and contributors, plus friends from the music industry and artists themselves (including Metamono/Kumo/Cyclopean wizard Jono Podmore), will offer personal reflections, tales and anecdotes of fated record purchases, and pay homage to their local havens, both here and overseas.
Following the success of ‘Bowie Month’, we will once again feature another exclusive compilation of music, made up of independent labels and unsigned acts.
