Needling The Clientele – Vinyl Prices in 2018

People of a certain age will fondly remember the mid-price CD offers that Woolworths would flood their racks with throughout the year and the ‘Nice Price’ stickers that used to adorn successful titles that had sold their way into hundreds of thousands of homes and could now be offered for less, having recouped costs and some.

More recently, we have been made aware by the smaller labels of how much it costs to do small runs of vinyl and that the only way to get prices down is to do loads or go via not especially consistent manufacturers preferred by the intermediaries who broker the deals. The logical extension of this is, surely, that more popular titles being pressed frequently in order to keep them in stock in the nation’s most passionate supporters of the format, such as HMV and Sainsbury’s, should be cheaper based on quantity. Add in the old mid-price logic that ‘Parklife’ or ‘The Queen Is Dead’ are exceptionally profitable records for their label and it seems perfectly reasonable to expect Warner to be offering them to shops at a price that allows them to be sold well below the ever-increasing, approximately £20-a-pop, new release prices.

And yet news emerged this week, via Transmission and Mo Fidelity Records, that Warner has cranked its dealer price on exactly those catalogue titles and more, with customers likely to have to stump up an extra £10 on top of what they would have paid until now. Costs of production are rising as a consequence of increased demand but largely unchanged capacity, not helped by annual novelty frisbee day releases, but just as blighted by bonkers catalogue reissues whereby a mid-nineties Annie Lennox covers album now sits in the racks for £20.

However, the genius at the heart of all of this price gouging, which seems a not unreasonable claim at this stage, is the largely successful positioning of vinyl as a collectible, deluxe item posited on appearance, not sound. You don’t need a great deal of knowledge about vinyl to be aware that coloured pressings with bizarre patterns running through them will sound like horseshit. They look pretty though. £24 to you, thanks.

As generous as it is of certain labels to do variant coloured editions for independent record shops, it would be nice if they were to ensure the USP of these versions was being well-pressed and well-mastered. It’s quite the novelty these days, but not especially sexy. Increasing prices – and in the case of Warner: inflating prices – while presiding over a notable drop in production quality, does seem a surefire way to stymie the ‘vinyl revival’. Or perhaps the price hikes suggest that labels are spotting a slowing down already underway.

In recent months, I’ve encountered faulty pressings from pretty much all of the major manufacturers, including those I would normally trumpet over the more notorious bargain merchants. The combined impact of churning out more and more bizarre back catalogue from the last thirty years with the urgent need for Shaggy 7”s and Belinda Carlisle box sets ahead of Record Store Day seems to be reducing the quality of the actual product still further.

Vinyl could never have plugged the sales gap caused by the dramatic drop in CD sales towards the end of the noughties and the failure of digital download sales to ignite. However, it was offering a foothold for our beloved independent shops and a totem for inventive labels across the world. By alienating shops with prices and customers with quality, the industry runs the risk of hubristically killing off a beloved format for, remarkably, a second time.

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BEST OF 2017: 1. Kamasi Washington ‘Harmony Of Difference’

2015’s ‘The Epic’ clocked in at almost three hours and remains one of the most remarkable debuts of the decade, making no concessions to the potential listener and opting instead to simply array itself magnificently and wait for people to make sense of it. Those that took the time were slow to relinquish their newfound fondness for rhapsodising about an artist who could capture a delicious intensity on record and initiate those fearful of the genre into numerous corners of the jazz world.

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Alongside such company, ‘Harmony Of Difference’ is a mere slip of a release, termed an EP for barely exceeding thirty minutes, but much more substantial than that mantle implies. Indeed, only somebody who had put out ‘The Epic’ would feel minded to tag this release in such a way, so anyone about to grumble about an EP being number one should politely refrain. Intended as a neat musical metaphor for the joy of human diversity, these six tracks are all interrelated, with the concluding thirteen-and-a-half-minute piece, ‘Truth’, incorporating aspects of all that has gone before. And what comes before is quite a nifty genre primer for the uninitiated, hopping giddily across eras and styles with the sort of dexterity that will come as no surprise to those who are familiar with the debut. Coltrane, Hutcherson and Hancock each take their place in the DNA of ‘Harmony Of Difference’ and so too, on ‘Integrity’, does Sergio Mendes.

A polished swagger abounds on ‘Perspective’, appearing as the mists clear following the denouement of ‘Knowledge’. The song-suite nature of the EP is a joy and should ensure that nobody is foolish enough to skip about looking for cheap thrills. The rich soundstage and vibrant performances captured here are irresistible and further proof that Washington is a rare talent. The focus on melody and the concept of musical counterpoint make for a tighter affair than ‘The Epic’ and length isn’t the only reason why listeners may find this an easier starting point.

The spiritual swirl of the lead track, ‘Truth’, is quite staggering and its early release as a teaser for the whole set prompted entirely deserved adoration from many corners. The aforementioned interwoven motifs from the five shorter tracks that precede it make for an emphatic, instantly familiar, almost transcendental conclusion that is so gloriously absorbing that it takes considerable resolve not to put the whole thing on again the second that it stops.

I struggled to complete my initial review of this for Clash by the deadline, as it is such a grand concept achieved with remarkable efficiency that I’m not entirely sure I’m qualified to interpret it in any way. While ‘Harmony Of Difference’ will delight jazz fans, it is a truly incredible record irrespective of genre. If you are capable of feeling, you will find much to love here.

BEST OF 2017: 2. Amber Coffman ‘City Of No Reply’

I do not claim to understand how the record industry works in 2017, but I am fairly certain that putting an album out as a digital-only release, apart from a US vinyl pressing, doesn’t help with its exposure. As the year wore on, I remained perplexed that this glorious record hadn’t picked up more of an audience, but its relative obscurity may not have helped. Add in the obvious narrative around Coffman’s split from Dave Longstreth, with whom she was also a musical partner in Dirty Projectors, and it’s a wonder that people weren’t falling over themselves to offer up comparisons of this and the self-titled release by her former band, now essentially a solo entity. It’s worth saying, ‘Dirty Projectors’, with its not entirely gracious response to events, is pretty hard work and everything that ‘Swing Lo Magellan’ wasn’t. Intriguingly, Longstreth produced ‘City Of No Reply’ and was heavily involved in various aspects of its creation back in 2015, prior to a terminal rift in their working relationship opening up between its completion and that of his own record. Perhaps the twattiest line on that album being “What I want from art is truth / What you want is fame,” all part of a torrent of sniping that Coffman didn’t know was coming until its release was announced to the world. As a result of that timeline, however, it’s wise to detach all of that baggage from this record before listening.

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There is so much to enjoy here, rising out of a love of nineties R&B and seemingly obsessed with glorious, strident melodies. Opener ‘All To Myself’ will feel like safe ground for fans of Coffman’s previous work, with languid synths and a lackadaisical beat doused in reverb. It’s an incredibly strong way to set out your stall but the quality never relents. ‘No Coffee’ follows, an emphatically breezy track whose ebullient, Seventies radio sheen is instantly endearing. And they keep on coming. ‘Dark Night’ has those late-Nineties squelchy beats and what sound a little like steel-drum stabs, while ‘If You Want My Heart’ is a poised ballad that wouldn’t have sounded out of place in the Mary J Blige / TLC inhabited landscape of twenty years ago.

For ‘Under The Sun’, we’re back in vintage pop-rock radio territory, occupying similar ground to the recent trio of fabulous solo records from Eleanor Friedberger. The title track, meanwhile, has a dancehall nod and wouldn’t feel ridiculous with Wyclef Jean shouting ‘Shakira, Shakira’ over the top of it. The winding rhythm is a delight and the chorus an instant earworm. What you’re listening to is an expert pop album with a meticulously judged pace and a carefully crafted diversity. I still find myself marvelling at the trajectory ‘City Of No Reply’ takes over its forty-six minutes.

Nobody Knows’ follows an undulating synth line and feels like a critique of our permanently online culture: “I sit fixed, scrolling through words and pictures, like I’m paralysed / Nobody knows, nobody knows how I feel / Nobody sees my soul.” The piano figure with which it concludes is pretty special too. Closer ‘Kindness’ is built around a distorted organ line and talks of how “this love wants not to hinder our evolution.” One can only hope that, despite its confusingly low-key release, this marks the start of a long and similarly exquisite solo carer where that development can occur.

 

BEST OF 2017: 3. The National ‘Sleep Well Beast’

As an opener, ‘Nobody Else Will Be There’ suggests that the languid mid-pace favoured on ‘Trouble Will Find Me’ is now the norm for a band previously capable of working themselves up into a twitching frenzy. However, not only does this track possess some lovely textures and a loose, spacious mood that rewards close listening, but it also fails to fully represent what follows. That 2013 effort remains a wonderful record which, as the 2017 review narrative has declared must be stated, now attracts criticism for being too polished and one-paced. It’s not true, but it did lack the spasming riffs and fizzing, writhing vocals of Matt Berninger at his most effervescent.

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By the time ‘Day I Die’ has clattered into view as the second track, any such retrograde anxieties will be appeased. It bristles with a ragged, screeching, monumentally catchy riff that is repeatedly let fly across Bryan Devendorf’s unstoppable drums. There’s plenty of musical light and shade on this record, even if the majority of the lyrics are looking at the complexities of middle-age discontentment, when the familiar becomes jarringly so. “Forget it. Nothing I change changes anything,” sings Berninger on ‘Walk It Back’, while ‘Guilty Party’ deploys some skittering electronics below stately piano as our narrator, and it does feel a little like living in a Richard Yates novel at times, tell us “I know it’s not working, I’m no holiday” and “We just got nothing, nothing left to say.” Just as, seven years ago, I wrote about the joys of wallowing in the mood of this band’s music, there is still an oddly enveloping quality to these desperately sad snapshots.

The Carin of ‘Carin At The Liquor Store’ is Berninger’s wife and, it transpires, co-lyricist. Fact, fiction, bit of both? Who knows? As someone who spent much of Christmas Day and Boxing Day rebuffing attempts to be told the marital affairs of various actors and presenters by relatives who spend far too much time browsing MailOnline, I have only marginal interest in the specificity of these things. As much as I love a decent music biography, I’m not sure I need to know which aspects are mutated and which are verbatim to adore the barely vertical, on and off the beat vocal performance that seems to tumble from Berninger’s mouth on this song. It’s utterly, utterly glorious and not even being dedicated to Morrissey on Later… can spoil it for me.

The System Only Dreams In Total Darkness’ was a very fine way to tease the album’s release, with its early signs of the almost mischievous horns that pepper these songs, a righteous guitar break that elevates the track towards its oddly euphoric conclusion and a chorus you could use as a landmark in heavy weather. And then there’s ‘Turtleneck’, which feels deliriously primal amongst so much carefully layered music, with raspy, shouty vocals and everything-turned-up-to-ten garage rock.

There’s plenty more besides, such as the shimmering ache of ‘Born To Beg’ and the glittering but gnarly musical collisions of ‘I’ll Still Destroy You’, on what is a truly impressive step forward. You’ll always have those people who tell you that they’ve been putting out the same record for a decade, but that’s their loss. Indeed, this is arguably the biggest evolution of their sound since 2007’s ‘Boxer’, but I’m glad I didn’t go anywhere near it for reviewing purposes. It benefits from time and a variety of circumstances, slowly unpacking itself before you. It is one of the records of 2017 to which I have turned most frequently and which has proved hard to shift from in-car systems and the turntable alike. Always, always worth the wait, The National have yet again delivered a record that toys with your feelings with the same dexterity as some of the world’s finest writers.

BEST OF 2017: 4. Lorde ‘Melodrama’

No, I’ve no idea what I was doing in 2013, either. ‘Pure Heroine’, while not on the same stratospheric level as ‘Melodrama’, should have been in that year’s list and I imagine it has taken Lorde some time to get over such a public shunning. Apologies. And it’s not entirely surprising to find that Bowie is still influential, even beyond the grave. When the Brit Awards had a rare outbreak of both taste and understatement when organising their tribute to Mr B in early 2016, they turned to an artist of whom he was rather fond and had described as “the future of music.” Sure, I’d liked the singles but I hadn’t been paying attention properly. As I attempted to piece myself back together after her deeply moving take on ‘Life On Mars’, I realised that I had been remiss. By the time the campaign to unveil ‘Melodrama’ was underway, I was a fully paid up member of the fan club.

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While plenty of these songs adhere to the contemporary pop playbook, there is a lightness of touch, a constant sense that there’s more than just a decent melody going on and a commanding personality at the heart of this frankly brilliant album. I loved it on first listen. Honestly, how often does that happen? There is light and shade, there are artistic nods to influences and there are choruses to tickle the soul…oh, the choruses! ‘Writer In The Dark‘ is a pretty remarkable, sub-four minute, occasionally Kate Bush evoking, mainly low-key, piano-driven account of how difficult being in a relationship with her can be. It’s a useful point upon which to focus if you’ve breezed past, dismissive of a couple of radio bangers.

Liability’ is an obviously gorgeous song, again slow and accompanied by the keys, which reflects on her intensity and how it affects people’s perception of her. The intimacy of the performance coupled with the unflinching phrasing makes for something genuinely affecting. As good as those two tracks are – and they are very, very special – it’s not a case of several triumphs carrying the album. The pace of the verses on ‘Homemade Dynamite’ is gloriously lively, accompanied by impressive usage of the perfect pop pause. ‘Supercut’ starts with a euphoric piano line and gradually intensifying beats before exploding euphorically into a chorus that seems to project an image of Lorde’s utterly uninhibited dancing before the listener.

Much was made of how Max Martin was unimpressed with the structure of ‘Green Light’ in the media coverage when it was offered up as the first taste of ‘Melodrama’, but it’s a welcome reminder that even those artists working with the people creating the 2017 pop straightjacket know when something different is needed. ‘Perfect Places’ is a rather conventional end to proceedings but it features one of the magical but minuscule details sprinkled across the album, with a little ‘chick-chick’ before the chorus, almost as enjoyable as the quiet, hilariously deadpan attempt at an explosion sound during ‘Homemade Dynamite’. However, the most deliriously giddy little personal touch on the whole thing comes during other highlight ‘The Louvre’, with its swelling synths and sense of tenuous restraint. In the middle of this wonderful song come these lyrics: “We’re the greatest. They’ll hang us in the Louvre. Down the back, but who cares: still the Louvre.” There are those who remain immune to Lorde’s charms, but I can’t for the life of me think how.

BEST OF 2017: 5. Peter Silberman ‘Impermanence’

Regular readers of this list will be familiar with my borderline-lusty responses to the last two albums by The Antlers. ‘Burst Apart’ caught me a little late on in the year and should have been in the top five of the 2011 countdown, while ‘Familiars’ was very nearly in the same part of the 2014 shebang. The key to the success of both, even though they occupy rather different territory, is the combination of a melodic haze and Peter Silberman’s often falsetto vocals. In the very unlikely event that neither are known to you, feel free to take a couple of hours of quality ‘you’ time before returning to the rest of this piece.

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While touring ‘Familiars’, Silberman suffered an illness that strikes at the heart of the professional musician – extreme tinnitus and, initially, temporary total hearing loss in one ear. After persevering with the remaining shows, despite being in agony on stage, he took himself away from the bustle of city life and began to reflect upon the power of a silence he could not achieve. Missing his art but unable to work according to the usual rules, Silberman deployed a delicate singing style and a nylon-stringed acoustic guitar as his tools. The resulting work became ‘Impermanence’, an album given a title imbued with several meanings simply by knowing the context of its production.

There are two obvious reference points here, should you like that sort of thing. Firstly, and I do try to avoid wheeling this out more than once a countdown but sometimes needs must, there’s some of the spacious intensity of Talk Talk’s ‘Laughing Stock’ about tracks like ‘Karuna’. There’s also a hint of Jeff Buckley at his most intensely ornate, somewhere between his readings of ‘Corpus Christi Carol’ and ‘Hallelujah’, perhaps most noticeably on ‘Maya’. ‘New York’ is cut from similar cloth, the most conventional song here. It is, frankly, majestic.

However, don’t go thinking that this is some sort of pastiche, as it’s hard to think of another record in my collection that it sounds like. Yes, there are those shared aspects, but this is a thirty-seven minute immersion in a world without distraction, where every note, every word, every sound matters. It’s logical that, having been faced with the proposition of never hearing the world as you had until that point, Silberman opted not to waste a second of ‘Impermanence’. As a consequence, there are a number of particular moments that lodge in the mind as beautiful eruptions of sound. For example, the rhythmic conclusion to ‘Gone Beyond’ is a glorious gradual reveal in a piece that clocks in at over eight minutes and, with only six songs forming the record, brevity is not a key factor here. Also, during the title track which concludes the album, the combination of pump organ and synth creates a meditative soundscape that is still somehow not quite at ease before subsiding into the studio buzz, a brief period of actual silence and then another background noise intrudes. A fitting conclusion for an album built in a world where something was always interrupting.

There are times in life that this will not soundtrack well and it does, ultimately, command your full attention in that way that quiet but assertive speakers will hold a room rapt. However, when you have the time to give it, ‘Impermanence’ will offer plenty back. Don’t just give it a skim listen, if you’re in need of an introduction. I promise you won’t feel like a moment has been wasted in its company.

BEST OF 2017: 6. St. Vincent ‘Masseduction’

How to follow 2014’s remarkable self-titled fourth solo album? Well, at least initially, it would seem the key for Annie Clark is to emphasise cold, uninviting electronic patterns and challenge the listener to come along for the ride. Add in the disastrous ‘deluxe’ vinyl edition being so noisy that initial listens were a masochistic exercise in anticipating pops and clicks rather than absorbing the songs and my early conclusions were that ‘Masseduction’ was a mis-fire and it wasn’t going to become a favourite. Nudge along a few months and everything has changed. Figuring that it had been poorly served by a PVC-housed mangling at the hands of everybody’s favourite Czech pressing plant, I actually turned to digital listening to give it a fair crack. And then the melodies opened up, the quality seemed obvious and hasty assumptions were torn up.

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Early teaser track ‘New York’ is truly magnificent, the stunning bridge of ‘I have lost a hero, I have lost a friend’ especially. That particular part of the track is a reference to David Bowie’s passing, it transpired, and pretty hard to detach from every listen once you know. The immediate brilliance of this song didn’t make it any easier for the rest of the album to assert itself, but there’s plenty to obsess over here. Jack Antonoff was recruited for production duties, having also worked with Taylor Swift and Lorde, and there are signs of pop mechanics at work, although it’s hard to be too cynical about an album that talks of “pills to fuck, pills to eat, pills, pills, pills down the kitchen sink.”

There is an air of gloom hanging over ‘Masseduction’ that was, presumably, another factor in it not initially clicking but, as ever, the songs – covering drugs, suicide and despair – are still resolutely memorable. Take closing track ‘Smoking Section’, for example, which features lines like “sometimes I go to the edge of my roof and I think I’ll jump just to punish you.” Its first ninety seconds or so feature an unusually low delivery for Clark and an uncharacteristically straight-laced backdrop. Naturally, it does deviate from this a little in the middle, but it’s a stark conclusion to an album that rarely retreats.

Opener ‘Hang On Me’ is cut from more conventional cloth and gives an early impression of safe ground that is quickly removed by the aforementioned ‘Pills’. The crunchy guitar, backing vocals and general thrust of the title track evoke thoughts of the Purple One, its central lyric “I can’t turn off what turns me on,” only adding to this. ‘Sugarboy’ is Donna Summer does LCD Soundsystem, or vice versa is probably more likely. ‘Los Ageless’ has a glorious chorus and beats that will threaten to re-write the rhythm of your pulse at high volumes.

Johnny’s back for ‘Happy Birthday, Johnny’, a recurring character who is getting a little meta now: “Annie, how could you do this to me?” It’s a gorgeous ballad that finishes on a sustained piano note before the minimal funk and earnest role play of ‘Savior’. ‘Young Lover’ is an endearing two-gear beast, with a chorus that sounds like somebody’s turned on the floodlights, while ‘Slow Disco’ is a curious, string-laden piece that shines but seems a little detached from this album’s world.

Whatever the block I had at the start, it has long since gone and ‘Masseduction’ is an album I find endlessly fascinating. I’m not always in the mood for it and it can sometimes be slightly annoying in its sonic attack, but when it catches me right, like winter sun on a faded wall, it provides a euphoric wash that is hard to beat.