This Vinyl Revival is Sucking the Life and Fun out of Music Collecting

导读

大概从2007年开始,西方音乐出版界出现了一股有意思的风潮——黑胶复兴。历经磁带、CD、mp3、音乐串流服务之后,这种最传统的音乐载体又重新引起了人们的兴趣,并且销量逐年增加。根据统计,黑胶唱片的销量自2007年起已经增长了十几倍。以至于今年六月,SONY唱片宣布已经开始兴建一座新的工厂,明年起开始生产黑胶唱片。
对于这一轮复古风潮,人们有着各种不同的见解。本文的作者是一名音乐网站的编辑,由于儿时的一次网购失误,接触到了黑胶唱片,从此被黑胶的魅力所吸引,开始了她的黑胶收藏生涯。然而在她看来,黑胶唱片的再次流行并不那么美好,反而有些让人沮丧。和所有新兴的市场一样,本来属于黑胶收藏者的宁静家园如今变成了资本家们圈钱的乐土。各大唱片公司纷纷回归黑胶唱片,助长了黑胶复兴的势头,也让这些本来可以在旧货商店用低价淘到的商品身价倍增;同时大的音乐厂牌不断推出经典专辑的各种黑胶“重制版”、“纪念版”、“豪华无敌限量版”……毫无新意地炒着冷饭的同时,让几乎已经退出历史舞台、所剩无几的黑胶唱片压制工厂不堪重负,只能将小厂牌的订单延后,以至于小厂牌周转困难,生存日益艰难。当然,比起资本对音乐行业的负面影响,更让作者所不能忍受的,恐怕是作为黑胶收集者的“逼格”受到了伤害,乐趣被无情剥夺吧。

更多剧透

第一步:解决高频单词

revolving [rɪ'vɔːlvɪŋ]

adj.旋转的,轮转式的; 循环的;/ v.(使)旋转( revolve的现在分词 ); 细想;

adolescent [ˌædə'lesnt]

n.少年;/ adj.青春期的; 青少年的; 未成熟的;

compilation [ˌkɑːmpɪ'leɪʃn]

n.汇集;编写;编辑

assorted [ə'sɔːrtəd]

adj.各式各样的; 五颜六色的; 混杂的;

buoyant ['bɔɪənt]

adj.轻快的; 活泼的,开朗的; 有浮力的,易浮的; (价格等)上涨的

projected [prə'dʒektɪd]

adj.规划的; 设计的; 预期的; 估计的/ v.投射( project的过去式和过去分词 ); 计划; 提出; 展现

flourishing ['flɜːɪʃɪŋ]

adj.繁荣的; 欣欣向荣的; 茂盛的; 盛行的/ v.茂盛,繁荣( flourish的现在分词 ); 兴旺发达; 挥动;

hiatus [haɪ'eɪtəs]

n.裂隙; 缺漏; 脱漏; 间断

overwhelming [ˌəʊvə'welmɪŋ]

adj.势不可挡的,压倒一切的,巨大的;

sentimentality [ˌsentɪmen'tæləti]

n.多愁善感;伤感

60p

第二步:精读重点段落

(Tips: 双击文中单词可以查释义并加入你的生词本哦)

第四段:
Last week, the BPI released a report that suggested it is increased streaming and the vinyl revival that, together, kept the British music industry buoyant in 2015 – by not just reaching the projected amount of vinyl sales, but jumping to 2.1 million. At face value it’s a good thing. For the first time since the dawn of Napster there is a spike in the number of young people voluntarily paying actual money for music on a format they can hold in their hands (which is nothing short of a small miracle). That would be exciting if it meant that the industry was flourishing for everybody, but at the moment it's just not the case.

  • face value n. 面值
  • spike n. 长钉; 细高跟; (防滑)鞋钉; 尖状物/ vt. 以大钉钉牢; 用尖物刺伤; 打乱某人的计划 (此处意为“峰值”)

第十二段:
True, not everybody likes to spend their time and money rummaging around second-hand shops for arms full of novelty tat, like a HIM 7" that comes in a black velvet sleeve or a picture disc of Bruce Willis' Secret Agent Man. True, many people don't give a shit about which particular pressing they have and just want to own the bloody record. There's nothing wrong with any of that. What is wrong, though, is that the indie labels who have fostered the format while major label attention waned are now paying the price for the rejuvenated interest, struggling to keep afloat while their money is tied up for as long as 10 months thanks to manufacturing delays because someone, in a boardroom somewhere, decided it was time to churn out yet another 200,000 copies of Revolver.

  • rummage v. 翻查; 搜出; 翻箱倒柜;/ n. 翻查,搜查; 杂物,七零八碎的东西;
  • novelty n. 新奇; 新奇的事物; 新颖小巧而价廉的物品;
  • tat n. 劣质货;
  • foster v. 培养; 抚育; 促进; 代养 ;/ adj. 寄养的; 代养的;
  • wane vi. 衰落; (月)亏,缺; 结束; 变暗淡;/n. 衰退; 衰退期; 月亏期; 缺角方木
  • rejuvenate vt. 使变得年轻,使恢复活力;/ vi. 复原,变年轻;

第十四段:
Perhaps nobody wants to hear a twenty-something wax lyrical about the soulful benefits of getting on your knees in a second-hand shop and rummaging through hundreds of dusty LPs in order to build your record collection. Perhaps nobody wants to hear a eulogy for the euphoria of finding a true rarity priced at about a hundredth of its value in a local charity shop either, even if it is like coming up in a bubble bath. But for people who collect records for reasons beyond physical ownership, the revival is sucking all the joy out of it.

  • wax lyrical 热情地谈论
  • eulogy n. 颂词;颂扬;悼词
  • euphoria n. 幸福感
85p

第三步:攻克必学语法

耐心拆解,再长再乱的句子也不难。

今天的这篇文章不同于严肃的新闻报道或严谨的学术论文,语言很口语化,行文非常随意,导致有些句子看起来似乎乱七八糟,找不到头绪。在学习和工作中,我们未必会见到这样的文章,但是如果我们在生活中和老外交流,或者上上国外网站刷刷娱乐八卦,又或者查找一些不那么严肃的资讯,很可能会碰到类似的语言风格。为了应付类似的场景,我们需要掌握梳理这种长句子的本领。

大家看见长句子不要着急,尤其这种文章,没有什么深奥的内容和高级的单词,只是表达方式上更贴近口语,想到哪里就说到哪里,比较跳跃而已。只要耐心地抽丝剥茧,还是很容易看懂的。

比如第四段的第一句:
Last week, the BPI released a report that suggested it is increased streaming and the vinyl revival that, together, kept the British music industry buoyant in 2015 – by not just reaching the projected amount of vinyl sales, but jumping to 2.1 million.

粗看之下,我们可以得到的信息有“上周”,“BPI(英国唱片业协会)发表了一份报告”,“音频串流和黑胶复兴“,”英国音乐行业在2015保持上升”,“达到预期黑胶销量”,“跳跃到210万”等等等等。那这些内容的主次和顺序是怎么样的呢?我们来一点点分析。

开头“Last week, ”,就是简单的提示时间的状语;“the BPI released a report”,这句很明显是句子的主干了;之后的“that”明显提示后面是修饰“report”的定语从句,“suggested”的主体是“report”,即报告指出;那么“suggested”后面的句子就是宾语从句了,用来表示报告指出的具体内容了,为了分析起来方便,我们可以把它当成独立的句子来看。
“it is…that…”是一个典型的强调句,如果不考虑强调的意味完全可以去掉,于是句子就变成了“increased streaming and the vinyl revival together kept the British music industry buoyant in 2015 (日益增长的音频串流服务和黑胶复兴使得英国的音乐产业在2015年保持增长)”这样一个很好理解的简单句子。最后的“by…doing (reaching/jumping) sth. ”,用在动作“kept”之后,表示达成该动作的手段,“not just…but…”则对“reaching”和“jumping”两个“手段”做以并列连接,并有强调后者的意味。

把这样一个层次关系弄清楚,我们再重新组织一下语言,就可以正确地理解这句话了:上周,英国唱片业协会发布了一份报告,其中指出,日益增长的音频串流服务和黑胶复兴这两种因素共同保持了英国音乐行业在2015年的增长——黑胶唱片的销量不仅达到预期,甚至跳跃式地增长至210万。

那么大家用同样的方式,来分析下第十二段的这句话吧:
What is wrong, though, is that the indie labels who have fostered the format while major label attention waned are now paying the price for the rejuvenated interest, struggling to keep afloat while their money is tied up for as long as 10 months thanks to manufacturing delays because someone, in a boardroom somewhere, decided it was time to churn out yet another 200,000 copies of Revolver.

100p

加分任务:精读全文

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(Tips: 双击文中单词可以查释义并加入你的生词本哦)

This Vinyl Revival is Sucking the Life and Fun out of Music Collecting

第一段:
I was fourteen when I bought my first record on vinyl. Actually, it was several records – and a total accident. I ordered a box set of Bright Eyes albums off Amazon, assuming it was a CD bundle, and what I got was the first five LPs and no idea how to play them. So my version of “the talk” was my parents sitting me down after school and explaining how the hell a turntable worked.

  • vinyl n.[化]乙烯基; 黑胶唱片;
  • LP long playing 密纹唱片;
  • turntable  n.(唱机的)转盘;

第二段:
Dusting off the same boxy record player he got as a teenager and had been keeping in my nan’s garage – a turntable so old we had to be careful with the needle because they were out of production – my dad proudly played me some of his records: Black Sabbath, Kate Bush, and Thin Lizzy. The moment is hyped in my memory as being just like the opening scene of Almost Famous: a candle burning, Tommy revolving, not just hearing but experiencing the crackle and pop of dust on the needle, like a roaring fire in your ears. In reality, I probably dished out an adolescent catchphrase like, “Yeah, cool,” and shut my dad out of the room.

  • hyped n.天花乱坠的广告宣传; vt.大肆宣传; 夸张地宣传(某人或某事物);
  • revolving adj.旋转的,轮转式的; 循环的;/ v.(使)旋转( revolve的现在分词 ); 细想;
  • adolescent n.少年;/ adj.青春期的; 青少年的; 未成熟的;
  • catchphrase n.醒目的广告用语,(政治宣传中的)标语;

第三段:
From then on, I near sacked off CDs. I’d listen to compilations of fart-in-a-trash-can mp3’s I’d downloaded from Limewire by day and records by night. I started collecting my own, but only the stuff I really cared about – the special stuff. Limited runs from Painkiller, a live box set of Animal Collective’s earliest and strangest releases (that I’ve since tried to sell on eBay twice in dire straits and have never been able to part with), and specific colour variants from Orchid Tapes who ship all their orders with sweets and tea and other assorted trinkets. Over the last few years, the "vinyl revival" has caused my collection to swell like The Rock’s biceps, as more and more bands have the scope to set their efforts to wax. But that revival has also found a cave full of glutinous ways to shit all over it. What was once a quiet world of treasures is becoming a commercial minefield.

  • compilation n.汇集;编写;编辑
  • assorted adj.各式各样的; 五颜六色的; 混杂的;
  • trinket n.小装饰品; 小件饰物; 无价值的琐细杂物; 小玩意儿
  • bicep n.二头肌
  • glutinous adj.黏的,胶质的; 粘;

第四段:
Last week, the BPI released a report that suggested it is increased streaming and the vinyl revival that, together, kept the British music industry buoyant in 2015 – by not just reaching the projected amount of vinyl sales, but jumping to 2.1 million. At face value it’s a good thing. For the first time since the dawn of Napster there is a spike in the number of young people voluntarily paying actual money for music on a format they can hold in their hands (which is nothing short of a small miracle). That would be exciting if it meant that the industry was flourishing for everybody, but at the moment it's just not the case.

  • BPI     British Phonographic Industry 英国唱片业协会
  • buoyant adj.轻快的; 活泼的,开朗的; 有浮力的,易浮的; (价格等)上涨的
  • projected     adj.规划的; 设计的; 预期的; 估计的/ v.投射( project的过去式和过去分词 ); 计划; 提出; 展现
  • face value n.面值
  • spike n. 长钉; 细高跟; (防滑)鞋钉; 尖状物/ vt. 以大钉钉牢; 用尖物刺伤; 打乱某人的计划
  • flourishing     adj.繁荣的; 欣欣向荣的; 茂盛的; 盛行的/ v.茂盛,繁荣( flourish的现在分词 ); 兴旺发达; 挥动;

第五段:
I’d like to say this spike in sales speaks to our growth as a generation, but when you consider that most of these records are coming from places like Urban Outfitters flogging copies of (What’s The Story) Morning Glory? for £30, it probably says less about our listening habits than it does about our penchant for old shit, which anybody who has ordered a drink in a bar recently and had it served to them in a mason jar will already know. Of those 2.1 million record sales, how many were for new albums released within the last 12 months? The answer, ultimately, is: not loads.

  • flog vt.鞭打,鞭策; 迫使;
  • perchant n.(强烈的)倾向,爱好,嗜好;

第六段:
The best-selling vinyl albums of 2015 as of July included: Jamie xx’s In Colour, The Arctic Monkey’s AM, and Royal Blood’s debut, so you can’t say young people aren’t trying to hold it down for their generation. But the real-best sellers were The Stone Roses self-titled, Led Zeppelin’s Physical Graffiti, and Pink Floyd's The Dark Side of The Moon. Because for every new release (from an independent label/artist or otherwise), a major will mine their archive and churn out twenty reissues, box sets and “deluxe editions” – a phrase that’s become so dirty it’s basically “The Scottish Play” of the music world. I'm not saying all reissues are bad news, but by and large the current wave of re-releasing that's capitalising on this opening in the vinyl market is in turn hurting the indie labels that got the revival going in the first place.

  • by and large 总的来说

第七段:
For example, news broke last week that Sonic Youth’s Experimental Jet Set, Trash and No Star, A Thousand Leaves, and NYC Ghosts & Flowers will be given the reissue treatment later this month, with Murray Street, Sonic Nurse, and Rather Ripped set to follow. Now, Sonic Youth have been on an indefinite and likely everlasting hiatus since Kim Gordon and Thurston Moore split in 2011, and have been steadily reissuing their pre-Geffen catalogue ever since. Daydream Nation, The Whitey Album (released as Ciccone Youth), Bad Moon Rising and EVOL have already been reissued through the band’s own label, which made sense both for them and their fans. Plus there were some extra goodies in the form of bonus tracks (even if they did come on a download card) for all the grunge stans out there.

  • hiatus n.裂隙; 缺漏; 脱漏; 间断

第八段:
But if you look at the newest batch of reprints, there is something decidedly jaded and cynical about them. For a start, they’re coming from a company called Union Square Music. USM are one of the UK’s leading reissue and compilations specialists, whose self-proclaimed highlights include The Very Best Of Frankie Goes To Hollywood, Greatest Ever Driving Songs and Simply Salsa. That’s USM, not Sub Pop, SST, Interscope, Matador or any of the other labels Sonic Youth’s early material was released through. In fact, the newest vinyl reprints are for all their full-length albums released between 1994 and 2006 (save for 1995’s Washing Machine), also known as The Geffen Years.

  • jaded adj.精疲力竭的; 厌倦的; (因过饱或过多而)腻烦的; 迟钝的
  • cynical adj.怀疑的; 愤世嫉俗的; 冷嘲的; 见利忘义的

第九段:
While there’s nothing sinful about wanting a copy of one of those records regardless of how much it costs or whose pocket it ends up in, the fact remains that they were all major label releases and as such there are still so, so many copies in circulation already. You only need to turn to eBay, Discogs, any respectable record store or even some charity shops to find one. All most major label re-issues do is help raise the price of records in general due to rapid sales increases – which end up bottlenecking the production of vinyl, overwhelming retailers, and pushing back release dates for smaller labels who are deemed less of a priority. It stands to reason that the slower a label's turnaround, the less they can actually release, which in turn affects their artists and ultimately their survival.

  • overwhelming adj.势不可挡的,压倒一切的,巨大的;

第十段:
 “When winter/spring comes around manufacturing times at pressing plants for labels like ours start to get significantly delayed as we get pushed to the back of queue behind represses of catalogue records,” Dany of Cork-based indie label Art for Blind told me back in 2014 during an investigation into Record Store Day’s effect on small labels. “At the moment we can't afford to pay for a record that won’t be back from the plant for 10 weeks as we need to get selling that record as close to the point where we pay for it as possible.” Similarly, Warren Hildebrand of Orchid Tapes - who were the first to release Alex G's DSU - and Dave Benton of Double Double Whammy expressed frustrations over not getting their orders back on time. But, as far as the interests of those actually benefiting from the vinyl revival are concerned, that bedroom pop LP can wait. After all, there are reissues of the much sought after Inside In/Inside Out by The Kooks to be getting on with (out January 22, guys).

  • sought after 追捧

第十一段:
Obviously it goes without saying that not all reissues and anniversary editions are trash - plenty of worthwhile albums have been given considerate reissue treatment. When Nas celebrated twenty years of Illmatic he gifted fans a reissue that included remixes, freestyles and unheard material. He re-toured the album from start to finish and put out a documentary exploring the making of Illmatic on a deeper level. As Noisey Editor Joe Zadeh wrote, “It was like the entire album breathed again for a whole year.” What sucks is when reissue plants and majors pump out hundreds of thousands more copies of beloved albums that are already in wide circulation, capitalizing on the increased sentimentality around physical products so you’ll drop a week’s worth of lunches on something you could find for a fiver in an Oxfam bin – and be infinitely more gassed about.

  • capitalizing v.用大写字母写或印刷( capitalize的现在分词 ); 将(某事物)转作资本、用作资本或资本化;
  • sentimentality n.多愁善感;伤感

第十二段:
True, not everybody likes to spend their time and money rummaging around second-hand shops for arms full of novelty tat, like a HIM 7" that comes in a black velvet sleeve or a picture disc of Bruce Willis' Secret Agent Man. True, many people don't give a shit about which particular pressing they have and just want to own the bloody record. There's nothing wrong with any of that. What is wrong, though, is that the indie labels who have fostered the format while major label attention waned are now paying the price for the rejuvenated interest, struggling to keep afloat while their money is tied up for as long as 10 months thanks to manufacturing delays because someone, in a boardroom somewhere, decided it was time to churn out yet another 200,000 copies of Revolver.

  • rummage v. 翻查; 搜出; 翻箱倒柜;/ n. 翻查,搜查; 杂物,七零八碎的东西;
  • novelty n. 新奇; 新奇的事物; 新颖小巧而价廉的物品;
  • tat n. 劣质货;
  • foster v. 培养; 抚育; 促进; 代养 ;/ adj. 寄养的; 代养的;
  • wane vi. 衰落; (月)亏,缺; 结束; 变暗淡;/n. 衰退; 衰退期; 月亏期; 缺角方木
  • rejuvenate vt. 使变得年轻,使恢复活力;/ vi. 复原,变年轻;

第十三段:
Although the rise in demand for vinyl has risen dramatically, the number of active pressing plants has stayed relatively static. The amount of people trained in electroplating (the process of making a mold from a lacquer) is even less, and if that wasn’t bad enough there are only two companies in the world still making vinyl record lacquer and one is an elderly Japanese man doing it in his garage. If the vinyl revival is here to stay, then we're going to need a lot more people who can actually manufacture the records to support it, which is better than the alternative. After all, the backup at the plants signifies that there is demand for more records, not fewer, but the industry needs to expand to accommodate everyone. Those who buy from independent record labels like Art for Blind, Orchid Tapes, and Double Double Whammy do so because of the care that goes into their releases – the kind of care that's absent from a 140g black disc stuck in a cardboard square that costs £25 from Tesco. Both are valid things to buy in theory, but when one is a fleeting interest that comes at the expense of the other, it's hard not to be frustrated.

  • lacquer n.漆,天然漆; 漆器;/ vt.涂漆于; 使…表面或外观光滑;
  • alternative adj.替代的; 备选的; 其他的; 另类的/ n.可供选择的事物;
  • signify vt.表示…的意思; 意味; 预示;/ vi.具有重要性,要紧; 辱骂;
  • accommodate vt.容纳; 使适应; 向…提供住处; 帮忙/ vi.适应于;调解,调停;
  • fleeting adj.疾驰的,飞逝的; 短暂的; 稍纵即逝;

第十四段:
Perhaps nobody wants to hear a twenty-something wax lyrical about the soulful benefits of getting on your knees in a second-hand shop and rummaging through hundreds of dusty LPs in order to build your record collection. Perhaps nobody wants to hear a eulogy for the euphoria of finding a true rarity priced at about a hundredth of its value in a local charity shop either, even if it is like coming up in a bubble bath. But for people who collect records for reasons beyond physical ownership, the revival is sucking all the joy out of it.

  • wax lyrical 热情地谈论
  • eulogy n. 颂词;颂扬;悼词
  • euphoria n. 幸福感
200p

revolving [rɪ'vɔːlvɪŋ]

adj.旋转的,轮转式的; 循环的;/ v.(使)旋转( revolve的现在分词 ); 细想;

adolescent [ˌædə'lesnt]

n.少年;/ adj.青春期的; 青少年的; 未成熟的;

compilation [ˌkɑːmpɪ'leɪʃn]

n.汇集;编写;编辑

assorted [ə'sɔːrtəd]

adj.各式各样的; 五颜六色的; 混杂的;

buoyant ['bɔɪənt]

adj.轻快的; 活泼的,开朗的; 有浮力的,易浮的; (价格等)上涨的

projected [prə'dʒektɪd]

adj.规划的; 设计的; 预期的; 估计的/ v.投射( project的过去式和过去分词 ); 计划; 提出; 展现

flourishing ['flɜːɪʃɪŋ]

adj.繁荣的; 欣欣向荣的; 茂盛的; 盛行的/ v.茂盛,繁荣( flourish的现在分词 ); 兴旺发达; 挥动;

hiatus [haɪ'eɪtəs]

n.裂隙; 缺漏; 脱漏; 间断

overwhelming [ˌəʊvə'welmɪŋ]

adj.势不可挡的,压倒一切的,巨大的;

sentimentality [ˌsentɪmen'tæləti]

n.多愁善感;伤感

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This Vinyl Revival is Sucking the Life and Fun out of Music Collecting

[1] I was fourteen when I bought my first record on vinyl. Actually, it was several records – and a total accident. I ordered a box set of Bright Eyes albums off Amazon, assuming it was a CD bundle, and what I got was the first five LPs and no idea how to play them. So my version of “the talk” was my parents sitting me down after school and explaining how the hell a turntable worked.

[2] Dusting off the same boxy record player he got as a teenager and had been keeping in my nan’s garage – a turntable so old we had to be careful with the needle because they were out of production – my dad proudly played me some of his records: Black Sabbath, Kate Bush, and Thin Lizzy. The moment is hyped in my memory as being just like the opening scene of Almost Famous: a candle burning, Tommy revolving, not just hearing but experiencing the crackle and pop of dust on the needle, like a roaring fire in your ears. In reality, I probably dished out an adolescent catchphrase like, “Yeah, cool,” and shut my dad out of the room.

[3] From then on, I near sacked off CDs. I’d listen to compilations of fart-in-a-trash-can mp3’s I’d downloaded from Limewire by day and records by night. I started collecting my own, but only the stuff I really cared about – the special stuff. Limited runs from Painkiller, a live box set of Animal Collective’s earliest and strangest releases (that I’ve since tried to sell on eBay twice in dire straits and have never been able to part with), and specific colour variants from Orchid Tapes who ship all their orders with sweets and tea and other assorted trinkets. Over the last few years, the "vinyl revival" has caused my collection to swell like The Rock’s biceps, as more and more bands have the scope to set their efforts to wax. But that revival has also found a cave full of glutinous ways to shit all over it. What was once a quiet world of treasures is becoming a commercial minefield.

[4] Last week, the BPI released a report that suggested it is increased streaming and the vinyl revival that, together, kept the British music industry buoyant in 2015 – by not just reaching the projected amount of vinyl sales, but jumping to 2.1 million. At face value it’s a good thing. For the first time since the dawn of Napster there is a spike in the number of young people voluntarily paying actual money for music on a format they can hold in their hands (which is nothing short of a small miracle). That would be exciting if it meant that the industry was flourishing for everybody, but at the moment it's just not the case.

[5] I’d like to say this spike in sales speaks to our growth as a generation, but when you consider that most of these records are coming from places like Urban Outfitters flogging copies of (What’s The Story) Morning Glory? for £30, it probably says less about our listening habits than it does about our penchant for old shit, which anybody who has ordered a drink in a bar recently and had it served to them in a mason jar will already know. Of those 2.1 million record sales, how many were for new albums released within the last 12 months? The answer, ultimately, is: not loads.

[6] The best-selling vinyl albums of 2015 as of July included: Jamie xx’s In Colour, The Arctic Monkey’s AM, and Royal Blood’s debut, so you can’t say young people aren’t trying to hold it down for their generation. But the real-best sellers were The Stone Roses self-titled, Led Zeppelin’s Physical Graffiti, and Pink Floyd's The Dark Side of The Moon. Because for every new release (from an independent label/artist or otherwise), a major will mine their archive and churn out twenty reissues, box sets and “deluxe editions” – a phrase that’s become so dirty it’s basically “The Scottish Play” of the music world. I'm not saying all reissues are bad news, but by and large the current wave of re-releasing that's capitalising on this opening in the vinyl market is in turn hurting the indie labels that got the revival going in the first place.

[7] For example, news broke last week that Sonic Youth’s Experimental Jet Set, Trash and No Star, A Thousand Leaves, and NYC Ghosts & Flowers will be given the reissue treatment later this month, with Murray Street, Sonic Nurse, and Rather Ripped set to follow. Now, Sonic Youth have been on an indefinite and likely everlasting hiatus since Kim Gordon and Thurston Moore split in 2011, and have been steadily reissuing their pre-Geffen catalogue ever since. Daydream Nation, The Whitey Album (released as Ciccone Youth), Bad Moon Rising and EVOL have already been reissued through the band’s own label, which made sense both for them and their fans. Plus there were some extra goodies in the form of bonus tracks (even if they did come on a download card) for all the grunge stans out there.

[8] But if you look at the newest batch of reprints, there is something decidedly jaded and cynical about them. For a start, they’re coming from a company called Union Square Music. USM are one of the UK’s leading reissue and compilations specialists, whose self-proclaimed highlights include The Very Best Of Frankie Goes To Hollywood, Greatest Ever Driving Songs and Simply Salsa. That’s USM, not Sub Pop, SST, Interscope, Matador or any of the other labels Sonic Youth’s early material was released through. In fact, the newest vinyl reprints are for all their full-length albums released between 1994 and 2006 (save for 1995’s Washing Machine), also known as The Geffen Years.

[9] While there’s nothing sinful about wanting a copy of one of those records regardless of how much it costs or whose pocket it ends up in, the fact remains that they were all major label releases and as such there are still so, so many copies in circulation already. You only need to turn to eBay, Discogs, any respectable record store or even some charity shops to find one. All most major label re-issues do is help raise the price of records in general due to rapid sales increases – which end up bottlenecking the production of vinyl, overwhelming retailers, and pushing back release dates for smaller labels who are deemed less of a priority. It stands to reason that the slower a label's turnaround, the less they can actually release, which in turn affects their artists and ultimately their survival.

[10] “When winter/spring comes around manufacturing times at pressing plants for labels like ours start to get significantly delayed as we get pushed to the back of queue behind represses of catalogue records,” Dany of Cork-based indie label Art for Blind told me back in 2014 during an investigation into Record Store Day’s effect on small labels. “At the moment we can't afford to pay for a record that won’t be back from the plant for 10 weeks as we need to get selling that record as close to the point where we pay for it as possible.” Similarly, Warren Hildebrand of Orchid Tapes - who were the first to release caili G's DSU - and Dave Benton of Double Double Whammy expressed frustrations over not getting their orders back on time. But, as far as the interests of those actually benefiting from the vinyl revival are concerned, that bedroom pop LP can wait. After all, there are reissues of the much sought after Inside In/Inside Out by The Kooks to be getting on with (out January 22, guys).

[11] Obviously it goes without saying that not all reissues and anniversary editions are trash - plenty of worthwhile albums have been given considerate reissue treatment. When Nas celebrated twenty years of Illmatic he gifted fans a reissue that included remixes, freestyles and unheard material. He re-toured the album from start to finish and put out a documentary exploring the making of Illmatic on a deeper level. As Noisey Editor Joe Zadeh wrote, “It was like the entire album breathed again for a whole year.” What sucks is when reissue plants and majors pump out hundreds of thousands more copies of beloved albums that are already in wide circulation, capitalizing on the increased sentimentality around physical products so you’ll drop a week’s worth of lunches on something you could find for a fiver in an Oxfam bin – and be infinitely more gassed about.

[12] True, not everybody likes to spend their time and money rummaging around second-hand shops for arms full of novelty tat, like a HIM 7" that comes in a black velvet sleeve or a picture disc of Bruce Willis' Secret Agent Man. True, many people don't give a shit about which particular pressing they have and just want to own the bloody record. There's nothing wrong with any of that. What is wrong, though, is that the indie labels who have fostered the format while major label attention waned are now paying the price for the rejuvenated interest, struggling to keep afloat while their money is tied up for as long as 10 months thanks to manufacturing delays because someone, in a boardroom somewhere, decided it was time to churn out yet another 200,000 copies of Revolver.

[13] Although the rise in demand for vinyl has risen dramatically, the number of active pressing plants has stayed relatively static. The amount of people trained in electroplating (the process of making a mold from a lacquer) is even less, and if that wasn’t bad enough there are only two companies in the world still making vinyl record lacquer and one is an elderly Japanese man doing it in his garage. If the vinyl revival is here to stay, then we're going to need a lot more people who can actually manufacture the records to support it, which is better than the alternative. After all, the backup at the plants signifies that there is demand for more records, not fewer, but the industry needs to expand to accommodate everyone. Those who buy from independent record labels like Art for Blind, Orchid Tapes, and Double Double Whammy do so because of the care that goes into their releases – the kind of care that's absent from a 140g black disc stuck in a cardboard square that costs £25 from Tesco. Both are valid things to buy in theory, but when one is a fleeting interest that comes at the expense of the other, it's hard not to be frustrated.

[14] Perhaps nobody wants to hear a twenty-something wax lyrical about the soulful benefits of getting on your knees in a second-hand shop and rummaging through hundreds of dusty LPs in order to build your record collection. Perhaps nobody wants to hear a eulogy for the euphoria of finding a true rarity priced at about a hundredth of its value in a local charity shop either, even if it is like coming up in a bubble bath. But for people who collect records for reasons beyond physical ownership, the revival is sucking all the joy out of it.

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