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THE NEW BREED

The music landscape has never been a more diverse yet challenging place, with labels and bands fighting to sell their records on vinyl. Michael Hann meets five figures from different corners of the industry who are finding new ways to get heard

The important thing about the much-discussed vinyl comeback is not to think of it as some unambiguous triumph, like one of those great wildlife success stories where a creature that had been confined to the southeast corner of a desolate marsh spreads across an entire country within years of being reintroduced. Vinyl as a format still needs nurturing. The ecosystem has been shaken by high-street closures, as independents fight on; the vinyl sections in the supermarkets tend to stock the same tiny selections of surefire bestsellers; the vinyl chart is dominated by a strain of rock-tastic nostalgia. There’s the sneaking suspicion it would be easy to slip into a vinyl existence of endless Liam Gallagher albums and remasters of Rumours, but there are still a heartening number of bold pioneers making the effort to find new ways to get different music to fresh audiences – the people for whom making a record is about more than pressing something to vinyl and then sending it to a shop to see what happens next.

THE SEVEN-INCH SPECIALIST

SPEEDY WUNDERGROUND

Speedy Wunderground is the brain child of producer Dan Carey

“It was a way to get over the frustration of not being spontaneous,” says Pierre Hall, the co-founder of the London-based label Speedy Wunderground. “What we do links back to the golden age of rock ’n’ roll: go into the studio, here’s a song, record it. It’s a mixture of that 80s indie thing and the early-50s rock ’n’ roll thing.”

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Find the complete article and many more in this issue of Long Live Vinyl - Mar 2019
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