With more kids looking to become the next illustrious bedroom producer, using vinyl means they can utilise existing digital production software to create more authentic music.
Recent home grown releases like Jehst’s ‘Billy Green is Dead’ (YNR), Danny Lover’s ‘The Church Restaurant Official Soundtrack’ (BLAH) and Loyle Carner’s ‘Yesterday is Gone’ (Virgin EMI) all sounding sweet on wax; it makes sense for us to explore the reasons behind the resurgence of the vinyl.
For anyone wondering, these records can be found in many of the UK’s most iconic record shops: Rare Kind Records (Brighton), Piccadilly Records (Manchester) and Jumbo Records (Leeds).
“To me, records are so important because they let me produce my music in a way that suits me.”
Records are so important because they let me produce my music in a way that suits me. Digging through old soul, jazz, gospel, library, Latin, classical and ambient music has become a hobby of mine.
The beats come out sounding rawer and less artificial than a lot of music produced off digital compact programmes. I’ve found so many gems while digging it’s hard to put into words. Historically, sampling permitted a greater variety of producers to enter the musical arena.
You could be anybody who had an ear for loops and compositions, without necessarily needing any technical training. Some of my favourite producers like Pete Rock, DJ Premier, Q-Tip and Havoc, made their names from the practice.
Some people try and devalue the act of sampling and claim that it is somehow cheating. I used to be able to relate to that point of view before I started to produce. But now I better understand that the art is more intricate than you may expect. The final product is dependent on the producer’s taste, sense of timing, sound selection and knowledge of the system they’re using.
To many, Vinyl is also a physical testament to the artist’s work as well as a demonstration of their worth. Wu Tang’s ’36 Chambers’, Mobb Deep’s ‘The Infamous’ (R.I.P Prodigy), and Nas’ ‘Illmatic’ have not stood as fervently as they have in hip-hop consciousness by mistake. Of course, credit for their longevity has to be given to their talent. There is no question over that.
UK classics like Klashnekoff’s ‘The Sagas of…’ (Kemet) were never released on wax. Other masterpieces like Jehst’s ‘The Return of the Drifter’ (Low Life) or Lewis Parker’s ‘Masquerades & Silhouettes’ (Melankolic/EMI) were circulated so scarcely on vinyl that they have become the jewels in the crowns of countless collectors.
“The fact that you have to look after it isn’t a burden, but an earned responsibility that makes the act of listening that much more deserved.”
For many young people, who were brought up on Gameboys and oversized iPods: The simplicity of vinyl really is its defining feature. The fact that you have to look after it is an earned responsibility. A responsibility that makes the act of listening that much more deserved. Having to flip the sides isn’t a chore, but a way to maintain focus on an album.
You’re also supporting the artist by not listening to illegally downloaded files. Nevertheless, a few readers of this article will still view records as outdated, too much effort and something that their dad used to do. But I do ask that these people give records a chance, after all, they’re here to stay.