Essay: Reasons for the continued use of vinyl in today’s primarily digital culture

This essay will be addressing the reasons for the continued consumption of analogue media in today’s primarily digital culture, with specific reference to the vinyl record; a residual medium. ‘Residual media’ refers to media formats that are archaic but not obsolete; they are still an important part of contemporary culture due to the ways in which they change and evolve, whilst influencing dominant media. This term was coined alongside ‘dominant’ and ‘emergent’ by Raymond Williams in his categorisation of cultural forms (1980), allowing us to further understand the way in which social structures function, finding a balance between different cultural forces. The prolonged use of residual media such as the vinyl record, in a present context may seem unnecessary when prevalent modern formats such as the Mp3 arguably offer a multitude of advantages. However, the vinyl still persists, with demand at a 21-year high (British Phonographic Industry: 2016) and the first case of vinyl revenue superseding the revenue for digital downloads, in week 48 of 2016 (ERA:2016). This matter will predominantly be discussed in relation to the consumers’ search for authenticity, discussing Walter Benjamin’s notion of aura, the vinyl as a physical and fetishistic object, the representations of the vinyl, and the its sound.
In terms of the authenticity of the medium, it could be argued that the vinyl record is a more ‘auratic’ and therefore a more authentic alternative to many other music formats. Walter Benjamin argues that “In even the most perfect reproduction, one thing is lacking: the here and now of the work of art – its unique existence in a particular place” (Benjamin:1938-1940). Here, he is suggesting that the authenticity of a work of art is diminished when it is reproduced, and therefore, the experience that comes with the consumption of a reproduced art is dramatically reduced when compared to the consumption of the original piece. Although, of course, the vinyl record that falls into the hands of the average consumer is often a reproduced work, it could be contended that the extent to which it is reproduced can be controlled by the consumer, due to the presence of serial codes, pressing numbers and release dates that can be found on the record itself. This means that consumers can purchase pressings dating back to the original release or limited edition versions for example, increasing authenticity and aura, as they are closer to the original work. Benjamin would dispute this argument however, as he proposes that the “here and now of the original underlies the concept of its authenticity” (Benjamin: 1935 -1938) and is therefore known to believe that phonograph records have no auratic capacity, raising the argument that there is no possible way to receive an auratic musical experience without watching a physical musical performance. On the other-hand however, Bartmanski and Woodward propose that “each vinyl rests on its relative rarity as a pressing and its material capacity to have history… In a sense, it being a ‘copy’ does not deprive it of a sense of uniqueness.” (Bartmanski and Woodward: 2015) This clarifies that vinyl reproductions could still be seen to possess individuality, therefore contributing to an auratic listening experience.
The current popularity of vinyl could also be attributed to its existence as a physical format. Katz reflects upon the listening experience in the early 19th century “the operator of the phonograph… encountered one of the most remarkable characteristics of recorded sound: its tangibility.” (Katz 2010: 12) This refers to the way in which music can have material value, contrasting significantly with today’s dominance of immaterial, digital possessions. It could be suggested that consumers’ desire for physical belongings is heightened as they have become more distanced from this type of ownership in preceding years and are searching for a more authentic substitute. Katz uses the example of the success of the Mini Koo by Koostik, a small wooden box that acts as an amplification system for the iPhone 4, accrediting its popularity to the ways in which it “helps us to be a little less plugged in, just a little closer to nature in this modern digital world” (Katz: 2010). This could be considered as an analogy for the growth of the vinyl; the overload of digital technologies causing the consumer to search for a disconnection from the banality of the digitalised world.  The physicality of the vinyl record can be taken a step further as Katz continues “Taking the disc out of its paper sleeve, he held the frozen sound in his hands, felt the heft of the thick shellac, saw the light on the disc’s lined surface’ (Katz 2010: 12). It can be observed that this style of discourse connotes an almost sexual gaze, suggesting that the vinyl can be seen from a fetishistic perspective, which is comprehensible given that the music is owned, and therefore a physical relationship is formed with it. This is reinforced by a study carried out by ICM, showing that “26% of young people (18–24) did not listen to the vinyl that they brought” (Fyles 2014) confirming that vinyl is often kept for its significance as a tangible and status-holding object that can be handled and looked. Katz reiterates this “[the vinyl] engages senses other than hearing, primarily sight and touch, and perhaps even smell.” (Katz 2010: 12).
Correspondingly, ICM also discovered that 50% of vinyl consumers identify themselves as “collectors”. Jean Baudrillard proposes that “It is impossible not to draw a comparison between the taste for antiques and the passion for collecting… In both, we find the same narcissistic regression, the same way of suppressing time, the same imaginary mastery of birth and death” (1968:80). Here, he is suggesting that individuals collect as a means of fetishistically bridging the passing of time to circumvent the inexorability of death, using the vinyl as an object to transport the collector back to the past, and in particular to the epoch of their adolescence. This is reinforced by Sexton’s view that ‘nostalgia’ constitutes one of the main reasons for vinyl being the preferred format (2014), offering that the appeal is in some ways characterised by its ability to connect the user to their personal memories. Meanwhile, Davies maintains that “vinyl is associated with … an authentic artefact of the times or as a symbol of past not experienced directly” (Davies: 2007: 208) demonstrating how its emblematic capability of signifying the past can also be an attractive quality for users who want to discover a period they have not encountered first-hand.
The authenticity of the vinyl can also be discussed in terms of its representations, especially when compared to what digital formats can be seen to signify. Firstly, its depiction as a symbol of anti-capitalism can be examined. To many, when considering contemporary media, associations of the large corporations that monopolise the music industry come to mind, to which the vinyl can be seen to challenge. Bartmanski and Woodward state that “[the vinyl is] an antidote to the hegemony of digital listening cultures’ reliance on multinational conglomerates which provide the homogenous platform and means for music listening…” (Bartmanski and Woodward: 2015). This portrays the consumption of vinyl as a protest against the mainstream and corporate power, and more specifically, a resistance against the dictation of establishments within music. This could be seen as exceptionally necessary in today’s society, due to the recent distribution transformation in the music industry, where streaming has become the norm, causing many artists to be exploited whilst the corporations earn the bulk of the financial capital. The BPI recently reported that on the whole, artists are receiving greater earnings from vinyl record sales than they are from online video streams such as YouTube (BPI:2016), so this could be a means of active support and encouragement for artists from fans. Doing this is also likely to strengthen the listener’s/collector’s view of themselves as a legitimate and credible audiophile, intrinsic with ownership of vinyl. Fernando offers that “The LP format appears to be a special, often carefully curated object. It can help distinguish a ‘true music lover’” (Fernando 2012). Acknowledging that vinyl is frequently seen as the most authentic and auratic format, this can generally be seen to be true.
Although the consumption of vinyl may be seen as a rejection of mainstream digital culture, it must be recognised that this is not entirely the case, and that digital media is often complimentary to the regeneration of the analogue. Simon Reynolds argues that “digital technologies contributed, oxymoronically, to a growing addiction to the past” (2011) reinforcing this. It is almost paradoxical that the escalation in the popularity of analogue media such as the vinyl, can be partly attributed to the proliferation of new media. For example, Web 2.0 has reinforced cultural interest for old media, aiding in the building of the vinyl collecting community through online forums and websites for the vinyl enthusiast, such as www.discogs.com. Analogue and digital media can also be perceived to have a synergetic relationship in additional ways, such as through the inclusion of the digital download, often packaged with the vinyl. Katz claims that this “reinforces how the two formats work symbiotically rather than being in competition with one another” (Katz: 2010). The introduction of Amazon’s AutoRip service, which automatically downloads a digital version of each Vinyl LP purchased through the site onto the user’s Cloud, reflects the importance of this relationship. Its value is reinforced further by Martin Talbot, CEO of the Official Charts Company, as he claims that AutoRip will “drive vinyl sales” (2013). It is imperative that this is considered in terms of its effect on the authenticity when the two media are juxtaposed in this way. Whilst the inclusion of a digital download can encourage the purchase of the LP, it could be argued that subsequently its value may be undermined, especially when it is marketed as a ‘free’ addition to the product, which often occurs. This portrays the digital version as a much less authentic alternative to the physical copy, almost as if it was an afterthought with no substantial value.
Finally, the auditory experience of playing the vinyl can be explored and compared to that of its digital equivalents. The analogue sound emitted from the vinyl is generally assumed to be technically inferior with lower fidelity than the Mp3 played at 320kbps or the Compact Disc, however, as Osborne insists, “there can be no absolute conclusions regarding sound quality” (Osborne: 2016). This is due to the number of variables that make testing difficult, such as the time of recording and the technology responsible for the record’s playback. Nonetheless, it is undeniable that sound produced from the vinyl record encompasses inconsistencies from the LP’s original recording, such as the distinct ‘crackle’, and the distortion that accumulates with playing over time. It is these imperfections however, that strengthen its appeal. According to Bartmanski and Woodward, “vinyl ages just like living beings” (Bartmanski and Woodward: 2015). The way in which vinyl can be seen to have its own relative character, through its slow morphing over time, could absolutely intensify its authenticity. The evident nature of the vinyl’s experiences and the way it manifests its history and age is simply non-existent in digital listening cultures; a digital mp3 played 1,000 times will still sound identical in 20 years’ time – it does not have the human-like ability to be characterised by its experiences, as the vinyl record does.