Crate Magazine Report by India Rose

India Rose Parkinson N0331635 FASH30002 Stage 2: Implementation Project

08 16 30 36 56 80 90 6

INTRODUCTION ABOUT WHY NOW? CONSUMER DESIGN ISSUE #1 CONCLUSION

12 18 34 42 72 86 92

METHODOLOGY MARKET ANALYSIS COMPETITORS BIG CREATIVE IDEA PROMOTION EVENT APPENDIX 7

INTRODUCTION

‘The past few years have seen a future-fearing retreat from overstimulation of the technological revolution, and a lot of movement towards analogue living… if you scratch the surface, even just a little bit, you’ll find creative souls marrying the future and the past.’ (Adams 2011: online) The digital age has changed the way people discover, listen, share and interact with music. Instead of spending hours in record stores, people can now discover and download an entire discography in less than ten minutes, quite often for free. But although it can provide a multimedia experience on demand, and the prospect of having our primary media source composed of user-generated content is liberating, not all people are accepting the idea of completely ephemeral media. As most of the world shifts to digital technology, there is also a parallel rise in nostalgia for analogue, especially in the electronic music scene. This can be seen as a response to the increasing dematerialisation of music, alongside people wanting to return to tangible products and quality services. This retrograde movement demonstrates the resilience of analogue technology in music and creative culture. From a logistical standpoint, music magazines are at a disadvantage compared to digital-only publications in a digital world where people can discover, listen, share and interact with music on demand. But although online reviews, web-based album streams, embedded videos, and mp3 downloads via blogs and other online platforms have affected music magazine sales in recent years, the online market is quickly becoming an oversaturated medium, and blogging has already been described as ‘sterile, saturated and recycled.’ (Maclean 2010: online). Reacting to this digital information overload, many readers want to ‘unplug’ and return to magazines as credible information and content, despite the decline in printed publication sales over the past decade. (Stylesight 2012: online) Music lovers are also feeling increasingly disconnected from the record labels and artists they admire. The internet has allowed fans to engage with music artists on a personal level to some extent, via social networking sites such as Twitter and Facebook, but this information is still available to everyone with access to the internet. Because of this, many music enthusiasts rarely feel valued or appreciated by the record labels and artists they love for their consumer loyalty. All this stokes a quiet anti-digital rebellion. People are refusing to pay for online content, and after 20 years of decline there is now a huge demand for analogue practices, technology and products in the music industry. This has been driven by a number of factors, from the oversaturated and dehumanised online medium, to the desire for authenticity and communication from record labels. Print and analogue also provide an essentially physical output in an increasingly digital and dematerialised world. This report aims to reconnect independent record labels with their listeners using analogue practices. This concept will be in the form of a collectable, quarterly magazine called Crate, that takes an innovative, cultured and intelligent approach to electronic music, while supporting the work of independent record labels. With unique content displayed in a creative, visually stimulating format, with high consideration for the consumer, Crate embraces the independent, niche-orientated mind-set that characterised the zines of the 1990s by creating something with a sense of permanence, rather than trying to compete with the ephemeral nature of the internet.

Fig. 1

METHODOLOGY

The analytical research in this study is primarily qualitative and based on online articles, a questionnaire and interviews with members of the industry and consumers. This report will be accompanied by a sample of what the first issue of Crate would look like. Taking the time and distance restrictions into consideration, please note this magazine is not a complete representation of the final Crate product, but merely an example of the type of visuals and content that would feature in the publication. Although the artwork and images provided were sent from Wild Oats, the interviews are hypothetical.

PRIMARY INTERVIEWSTERVIEWS Interviews with industry professionals and consumers gave a first-hand insight into the current music market and their personal opinions and future suggestions for Crate. 07.04.13 at 14:30, Stefan Molinaro’s house, Portland Road, Nottingham [Appendix 1] Nottingham and London-based Stefan Molinaro – DJ, producer and record collector - was interviewed in his home face-to-face to gain a better understanding of the current music market, and to gain an insight into his personal opinion regarding the love for analogue and the state of music coverage. 29.04.13 via email [Appendix 2] Detroit-based Midori - Girlfriend and agent of Kyle Hall and Wild Oats Records – was contacted via email to ask for exclusive content to be included in Crate. Through this, Crate was also invited to the Kyle Hall launch party at Corsica Studios in London to meet Kyle Hall and friends. 05.05.13 via Facebook [Appendix 3] London-based Callum Reece, working at Mixmag, was interviewed via Facebook to help understand the current music magazine market, and to ask for his personal opinion on the idea of Crate.

QUESTIONNAIRE ONNAIRE [Appendix 4] A questionnaire was sent out to the general public via www.indiaroseblog.com, email, and social networking sites, such as Facebook and Twitter, including a series of questions relating to the consumer’s views of the current music magazine market. This survey also asked participants whether they feel valued by the record labels they love in order to help better understand the market. This questionnaire was directed at music enthusiasts only, to ensure the results remained relevant to this report. With 113 respondents aged 18-34 and primarily male - from the United Kingdom, USA, Canada, Germany, and the Netherlands – it was possible to collect valid results for this report. However, this only accounts for a small percentage of the population.

SECONDARY ARTICLES/WEBSITES Articles on the current music and print markets, how the internet is changing the print format and music industry, and the revival of analogue were used to further understand the market. The articles were also analysed to source relevant industry language, history and interviews with electronic music pioneers and record labels. Design websites and Pinterest were also used for visual inspiration, and trend websites, such as Stylus and WGSN, were used to research visual trends.

DOCUMENTARIES Documentaries, such as White Label, helped to gain a better understanding of the mentality behind record collectors. Documentaries also supported research in historic content, interview styles and topics, and personal opinions from members of the industry.

ABOUT

Crate is a collectable, quarterly magazine that takes an innovative,

cultured and intelligent approach to electronic music by celebrating the work of independent record labels, and helping them to reconnect with their listeners. With in-depth editorial content displayed in a creative, visually stimulating format, Crate embraces the independent, niche-orientated mind-set that characterised the zines of the 1990s by creating something with a sense of permanence, rather than trying to compete with the ephemeral nature of the internet.

MARKET ANALYSIS

MUSIC INDUSTRY Today, we have access to an unlimited quantity of music that vastly exceeds what was available in the previous era of consumption, and with access to social networking sites, such as Twitter and Facebook, music artists are now able to easily advertise their music and to speak to their listeners directly. Monthly subscription websites, such as Spotify, and music streaming websites, such as YouTube and SoundCloud, allow people to listen to an album without having to own it, and instead of spending hours in record stores, people can now discover and download an entire discography in less than ten minutes, quite often for free. But although technology has allowed us to customise our listening options and develop a more comprehensive knowledge of the musical environment with the click of a button, it has also diluted the experience of actually listening to the music itself. John Harris, writer for The Guardian, explains his experience with music in a digital age:

â&#x20AC;&#x2DC;Here, though, is the problem: as I distractedly jump from song to song, am I actually listening, or merely hearing? And if most of us now listen to music in a state of twitchy impatience, what happens when that feeds back into the art itself?â&#x20AC;&#x2122; (Harris 2012: online)

The increasing number of critical material available to listeners at any one time has also changed the way people approach new music. Whereas music criticism was once dominated by print magazines, today we have unlimited free access to anything from major music publications to niche music blogs with a dedicated readership. Blogging has quickly become a crowded media landscape and has already been described as ‘sterile, saturated and recycled.’ (Maclean 2010: online) As music blogs have become such an oversaturated medium, it is increasingly difficult to filter out the good from the bad reviews. Stefan Molinaro, DJ and record collector, thinks ‘a lot of music blogs post something because everyone else does, and it’s not their personal interest. They all end up posting exactly the same thing. It’s like they’re having a race with each other, and it takes the value away from the artist’s new releases.’ (Molinaro 2013: Appendix 1) Even highly credible and respected online music publications are known to receive criticism. For example, many readers comment under FACT articles with statements such as: ‘your articles are becoming more and more vague. Do your research before uploading endless diluted reviews. I could find out any of that using Wikipedia’ and ‘I think the “Art of...” section is one of the weakest on the whole of FACT. While perhaps highlighting some seminal labels, a little more research, and a more in-depth intro paragraph would really enhance this.’ (see Appendix 4) What once had a niche-orientated mindset, music blogging has quickly become a generalised, oversaturated medium that has been replicated time and time again. As music blogs have gained much competition in recent years, they now focus on quantity rather than quality, which is slowly devaluing the medium. Designed to be read from cover to cover, Crate is a direct response to the oversaturated online market. The publication provides its readers with high quality content, and an indepth insight into each independent record label, and by emphasising tactility, scarcity and physical beauty, it offers something that can’t be digitally replicated.

‘

A lot of music blogs post something because everyone else does, and it’s not their personal interest. They all end up posting exactly the same thing. It’s like they’re having a race with each other, and it takes the value away from the artist’s new releases. (Molinaro 2013: Appendix 1)

’ 21

INDEPENDENT RECORD LABELS

independent record labels An independent record label - or indie label - is a record label with a Do-It-Yourself approach to recording and publishing, and operates without the funding of or outside the organisations of the ‘Big 4’ major record labels (Business Wire, 2011: online). Independent record labels are more likely to sign undeveloped or unusual artists than major labels are, and smaller regional distributors usually distribute their releases. Since the ‘DIY explosion’ (Stanley, 2013: online) of the late 1970s - which led to the formation of Rough Trade, Beggars Banquet, 4AD and Mute to name a few - the independent label sector has been in ‘rude health’ (Moore, 2012: online). While they lack the big marketing and distribution power of a major label, independent labels allow artists to have more control over their music to build on their own niche appeal, rather than looking to convert the artist into a mainstream act. This results in many electronic producers releasing their music using heavyweight 180gm vinyl, combined with beautiful, high quality artwork. This is a truly exciting prospect for lovers of vinyl in a growing market for the format. As the mainstream music industry and major labels embrace mp3s and a more digital strategy, independent record labels choose to support the independent music scene, as the majority of the music released is on vinyl. Recently, there has been a rise in vinylonly releases for DJs and music enthusiasts. This helps adds value to music released on independent record labels. Loefah, producer, DJ and founder of Swamp81, prefers vinyl to any other medium:

‘

‘There’s a culture right now that says you’ve got to do it one way, but you haven’t got to do it one way at all. The only reason the majors are loving mp3s is ‘cos there’s no production costs. It’s the cheapest thing, so they can make as much as they can out of a failing business. I don’t know. I think the most viable form is vinyl. It’s like a book – it’s not going nowhere.’ (Loefah via FACT Magazine 2012: online)

’

Fig. 2 Although you can buy music through iTunes, there’s a lack of permanence in a digital file, and although downloads are quick and easy ‘nothing beats the joy of holding a heavy piece of vinyl’. (Clancey via The Telegraph 2010: online) This is a shared view amongst a lot of DJs, as they like having something to hold onto. Ashley Marlowe of Well Rounded Records explains why he values owning the records he loves in a recent interview for White Label, a short film dedicated to vinyl: ‘You almost imagine that further down the road in the autumn of your years… maybe you’ll have a child of your own, and you know that you’ve still got it on a physical, relatively permanent format, which gives it added status.’ (Marlowe in White Label 2013) Crate embraces the DIY, niche-orientated mind-set that characterises these independent record labels, music enthusiasts and record collectors by creating something to hold onto. Like records, the ad-free publication is a tangible, visually pleasing, physical keepsake that can be read like a musical history in many years to come.

dIGITISATION OF ARTWORK The dematerialisation and dehumanisation of music and the desire of the consumer for a more active listening experience may not be the only reasons for the love of vinyl. Some people think there is ‘something special about the cover art and sleeve notes which you cannot get with digital tunes’ (Clancey via The Telegraph 2010: online), some people love the antiquity of records, and some people prefer to physically possess the music they own. Stefan Molinaro explains what it is he values about owning records: ‘The artwork is definitely a big part to owning records, I love collecting old records and knowing that in future they’ll be a little insight into the era they were made. Having a physical copy that you can hold is far more valuable to me than owning an mp3 that can easily get lost or duplicated, I could lose my entire library with ease but it would take a lot more to get rid of my physical collection.’ (Molinaro 2013: Appendix 1) The digital age has also affected the quality and importance of album cover art, and ‘many have felt that the digital revolution has deprived digital albums of their visual and tactile components and depersonalised the experience of music ownership.’ (Roberts 2013: online) Before the emergence of digital music, album artwork was an integral part of music buying. But with the music experience moving almost exclusively online an album cover is often reduced to a thumbnail print, if it even accompanies the music at all. A recent trend amongst Youtube music promotional channels, such as Eton Messy, Mthrfnkr, Fhinq Music and Majestic Casual, is also depersonalising the experience of music by uploading tracks from electronic music artists and pairing them with their channel’s logo and images of naked girls found on Tumblr. This has now been replicated through many online music blogs, and although these channels are a great way for upcoming musicians and producers to cheaply and effectively distribute their music to a wide audience, it is also taking away the visual identity of the artists. Representing part of the growing resistance to the dematerialisation of art in the music industry, Crate supports the visual identity of independent record labels by celebrating the artwork alongside each artist. The publication is also a great platform to promote the illustrators and visual artists working with each label, as they are an integral part of a music artist’s personality.

Fig. 3

‘

’

‘Technology is cyclical.’ (Duffy via Music Think Tank 2012: online)

Reacting to digital culture’s fast-forward momentum, there has been a recent revival of analogue products in a digital age. From the humble cassette tape re-emerging as an authentic audio and design medium, to the recent revival of vinyl record sales and the rising popularity of Record Store Day, advocates of the analogue movement believe its technology possesses a more authentic and original personality. Vinyl record collections are now seen as modern status symbols, limited edition analogue products are becoming new luxury, and more independent labels are releasing limited edition vinyl-only pressings of expensive 180gm heavyweight vinyl to a new generation. The most prominent resilience of analogue technology in this retrograde movement is the recent resurgence of vinyl (See Fig. 4), as vinyl sales have reportedly risen to a 16-year highpoint of $177 million (Opperman 2013: online). This recent vinyl revival can be seen as a response to the increasing dematerialisation of music, alongside people wanting to return to tangible products and services. The Vinyl Factory - an independent British music and arts enterprise encompassing a record label, vinyl pressing plant, gallery spaces, record shop, and FACT music magazine – recently opened a temporary pop-up store at St Martins Lane Hotel in London to help celebrate this recent vinyl revival, with intention for the space to be ‘a homage to records and the relationship between music and art, celebrating the unique, the tangible and the rare in an age of rapid digital consumption.’ (Williams 2011: online) The majority of vinyl purchases (67%) came through the independent record stores in 2012 (Business Wire 2013: online), which suggests an interest in vinyl format has been helped along by the dedicated, collection-obsessed fan base. Rough Trade East, a renowned London record store, has enjoyed double-digit growth since they opened in 2007, and Stephen Godfroy, owner Rough Trade East, sees the vinyl revival as a product of a ‘postdigital era’ characterised by ‘savvy, multi-format consumption.’ (Godfroy via BBC 2013: online)

NOSTALGIA

Fig. 4

Fig. 2

Fig. 5

Despite the loyal record collectors from previous generations, the under 25s are the driving force behind the surge in sales for vinyl over the past five years. (Bailey 2013: online) Although most vinyl records bought in the last ten years were by DJs and dance music fans, a recent trend has begun to arise amongst teenagers in this digital age. (see Fig. 5) Spencer Hickman now sees ‘so many kids coming into record stores, when you have Arctic Monkeys saying “we go to record shops, we buy vinyl”’. (Hough 2010: online) Influenced by a rise in ‘crate digging’ documentaries - such as the Slices Series, and Resident Advisor’s Crate Digging Series – as well as interviews from highly influential heroes and celebrities, teenagers are beginning to buy records instead of mp3s. Joseph Abajianvia, founder of Fat Beats Records, thinks people are very fickle to follow other people: ‘I did it when I was growing up. Run DMC used to drink Old English 40 ounces so we drank Old English 4 ounces, y’know? And they wore Adidas, so we wore Adidas. So, if someone like Jack White says vinyl is cool, go buy it, kids are gonna buy it.’ (Abajianvia via Pitchfork TV 2012) However, not everyone who buys a vinyl album actually plays it or even owns a turntable. Since most records come with a download code allowing the purchaser to obtain the music in mp3 form, the disc itself can be treated simply as a collectable, attractive artefact – a trend that has grown amongst young people in recent years: ‘It’s something to do with the passage of time, and the gradual divorce from current commercialism makes these things seem recuperable in some way. I don’t know quite why that is, although it becomes a field in which you can be sort of discriminating – you can develop an aesthetic out of these artefacts and I think old music is the same sort of phenomenon.’ (Reynolds in The Quietus 2011: online) This trend in young people has helped to define an additional target consumer for Crate. Although Crate’s main target consumer is the music enthusiasts that are passionate and value the work of independent record labels, the publication is also a collectable, visually pleasing, physical keepsake that records a certain time in the history of electronic music, a genre that is constantly evolving into new sub-genres and indefinable sounds every year.

WHY NOW?

Although the internet has allowed fans to engage with artist on a personal level to some extent, via social networking sites such as Twitter and Facebook, this information is still available to everyone with access to the internet. Because of this, many music enthusiasts rarely feel valued or appreciated by the independent record labels and artists they love for their consumer loyalty. When asked if they feel valued in a questionnaire conducted for the purpose of this report, 76% of respondents replied with no. Popular answers as to why ranged from over-selling of event tickets, not replying to inquiries, and repressing limited edition vinyl releases for the rest of the public. The market has also seen the defining number of limited copies go from 1,000 to around 500, sometimes less. This suggests an increase of demand for exclusive products. Independent record labels are now starting to oppose online media by rediscovering previously forgotten analogue skills and technique to help reconnect with their listeners and fans on a more personal level. This DIY-inspired technique is becoming increasingly successful in such an oversaturated market, which could indicate that the analogue update will continue to shape the spirit of independent record labels.

Stefan Molinaro finds it easy to tell when a label values its listeners, as ‘some labels put out the odd free song, or put on exclusive parties or competitions. Or like Kyle Hall, produce something in a limited run and give a personal message and artwork and stuff alongside it.’ (Molinaro 2013: Appendix 1) Stefan was one of seven who managed to get a copy of a very limited handmade 5” record from Kyle Hall, producer and founder of Wild Oats Records, in celebration of Record Store Day.

‘

‘It’s nice knowing I was lucky enough to get one. I didn’t even know what tracks were on it - no one did - but because it was handmade and there were only seven copies in the world it felt way more special owning that record. Kyle Hall wrote a handwritten message in there too, and it was all hand stamped. I was then talking to him via email and he put me on the guest list for his launch party in London a few weeks later. That personal communication between the producer and the buyer is something I really value as a collector.’ (Molinaro 2013: Appendix 1)

’

Fig. 6

COMPETITORS

After analysing the competitive landscape, there is no direct competitor for Crate, as there is no publication of this sort currently on the market. Despite this, there are publications both on and offline - which offer similar services. Through primary and secondary research, Crate has identified the positives and negatives from its close and distant competitors to ensure there is a gap in the market for such a niche-orientated publication.

TANGIBLE OUTPUT COLLECTABLE FREE ARTWORK LIMITED IN-DEPTH CONTENT DEDICATED TO ONE LABEL SOUNDCLOUD EVENT REWARDS Fig. 7

CONSUMER

Crate is for music lovers that appreciate the tactility, scarcity and physical beauty of something tangible, which they can read from cover to cover and collect as a physical keepsake that can be read like a musical history. The publication is for those that want in-depth, exclusive content from the independent record labels they admire, rather than having to read about their favourite artists online. Crate consumers also value music as a social affair, and want to be part of the close-knit community at the Crate events. Although Crate is for anyone that appreciates the publication, the Crate consumer has been segmented into two target consumers that best represent the lovers of Crate.

NAME: Stefan Alessio Molinaro AGE: 21 OCCUPATION: Student and DJ HOBBIES: Producing music, crate digging, pub with friends

STEFAN MOLINARO

Fig. 8

LUCAS SMITH

Fig. 9

NAME: Lucas Smith AGE: 20 OCCUPATION: Events Promoter and co-founder of Faded HOBBIES: Going out with friends, football, clubbing and gigs

BIG CREATIVE IDEA

‘

FORMAT

’

We have to be delivering our content in different ways, but in a continually digitised world, the interesting thing is the passion people still have for the product. (Clinton in NY Times 2010: online)

Despite the current market climate, there is also a strong consumer loyalty to the print format in this digital age. New print titles continue to be launched every year, and 65% of consumers prefer to read a print copy of a magazine rather than a digital version. The special interest segment is the most popular magazine category, with 39% of consumers reading interestspecific titles. (Mintel 2012: online) Although print is far from death, music magazines are dealing with the growing possibility of their medium being rendered obsolete by the expansion of online media where people require instant gratification. But although online reviews, web-based album streams, embedded videos, and mp3 downloads via blogs and other online platforms have affected music magazine sales in recent years, the internet cannot provide people with something tangible, and people are expected to get the majority of online content for free. Although many magazines now have a significant online presence, only one in ten consumers would pay to use an online magazine site or app in order to get exclusive content. Comparatively, a fifth of those who currently read print magazines would happily pay more for a collectible publication that is ‘high in quality, photography, content and design’. (Mintel 2012: online)

That being said, there does appear to be a problem of oversupply in many print segments, a perception shared by consumers. Six in ten adults agree that there are ‘too many similar magazines in the shops, and not enough that are really different’. A third of consumers also agree that ‘there’s not enough that really caters well for my interests’. (Mintel 2012: online) This can also be applied to the music magazine market. In response to a questionnaire sent out to the general public, 79% of the respondents said they don’t buy music magazines. Popular answers as to why were that music magazines date quickly, they don’t go into enough depth, they all cover similar topics, and they aren’t visually pleasing (see Appendix 4). Stefan Molinaro - DJ, producer and record collector - explains why he doesn’t purchase music magazines: ‘I find that they are rarely up to date with the music I like, and they’re all quite alike. They don’t go into depth about certain labels, artists or a particular genre - they just touch the surface and I’m not interested in that. If I buy something physical, I want it to look nice so I can keep it. Music magazines all tend to look the same and you can clearly tell they’re mass-produced.’ (Molinaro 2013: Appendix 1) There is a gap in the market for an independent printed publication that embraces a nicheorientated mindset in the music industry, and Crate aims to respond to this retrograde movement by providing listeners with an exclusive, limited physical output in an increasingly digital and dematerialised world, while supporting the work of independent record labels.

‘ 44

’

Doing these limited releases is a great way to keep people engaged and having fun with buying records, and learning more about the artists (HALL IN XLR8R 2013: ONLINE)

‘

content

’

‘The whole point of being a record collector is you can’t have everything. You’re always looking for that special something.’ (Hickman in The Telegraph 2011: online)

Unlike the music magazines available in the market, each issue is dedicated to different independent record label, carefully selected by Crate, and will be produced in a limited run of 500 copies. This is inspired by the increase in demand for exclusive analogue products, especially in the music industry, which are slowly becoming new luxury. As Crate is an independent publication with minimal funding, this limited amount of copies also helps to ensure that the possibility of unsold copies is severely reduced. Scarcity and exclusivity have been a part of DJ culture since the beginning, and the market has also seen the defining number of limited copies of vinyl go from 1,000 to around 500 - sometimes less. Tusk Wax, an established label that trades in limited, hand-stamped house cuts, stands by its decision to keep its output rare: ‘A part of people supporting Tusk Wax has been that they know I will never repress. It’s a one-time thing: Buy now or don’t buy at all. It helps me because the records shift due to people knowing they will be one of only 500 people in the world who have that record. A repress would be about making money, and I don’t do it for money. Now, the counter to that argument is that I’m putting “limits on the music, man”... But what I’m actually doing is adding value by limiting quantity. Some people struggle to see that. It always amazes me when they don’t.’ (Tusk in XLR8R 2013: online) As the independent record label consumer, music enthusiast, DJ and record collector are all familiar with vinyl-only presses and limited runs, the exclusivity of the publication will benefit the value of Crate.

As Crate dedicates a whole issue to one label, the ad-free publication gives an in depth insight into the label and the people involved, rather than touching the surface. Content will include:

exclusive interviews Focusing on the culture surrounding the labels, personal stories and an in depth history of the label, giving the reader an insight into the people behind the label. The interviews will be conducted in a similar way to online documentaries, such as Crate Diggers, Resident Advisor Real Scenes, and Red Bull Academy lectures. These documentaries give a thorough insight into the lives of influential people in the industry, which is something that online publications and current music magazines struggle to do. Artwork and photographs the label has provided will accompany the start up stories, as well as album artwork and details of tracks they mention throughout the interview. â&#x20AC;˘

EXCLUSIVE ARTWORK will feature in the magazine from the artist involved in each label. The limited number of copies will feature artwork on A4 card or thick paper, which will be fixed into the spine. This is designed to keep or use as a poster. â&#x20AC;˘

Fig. 10

Event invites exclusively for Crate readers. Inside each copy of Crate there will be an invite to an exclusive Crate event hosted by the record label featured in that issue with a perforated paper edge. (see Fig. 11) â&#x20AC;˘

Fig. 11

One-use codes. Like the Nonplus ‘Think and Change’ (see Fig 12 & 13) box set, for example, a small piece of paper will be fixed into each copy with a one-use code for an exclusive digital download and/or first access to pre-sale vinyl orders from the label. This depends on what each label wants to offer for Crate, as one label may differ from the next. •

Fig. 12

Fig. 13

CONTRIBUTORS As Crate is a self-funded, independent publication, the team consists of unpaid contributors. Whether they are students or people wanting to showcase their work, all contributors are highly valued, and this DIY, close-knit community fits in with Crateâ&#x20AC;&#x2122;s ideologies and brand values. Depending on the issue and the connections Crate already has with each record label, a different number of contributors may be required for each issue. Similar to Boiler Room TV - the worlds leading under music channel - Crate started with the help of friends in the industry, and the growth of the publication will be an organic process. As members of the electronic music scene are quite often friends, many events, publications and labels are successfully set up in this way. Crate encourages this friendly community, and is a valuable reminder that music is a social affair.

Fig. 14

FEATURES As the Crate consumer favours the tangible aspects of vinyl, giving away a free exclusive record would have been the perfect accompaniment to the magazine. But as the production cost to produce vinyl releases can be costly, and Crate is an independently funded publication, it would be challenging for Crate to produce such releases. In the current economic climate, some independent record labels are finding ways around the demanding production cost, and still satisfying consumer needs, by producing cassette releases. As an affordable alternative, Crate features a free cassette tape with each issue. Alongside the vinyl revival, there has been a recent resurgence in cassette sales, and in 2012 several labels regularly produced compact cassette releases, such Doghouse Records, Lost Tape Collective, and Pinky Swear Records. (Ried 2012, online) David Conway, founder of Doghouse Records, thinks cassettes take him back to a far more innocent time in his life as a music lover: ‘It’s sort of the exact opposite experience to the iTunes/mp3 way of digesting music. This was also pre-file sharing so you cherished a record when you saved up and got it. You judged it as a full body of work and not just a file you can listen to for 30 seconds and make a decision about if it stays on your hard drive or not.’ (Conway in Already Heard 2012, online)

‘ 52

Fig. 15

’

‘I spend all day staring at my computer anyway. I don’t necessarily want to listen to music on it when music is meant to be an escape.’ (Farrell in White Label 2013)

Fig. 16

Fig. 17

The Trilogy Tapes, founded by Will Bankhead, is a project highly regarded in the electronic music scene, and is best known for celebrating the cassette format. Bankhead is also a graphic designer, photographer and co-founder of Hinge Finger Records, and started the TTT project to bring together his many interests into one package. The TTT web shop consists of exclusive mixes and live recordings, both of which are recorded solely to cassette. The beauty of each release on TTT, other than the highly regarded artwork designed by Bankhead, is that they only exist on tape – with a very limited amount of copies - and they are released with ‘the bare minimum of information that only serves to increase the listeners curiosity’. (Digard in Tape Echo 2012: online) There are never rereleased cassettes, and each release always sells out. These then become sought-after products in the underground music industry. (See Appendix 5) Justin Collier, founder of Lost Tape Collective, also supports the cassette format: ‘I think everyday that digital music comes more of the norm, there is a certain group of people who are romantics and want something physical to hold in their hand… even if they are listening to the MP3’s, they still want the physical copy for their collection…. so whether its vinyl, cassettes, flexies, etc - people like to collect stuff… well, at least some people.’ (Collier in Already Heard 2012, online) In response to the humble cassette tape emerging as an authentic audio and design medium in electronic music, Crate features a cassette tape with every issue featuring an exclusive mix from the label’s artists. Like exclusive mixes uploaded to SoundCloud from Resident Advisor, Trilogy Tapes and FACT Magazine, the tape will include unreleased tracks not only from the artists involved with the label, but also artists the label admires. In response to the diluted experience of listening to music in a digital age, the tape encourages listeners to rediscover the enjoyment of just listening, and to get really submerged in the music.

‘

‘I think everyday that digital music comes more of the norm, there is a certain group of people who are romantics and want something physical to hold in their hand… even if they are listening to the MP3’s, they still want the physical copy for their collection…. so whether its vinyl, cassettes, flexies, etc - people like to collect stuff… well, at least some people.’ (Collier in Already Heard 2012, online)

’

DESIGN

LOGO

‘

’

‘The mission of your logo is to portray the values and goals of your company’ (Lake L 2012: online)

Inspired by the hip hop term ‘crate digging’, the name Crate is a subtle reference to the culture of collecting records. Using language that speaks to the consumer in an understated manner helps to reinforce the brand message, and plays a key part in demonstrating Crate’s ideologies and values. The C has also been incorporated into the brand’s logo, which has also been influenced by the vinyl record. In numerous attempts to incorporate the vinyl into the logo, the chosen design was a much more subtle approach to previous sketches. By graphically enhancing the grooves and simplifying the lines into thicker blocks, the Crate logo is a refined, modern take on the appearance of the analogue medium. As Crate is about showcasing independent record labels, their music and their artwork, the logo is modest and minimal and can be applied to the aesthetic of any label without clashing or overpowering in any way. ‘A lot of brands redesigned their logos this year to be extremely minimal. Microsoft, ebay, Starbucks, and others have done it. I think a lot of that was to make people talk about the brand, as well as being a stylistic trend.’ (Crutchley in Creative Bloq 2013: online) 2013 has seen an extension of that trend, with more brands stripping back their logos because of the increased versatility that it brings. A simple one-colour logo can look good on anything from a sold block of colour, to a photograph or busy pattern. This enables the Crate logo to be applied to any artwork relating to each label, as well as any graphics or posters used to help promote the brand.

ate

rate

ate

crate

rate

crate

CRATE

LAYOUT

‘

The current music magazines available in the market have been described as dated and generic, and they ‘all tend to look the same and you can clearly tell they’re massproduced.’ (Molinaro 2013: Appendix 1) When asked what they don’t like about current music magazines in a questionnaire conducted for this report, other than content, many respondents mentioned design with answers such as ‘dated’, ‘cluttered’ and ‘all looking the same’ (see Appendix 4). In response to this, Crate combines minimalism, simplifying and experimentation with basic shape and colour to creatively produce a visually stimulating publication. As each issue of Crate will be dedicated to a different independent record label, the publication will use a simple and effective use of the recent minimalist trend. While Crate has its own visual identity, the clean and simple design will not clash with the work of the labels, allowing the artwork of each label to shine through. The use of lines in Crate’s design is inspired by a recent art exhibition hosted by website and creative organization Patternity, entitled ‘Pattern Power’. The exhibition brings together experts from the worlds of fashion, art, design, science and technology to explore the impact of pattern on everyday life, and celebrate the use of monochromatic stripes. The use of black and white lines was simple yet striking, and has been a recent trend in both fashion and music graphics in recent years. The emergence of bold stripes also takes inspiration from modernist architecture and Linda O’Keeffe’s new book, Stripes. (WGSN 2013: online)

’

‘It seems as though 2012 has kickstarted a KISS - Keep it Simple, Stupid - philosophy amongst brands, which can only be a good thing.’ (Crutchley in Creative Bloq 2013: online)

Fig. 18 63

Fig. 19

Fig. 21

Fig. 20

Fig. 24

Fig. 22

Fig. 23

Taking inspiration from zine culture, Crate will incorporate only one colour alongside greyscale tones per issue, which will also change the colour of the logo. Like No.Zine - an independent arts zine featuring a variety of young artists, designers, writers, photographers and illustrators – each issue will use a different colour. This will also be applied to each cassette slipcase given with every issue. Although Crate isn’t handmade like a zine, the simple, minimal aesthetics and use of colour are similar to the grassroot publications, and the sparse use of colour is associated with the DIY cultural expression.

‘ 66

‘With only a couple of bright hues to draw the eye, it’s easy to differentiate important information and interactive elements. And the simplicity and control this gives to the design makes for a polished result with a great user experience.’ (Clum 2013: online)

’

Fig. 25, 26 & 27 67

‘

‘In 2013, I think there will be continued experimentation with print techniques and innovative finishes to really enhance the experience for the consumer who still likes to hold something in their hands.’ (O’Neill in Creative Bloq 2013: online)

Since everyday materials are going the way of digital, printing is expected to take a turn for the higher-end market, with experimental printing processes and high quality papers and inks. As Crate is an independently funded publication, there are still limitations to what can be done in terms of printing, but the brand wants to break away from the zine stereotype and produce a collectable, visually stimulating publication on high quality, durable paper that can stand the test of time. This resulted in printing on medium thickness paper with a matte finish. Due to the thickness and collectable aspect of Crate, the magazine will be perfect bound.

’

CASSETTE PACKAGING Negative space takes centre stage in current packaging design trends, according to leading fashion forecast and trend analysis company Stylesight in its ‘Prints and Graphics: Packaging Highlights’ March 2013 report. Design elements that define this trend include ‘immaculate white being used as a basis for all materials and packaging, minimal graphics and type, pure and simple branding, and subtle pops of colour appearing through paint drips, circles, type and simple illustrations’. (Stylesight in Digital Arts 2013: online) This ‘Minimal Mind’ graphic design trend and use of immaculate white space and minimal graphics will be used for the cassette artwork sleeve and slipcase packaging. Each tape will feature a different colour scheme matching it to the relevant issue and Crate logo. The example below is a template of the tape artwork sleeve.

Fig. 28 69

website Similar to the Acne Paper website, Crate’s website will have a clean and simple aesthetic that mirrors the minimal publication. The homepage will preview pages from the next issue, highlighting featured articles and reviews. Readers can purchase a copy of the magazine on the Crate website, or they can be directed to the record store selling that particular issue, and if they want to contribute to the following issue, there is contact information on the ‘About’ section of the website. After each event, there will also be images and videos uploaded to the website helping to promote the next issue.

Fig. 29, 30 & 31

PROMOTION

‘

ONLINE

‘New magazines rely heavily on buzz marketing and virtual word-of-mouth. Through social media tools, like Twitter and Facebook, small upstarts can achieve a larger audience through fan suggestion and articles posted of Facebook walls and Twitter feeds.’ (Stylus 2012: online)

Although the publication promotes analogue practices, and we are living in a digital age, the benefits of digital technology can be paired with the simplistic, organic feel of Crate - rather than digital replacing analogue altogether - as ‘digital is not better than analogue, but different. What we are asking for is coexistence.’ (Dean 2011: online) Because of this, Crate has decided to primarily promote the magazine online.

’

As Crate is for a niche market, and there are only 500 copies of each issue, the publication will heavily rely on the labels featured in Crate to promote their own issue. Blogs and online platforms, such as Resident Advisor, FACT magazines, and independent music blogs, will post events or releases of any kind that is directly linked to a label. This is instant coverage over large platforms, which will benefit Crate. Record labels, producers, and DJs often promote events, festivals, and articles and publications they are involved in using social networking sites. (see Appendix 5) This has proved to be an effective way of promoting a new event or product in the electronic music scene, and brands that are embracing the potential of social media are already reaping impressive rewards. Beatport, for example, saw a 23% rise in sales from individuals who were referred to new music via Twitter ‘retweets’ and Facebook ‘likes’. (FACT Magazine 2012: online) This ability to converse, via social networking sites, with global consumer audiences in a matter of nanoseconds has huge beneficial properties for the industry, and will be applied to Crate’s promotional and distributional strategies.

Twitter will be the primary online platform used to promote Crate, as ‘twitter offers the biggest opportunities for magazine brand engagement through social media, as over half of daily tweeters read interest-specific magazines.’ (Mintel 2012: online) For each issue, Crate ‘mentions’ members of each independent record label via the publication’s Twitter account. The producers, DJs, artists and the record label themselves then ‘retweet’ the tweets, helping to gain exposure for Crate. As the publication is heavily promoting each independent record label, they are more inclined to help with the promotion of their issue - something that is often seen amongst the electronic music scene on social networking sites. Other promoters who host events with the labels, as well as the record stores involved, will also be encouraged to get involved. Teaser images will then be uploaded onto the Twitter and Facebook accounts featuring backstage previews of the interviews and photoshoots conducted for each issue, alongside a link video filmed at the event for the previous issue. This helps promote the event that runs alongside the publication, and encourages people to buy the next issue so they can attend the next event.

Fig. 32

Posters revealing which independent record label will feature in the next issue of Crate will be posted in venues and record stores. This will have minimal information on the poster, and will be sent out to promoters and the label.

Fig. 33 75

Crate then produce a large quantity of stickers with the publicationâ&#x20AC;&#x2122;s logo to stick in relevant places, such as bars, clubs, and record stores, to help promote the magazine further. This form of guerrilla marketing adds to the buzz, as people begin to see the logo everywhere and wonder what it is. This has been very effective in the music industry, especially with music events in secret locations, such as Faded in Nottingham. Record labels also produce large quantities of branded stickers for their fans, which prove very popular. (See Fig 34 & 35.) The logo then becomes an iconic and memorable feature of the brand, so when people see the magazine online or in record stores they are more inclined to pick it up.

Fig. 34 & 35

Crate will also have its own SoundCloud, featuring guest mixes and new tracks from artists featured in the publication. Most music magazines or online publications, such as MixMag, FACT Magazine, Triology Tapes and XLR8R, release SoundCloud mixes alongside their publications, and even fashion and style magazines, such as i-D magazine, self-titled magazine, and Wonderland now have their own SoundCloud channels. This not only supports the work of record labels, by promoting their new releases on a popular platform, but it also helps to promote Crate. In the same way social networking sites allow users to recommend and share products and services to their friends, SoundCloud â&#x20AC;&#x2DC;favouritesâ&#x20AC;&#x2122; have huge beneficial properties for publications like Crate.

Fig. 36

ISSUE #1

LOGO

Wild Oats has been chosen for the first issue, as it is the label of Detroitâ&#x20AC;&#x2122;s rising star Kyle Hall. Dedicated to releasing his unique brand of inventive, low-fi house music, the independent record label sits at the forefront of the electronic music scene. It has also branded its label heavily on aesthetics as well as sound, and Kyle Hall, DJ and founder of the label, is launching his new EP in the UK this summer.

Kyle Hall’s Wild Oats imprint combines vinyl obsession with the availability of digital distribution, offering the majority of his releases for download while also releasing 10-copy runs of 5” and 7” records. He describes limited edition vinyls as a good promotional tool:

‘

Today, people expect [to get] things really quickly, and keeping up with that demand with records is harder because of the time it takes to manufacture vinyl. So, as a vinyl label, you have to come up with more creative ways to keep people engaged with what you’re doing at all times. Some ways we do this is by giving things away for free, or doing special limited versions of releases. I think people like having something exclusive and special. (Hall in XLR8R 2013: online)

These ideologies and values are reflected in Crate’s brand strategy, and as Wild Oats Detroit considers different and creative methods to ensure their listeners are engaged, the label is an ideal choice for the first issue of the publication.

’

Fig. 37

LAUNCH Prior to the release of the first Crate issue, there will be a launch held at Phonica Records, Londonâ&#x20AC;&#x2122;s leading vinyl specialist based in Soho. Wild Oats distributes the majority of its stock to Phonica Records within the UK, and the record store is renowned for holding successful launch events. While Kyle Hall is launching his new EP in the UK at Corsica Studios, London, Crate invited him and the rest of Wild Oats to Phonica to help raise awareness of his EP and the first issue of Crate. Kyle Hall, Jay Daniel, and Funkineven will all be present at the event, playing some records and signing copies of their releases for their listeners. This will allow consumers to engage with the label on a personal level â&#x20AC;&#x201C; something Crate encourages.

Fig. 38 85

EVENT

LOGO

The shift to digital media has already produced compromises between the internet and print, and print will continue to change because of technology. As media evolves major magazine publishers are starting to view their print version as the central hub of the brand, while expanding to offer other media and services that cross a variety of platforms. For example, Esquire has moved into e-book publishing, Vice has moved into television and online streaming, and Wired and moved into the conference and event-planning arena. (Sanders 2012: online) This has been considered, and although Crate is primarily a printed publication, Crate also offers its readers with an exclusive event. Inside each copy of Crate there will be an invite to an exclusive Crate event hosted by the record label featured in that issue. This will be similar to close-knit events such as Boiler Room, which is an invite-only, limited capacity event for true music lovers. The invites will only be given out in the limited number of copies of Crate, and will not be reissued outside of the publication. This builds hype around the Crate event, which is an effective way of promoting the magazine.

Fig. 39 87

Fig. 40

Fig. 41 88

The first Crate event will be hosted by Wild Oats, and will feature a lecture, similar to Red Bull Academy lectures, which will allow Kyle and the rest of the label to talk about their life as producers, while playing records that have influenced them throughout their life. The audience is then encouraged to ask questions and communicate with the label on a personal level. There will also be a chance to buy new releases and merchandise from the label, as well as the next copy of Crate. This is a valuable reminder of how music retail can be a social affair, with people hanging out together as a community and buying records. Access to the next copy of Crate also encourages a close-knit community of music lovers, proving Crate values their consumer. The night will then end with DJ and live sets from the artists involved in the label. Although tickets are included in the magazine, there is still an entry fee for the event. As Crate is an independently funded magazine, the profits from each issue goes back into the publication, while the ticket sales cover the cost of the DJ sets and the venue. Tickets are priced at ÂŁ12, which is a fair price for an event of this kind, and no more tickets are issued outside of the publication. Fig. 42

CONCLUSION

In an oversaturated market, Crate is a refreshing publication that takes an innovative, cultured and intelligent approach to electronic music by celebrating the work of independent record labels, and helping them to reconnect with their listeners. With in-depth editorial content displayed in a creative, visually stimulating format, Crate offers an alternative to current music magazines and blogs by creating something with a sense of permanence, rather than trying to compete with the ephemeral nature of the internet. Independent record labels are now starting to oppose online media by rediscovering previously forgotten analogue skills and techniques to help reconnect with their listeners. Crateâ&#x20AC;&#x2122;s ideologies and values mirror this spirit by offering tangible products alongside an interactive event that encourages personal interaction between the label and the listener. Crate also offers exclusive material from the labels, reminding record collectors and music enthusiasts that the record labels they love value them. As the publication grows, Crate could expand to offer other media and services that cross a variety of platforms, while keeping the print version as the central hub of the brand. This could be through television channels - such as Boiler Room TV, Red Bull Academy, and Vice - a regular music event that is open to the public, or the hosting of stages at festivals across the world. This would all depend on the global success of the brand as a respectable music source, and will be determined by the growing popularity of Crate over the years.

APPENDIX

LIST OF ILLUSTRATIONS Fig 1. Moritz von Oswald Trio, 2011. Horizontal Structures. Available at: http://www.thetrilogytapes.com/blog/wp-content/ uploads/2011/01/Moritz-gatefold-2.jpg [accessed 20 May 2013] Fig 2. Anon, 2010. Loefah. Available at: http://farm1.static.flickr.com/134/389732701_366961f8e4_o.jpg [accessed 20 May 2013] Fig 3. India Rose, 2013. Stefan Molinaro with Chips and Sweets Vinyl. Own image. Fig 4. India Rose, 2013. Vinyl Revival Infographics. Own image. Fig 5. India Rose, 2013. Vinyl Revival Infographics. Own image. Fig 6. India Rose, 2013. Kyle Hall Limited Press 7â&#x20AC;? Vinyl For Record Store Day. Own photograph. Fig 7. India Rose, 2013. USP Competitor Chart Infographics. Own image. Fig 8. India Rose, 2013. Stefan Consumer Profile from Instagram Images. Own image. Fig 9. India Rose, 2013. Lucas Consumer Profile from Instagram Images. Own image. Fig 10. Red Bull, 2013. Red Bull Academy Bristol Session Lecture. Available at: http://247magazine.co.uk/wp-content/ themes/247magazine-images/2013/05/RBMA-Bristol-Session-Lecture.jpg [accessed 20 May 2013] Fig 11. Anon, 2013. Perforated Paper. Available at: http://media-cache-ak1.pinimg.com/originals/b0/14/fb/ b014fb29ac4456fd1e4d5205c1b5fcc7.jpg [accessed 25 April 2013] Fig 12. India Rose, 2013. Think & Change Vinyl Boxset. Own image. Fig 13. India Rose, 2013. Think & Change One Use Code. Own image. Fig 14. Ashes 57, 2012. Swamp 81 Party. Available at: http://farm2.staticflickr.com/1102/4726967243_208888bc8d_o.jpg [accessed 25 April 2013] Fig 15. India Rose, 2013. Twitter Screenshot. Own image. Fig 16. Alex MacDonald, 2013. White Label Film Screenshot. Available at: http://www.thedailystreet.co.uk/2013/05/videowhite-label-a-short-film-about-vinyl-by-alexander-macdonald/ [accessed 11 May 2013] Fig 17. Donuts, 2011. Stack of Trilogy Tapes. Available at: http://donutsthestore.co.uk/site/wp-content/uploads/2012/11/ TTT_tapes1.jpg [accessed 25 April 2013] Fig 18 - 24. Anon, 2013. Pattern Power Exhibition. Available at: http://www.wgsn.com.ezproxy.ntu.ac.uk/content/dam/Central_ Library/Materials/Trend_Analysis/Inspiration/2013/04apr/modernist_stripe_emerging_trend/22_TET_modernist_BW.jpg. rendition.medium.jpg [accessed 16 May 2013] Fig 25 - 27. Anon, 2012. No. Zine. Available at: http:// http://www.nozine.com/ [accessed 26 April 2013] Fig 28. India Rose, 2013. Cassette Mock Up. Own image. 93

REFERENCES MACLEAN, L. 2010. ARE MAGAZINES REALLY DYING OUT? [online] The Guardian. Available at: http://www.guardian.co.uk/ commentisfree/2010/may/20/magazines-zines-internet-ipad [accessed 12 May 2013] STYLESIGHT TRENDBOARD, 2012. CONTENT MEETS COMMERCE [online]. Stylesight. Available at: http://www.stylesight. com/fashionoffice/board-dynamic.php?mypage=10&boardnum=19366&lang=en/ [accessed 12 May 2013] HARRIS, J., 2012. THE ANTIDOTE TO RAMPANT CAPITALISM? 331/3 REVOLUTIONS PER MINUTE [online] The Guardian. Available at: http://www.guardian.co.uk/commentisfree/2012/dec/25/antidote-to-capitalism-33-revolutions-minute [accessed 04 May 2013] MACLEAN, L. 2010. ARE MAGAZINES REALLY DYING OUT? [online] The Guardian. Available at: http://www.guardian.co.uk/ commentisfree/2010/may/20/magazines-zines-internet-ipad [accessed 12 May 2013] BUSINESS WIRE, 2012. THE NEILSON COMPANY AND BILLBOARD’S 2011 MUSIC INDUSTRY REPORT [online] Business Wire. Available at: http://www.businesswire.com/news/home/20120105005547/en/Nielsen-Company-Billboard%E2%80%99s2011-Music-Industry-Report [accessed 13 May 2013] STANLEY, B. 2013. THE DIY DREAMERS WHO NEVER GOT SIGNED [online] The Guardian. Available at: http://www. guardian.co.uk/music/2013/apr/03/diy-dreamers-never-got-signed [accessed 13 May 2013] MOORE, F., 2012. THE RECORD LABEL IS DEAD: LONG LIVE THE RECORD LABEL [online] The Telegraph. Available at: http://www.telegraph.co.uk/culture/music/9672807/The-record-label-is-dead-long-live-the-record-label.html [accessed 14 May 2013] FACT MAGAZINE, 2012. HOW TO START A RECORD LABEL [online] FACT Magazine. Available at: http://www.factmag. com/2012/06/23/how-to-start-a-record-label/ [accessed 13 May 2013] PATTENDEN, M. 2013. VINYL’S BACK IN THE GROOVE [online]. The Telegraph. Available at: http://www.telegraph.co.uk/ culture/music/rockandpopfeatures/8896951/Vinyls-back-in-the-groove.html [accessed 12 May 2013] ROBERTS, M., 2013. HOW THE DIGITAL REVOLUTION IS RE-SHAPING ALBUM ARTWORK [online] Music Think Tank. Available at: http://www.musicthinktank.com/blog/how-the-digital-music-revolution-is-re-shaping-album-artwork.html [accessed 30 April 2013] OPPERMAN, D., 2013. WAX ECSTATIC: KYLE HALL, GERD JANSON, HIEROGLYPHIC BEING, AND MORE DISCUSS THE LIMITED VINYL CRAZE [online] XLR8R. Available at: http://www.xlr8r.com/features/2013/05/wax-ecstatic-kyle-hall-gerdjans?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+xlr8rnews+%28XLR8R+News+%26+Features% 29 [accessed 19 May 2013] WILLIAMS, E., 2011. THE VINYL FACTORY CONCEPT [online] Creative Review. Available at: http://www.creativereview. co.uk/cr-blog/2011/march/vinyl-factory-st-martins-lane-hotel [accessed 02 May 2013] BUSINESS WIRE, 2012. THE NEILSON COMPANY AND BILLBOARD’S 2011 MUSIC INDUSTRY REPORT [online] Business Wire. Available at: http://www.businesswire.com/news/home/20120105005547/en/Nielsen-Company-Billboard%E2%80%99s2011-Music-Industry-Report [accessed 13 May 2013] SOTERIOU, H. 2012. CRATE DIGGING AND THE RESURGENCE OF VINYL [online] BBC. Available at: http://www.bbc. co.uk/news/entertainment-arts-21010240 [accessed 02 May 2013] 94

Pitchfork: Revolutions Per Minute – The State of the Vinyl Music Business, 2013. [Youtube] Pitchfork TV, 19 April 2013. [Available at: http://www.youtube.com/watch?feature=player_embedded&v=7J8ID5JqIx4#at=16 Accessed 01 May 2013] McKEAN, C., 2011. IS POP CULTURE CONSUMING ITSELF? SIMON REYNOLDS DISCUSSES RETROMANIA [online] The Quietus. Available at: http://thequietus.com/articles/06386-simon-reynolds-retromania-interview [accessed 10 May 2013] PETERS, J. W., 2010. MAGAZINES TAKE A SHOT AT THE NET [online]. NY Times. Available at: http://mediadecoder. blogs.nytimes.com/2010/11/28/magazines-take-a-shot-at-the-net/?scp=1-b&sq=magazines+take+shot+at+internet&st=nyt [accessed 12 May 2013] MINTEL, 2013. MAGAZINE REPORT 2012 [online] Mintel. Available at: http://oxygen.mintel.com/sinatra/oxygen/list/ id=590328&type=RCItem#0_1___page_RCItem=0 [accessed 20 April 2013] OPPERMAN, D., 2013. WAX ECSTATIC: KYLE HALL, GERD JANSON, HIEROGLYPHIC BEING, AND MORE DISCUSS THE LIMITED VINYL CRAZE [online] XLR8R. Available at: http://www.xlr8r.com/features/2013/05/wax-ecstatic-kyle-hall-gerdMOORE, F., 2012. THE RECORD LABEL IS DEAD: LONG LIVE THE RECORD LABEL [online] The Telegraph. Available at: http://www.telegraph.co.uk/culture/music/9672807/The-record-label-is-dead-long-live-the-record-label.html [accessed 14 May 2013] OPPERMAN, D., 2013. WAX ECSTATIC: KYLE HALL, GERD JANSON, HIEROGLYPHIC BEING, AND MORE DISCUSS THE LIMITED VINYL CRAZE [online] XLR8R. Available at: http://www.xlr8r.com/features/2013/05/wax-ecstatic-kyle-hall-gerdALREADY HEARD. 2013. THE CASSETTE REVIVAL [online] Already Heard. Available at: http://alreadyheard.com/ post/26335927520/feature-the-cassette-revival#.UaUUv2TwIch [accessed 12 May 2013] Alex MacDonald: White Label, 2013. [Vimeo] The Daily Street, 11 May 2013. [Available at: http://www.thedailystreet. co.uk/2013/05/video-white-label-a-short-film-about-vinyl-by-alexander-macdonald/ Accessed 11 May 2013] ALREADY HEARD. 2013. THE CASSETTE REVIVAL [online] Already Heard. Available at: http://alreadyheard.com/ post/26335927520/feature-the-cassette-revival#.UaUUv2TwIch [accessed 12 May 2013] CARNEY, R., 2012. DESIGN TREND PREDICTIONS 2013 [online] Creative Bloq. Available at: http://www.creativebloq.com/ design/trend-predictions-2013-11121414 [accessed 19 May 2013] STYLUS, 2012. DIGITAL CULTURE, VISUALISE ME. [online]. Stylus. Available at: http://www.stylus.com/ [accessed 12 May 2013] STYLUS, 2012. BUILD AN ONLINE COMMUNITY, INSIDE AND OUTSIDE OF FACEBOOK [online] Stylus. Available at: http:// www.stylus.com/ [accessed 12 May 2013] FACT MAGAZINE, 2012. SPREADING MUSIC VIA SOCIAL MEDIA [online]. Fact Magazine. Available at: http://www.factmag. com/2012/01/23/spreading-music-via-social-media/ [accessed 09 May 2013] OPPERMAN, D., 2013. WAX ECSTATIC: KYLE HALL, GERD JANSON, HIEROGLYPHIC BEING, AND MORE DISCUSS THE LIMITED VINYL CRAZE [online] XLR8R. Available at: http://www.xlr8r.com/features/2013/05/wax-ecstatic-kyle-hall-gerdSANDERS, R. 2012. PRINT ISN’T DYING – IT’S INNOVATIVE [online] Agility Blog. Available at: http://blog.agilitycms.com/ print-isn-t-dying-it-s-innovating [accessed 12 May 2013]

AUDIO VISUAL RESOURCES Alex MacDonald: White Label, 2013. [Vimeo] The Daily Street, 11 May 2013. [Available at: http://www.thedailystreet. co.uk/2013/05/video-white-label-a-short-film-about-vinyl-by-alexander-macdonald/ Accessed 11 May 2013] Dust & Grooves: a passionate interpretation for vinyl records and photography, 2013. [Vimeo] Dust & Grooves, 13 March 2013. [Available at https://vimeo.com/21025845 Accessed 01 May 2013] Mydetroitcable Detroit: DJ Chronicles: Jay Daniel, 2013. [Youtube] Mydetroitcable Detroit, 23 April 2013. [Available at: https:// www.youtube.com/watch?feature=player_embedded&v=HcPbvpqo3Xg Accessed 01 May 2013] Pitchfork: Revolutions Per Minute – The State of the Vinyl Music Business, 2013. [Youtube] Pitchfork TV, 19 April 2013. [Available at: http://www.youtube.com/watch?feature=player_embedded&v=7J8ID5JqIx4#at=16 Accessed 01 May 2013] Resident Advisor: Real Scenes: Berlin, 2011. [Youtube] Resident Advisor, 02 December 2011. [Available at: http://www. youtube.com/watch?v=KXfK7H2eFl8 Accessed 01 May 2013] Resident Advisor: Three Cuts – Appleblim, 2013. [Youtube] Resident Advisor, 11 April 2013. [Available at: http://www.youtube. com/watch?v=qNRuW9c3DaI Accessed 01 May 2013] Resident Advisor: Between the Beats: Nina Kravitz, 2013. [Youtube] Resident Advisor, 19 March 2013. [Available at: http:// www.youtube.com/watch?v=5TkSsq344K8&list=PLnZOad80R4npVpgYz-yOB4AwM_ppXbv7i&index=1 Accessed 01 May 2013] RSVD: KMFH WO/DETUND 5”, 2013. [Vimeo] RSVD, 12 May 2013. [Available at: http://t.co/5inMc5d3Xz Accessed 13 May 2013] WEBSITES ALREADY HEARD. 2013. THE CASSETTE REVIVAL [online] Already Heard. Available at: http://alreadyheard.com/ post/26335927520/feature-the-cassette-revival#.UaUUv2TwIch [accessed 12 May 2013] ANAND, A. 2013. IS PRINT REALLY DYING, OR JUST GETTING NICHIER? [online] Upstart Business Journal. Available at: http://upstart.bizjournals.com/companies/media/2013/03/08/time-inc-no-sign-magazines-are-dead.html?page=all [accessed 12 May 2013] BANG ON PR, 2012. INDEPENDENT LABEL MARKET [online] Bang On PR. Available at: http://www.bangonpr.com/ campaigns/press-release/independent-label-market-special-releases-florence-machine-beach-house-grime [accessed 13 May 2013] BRANDLE, L. 2013. THE HOOK: IS THE RISE IN VINYL JUST A FAD? [online]. The Music Network. Available at: http://www. themusicnetwork.com/music-features/industry/2013/02/22/the-hook-is-the-rise-in-vinyl-just-a-fad/ [accessed 12 May 2013] BUSINESS WIRE, 2012. THE NEILSON COMPANY AND BILLBOARD’S 2011 MUSIC INDUSTRY REPORT [online] Business Wire. Available at: http://www.businesswire.com/news/home/20120105005547/en/Nielsen-Company-Billboard%E2%80%99s2011-Music-Industry-Report [accessed 13 May 2013]

BIBLIOGRAPHY BUSKIRK, E., 2008. DIGITIZATION OF ALBUM ART IS ABOUT NEW POSSIBILITIES, NOT SMALLER GRAPHICS [online] Wired Magazine. Available at: http://www.wired.com/listening_post/2008/04/digitization-of/#more [accessed 04 May 2013] CARNEY, R., 2012. DESIGN TREND PREDICTIONS 2013 [online] Creative Bloq. Available at: http://www.creativebloq.com/ design/trend-predictions-2013-11121414 [accessed 19 May 2013] CASERO, E., 2010. MENTAL MACHINE MUSIC: THE MUSICAL MIND IN A DIGITAL AGE [online] Pop Matters. Available at: http://www.popmatters.com/pm/tools/print/123722/ [accessed 10 May 2013] CONTRIBUTOR, 2013. CAN ANALOGUE MUSIC COMPLETE IN THIS DIGITAL AGE? [online] Apparent Lifestyle. Available at: http://apparentlifestyle.com/blog/2013/04/19/can-analogue-music-compete-in-this-digital-age/ [accessed 14 May 2013] DELINGPOLE, J., 2011. THE RETURN OF OF VINYL: HOW BRITAIN GOT ITS GROOVE BACK [online] The Daily Mail. Available at: http://www.dailymail.co.uk/home/moslive/article-1198335/How-Britain-got-groove-back.html [accessed 14 May 2013] DIGARD, A., 2011. SIMPLER TIMES: THE TRILOGY TAPES [online] Tape Echo. Available at: http://tape-echo.com/features/ simpler-times-the-trilogy-tapes/ [accessed 01 May 2013] DRUMGOOLE, K., 2012. THE IMPORTANCE OF ALBUM ART IN A DIGITAL AGE [online] Music Think Tank. Available at: http://www.musicthinktank.com/blog/the-importance-of-album-art-in-the-digital-age.html [accessed 14 May 2013] FACT MAGAZINE, 2012. SPREADING MUSIC VIA SOCIAL MEDIA [online]. Fact Magazine. Available at: http://www.factmag. com/2012/01/23/spreading-music-via-social-media/ [accessed 09 May 2013] FACT MAGAZINE, 2012. HOW TO START A RECORD LABEL [online] FACT Magazine. Available at: http://www.factmag. com/2012/06/23/how-to-start-a-record-label/ [accessed 13 May 2013] FREIDMAN, E.J, 2011. THE IMPORTANCE OF VINYL RECORDS [online]. Louder Soft. Available at: http://loudersoft. com/7287/record-store-day-2011-the-importance-of-vinyl-records/#.UaUiuGTwIch [accessed 12 May 2013] GARVAN, S. 2013. UNDER-25S ARE BEHIND A SURGE IN VINYL SALES [online]. BBC. Available at: http://www.bbc.co.uk/ newsbeat/22208446 [accessed 30 April 2013] GUARANI, D. 2013. MUSIC SALES IN 2012 PROVE DIGITAL IS RISING, CDS ARE DEAD AND ... VINYL IS ALIVE ONCE AGAIN? [online] Huffington Post. Available at: http://www.huffingtonpost.com/2013/01/09/music-sales-2012-digitalphysical_n_2440380.html [accessed 01 May 2013] HARRIS, J., 2012. THE ANTIDOTE TO RAMPANT CAPITALISM? 331/3 REVOLUTIONS PER MINUTE [online] The Guardian. Available at: http://www.guardian.co.uk/commentisfree/2012/dec/25/antidote-to-capitalism-33-revolutions-minute [accessed 04 May 2013] HYPEBOT. 2011. IS A CASSETTE TAPE RELEASE IN YOUR FUTURE? [online] Hypebot. Available at: http://www.hypebot. com/hypebot/2011/10/is-a-music-cassette-release-in-your-future.html [accessed 12 May 2013]

HALL, J. 2013. SALES OF VINYL ALBUMS RISE AS CDS SLUMP [online]. The Telegraph. Available at: http://www.telegraph. co.uk/culture/music/music-news/8988038/Sales-of-vinyl-albums-rise-as-CDs-slump.html [accessed 12 May 2013] LAZARUS, Z., 2012. ANALOGUE UPDATE: THE REBIRTH OF ANALOGUE IN A DIGITAL AGE [online] Lowe Council. Available at: http://www.lowecounsel.com/reports/Counsel_Analogue_Update.pdf [accessed 14 May 2013] LI, R. 2012. IS THE MUSIC MAGAZINE DEAD? AFTER SALE SPIN IS ENDANGERED [online] International Business Times. Available at: http://www.ibtimes.com/music-magazine-dead-after-sale-spin-endangered-722549 [accessed 12 May 2013] MACLEAN, L. 2010. ARE MAGAZINES REALLY DYING OUT? [online] The Guardian. Available at: http://www.guardian.co.uk/ commentisfree/2010/may/20/magazines-zines-internet-ipad [accessed 12 May 2013] McCORMICK, N., 2011. RETROMANIA: POP CULTURE’S ADDICTION TO ITS OWN PAST BY SIMON REYNOLDS: REVIEW [online] The Telegraph. Available at: http://www.telegraph.co.uk/culture/books/bookreviews/8552382/Retromania-PopCultures-Addiction-to-Its-Own-Past-by-Simon-Reynolds-review.html [accessed 14 May 2013] MINTEL, 2013. MAGAZINE REPORT 2012 [online] Mintel. Available at: http://oxygen.mintel.com/sinatra/oxygen/list/ id=590328&type=RCItem#0_1___page_RCItem=0 [accessed 20 April 2013] MORLEY, A. 2011. HOW TO SET UP AN INDIE RECORD LABEL [online] The Guardian. Available at: http://www.guardian. co.uk/music/musicblog/2011/dec/09/independent-label-market [accessed 13 May 2013] MOORE, F., 2012. THE RECORD LABEL IS DEAD: LONG LIVE THE RECORD LABEL [online] The Telegraph. Available at: http://www.telegraph.co.uk/culture/music/9672807/The-record-label-is-dead-long-live-the-record-label.html [accessed 14 May 2013] McKEAN, C., 2011. IS POP CULTURE CONSUMING ITSELF? SIMON REYNOLDS DISCUSSES RETROMANIA [online] The Quietus. Available at: http://thequietus.com/articles/06386-simon-reynolds-retromania-interview [accessed 10 May 2013] OPPERMAN, D., 2013. WAX ECSTATIC: KYLE HALL, GERD JANSON, HIEROGLYPHIC BEING, AND MORE DISCUSS THE LIMITED VINYL CRAZE [online] XLR8R. Available at: http://www.xlr8r.com/features/2013/05/wax-ecstatic-kyle-hall-gerdjans?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+xlr8rnews+%28XLR8R+News+%26+Features% 29 [accessed 19 May 2013] PATTISON, L. 2009. PICK AND MIXTAPE [online]. The Guardian. Available at: http://www.guardian.co.uk/music/2009/may/30/ cassette-tapes-revival-indie-labels [accessed 03 May 2013] PATTENDEN, M. 2013. VINYL’S BACK IN THE GROOVE [online]. The Telegraph. Available at: http://www.telegraph.co.uk/ culture/music/rockandpopfeatures/8896951/Vinyls-back-in-the-groove.html [accessed 12 May 2013] PETERS, J. W., 2010. MAGAZINES TAKE A SHOT AT THE NET [online]. NY Times. Available at: http://mediadecoder. blogs.nytimes.com/2010/11/28/magazines-take-a-shot-at-the-net/?scp=1-b&sq=magazines+take+shot+at+internet&st=nyt [accessed 12 May 2013] POWELL, M. 2009. BREAKING THROUGH: KYLE HALL [online]. Resident Advisor. Available at: http://www.residentadvisor. net/feature.aspx?1116 [accessed 30 April 2013] PETRO, J., 2012. THE RISE OF VINYL [online] Music Think Tank. Available at: http://www.musicthinktank.com/blog/the-riseof-vinyl.html [accessed 04 May 2013] 98

PLUMMER, R. 2013. INDIE MUSIC SHOP ROUGH TRADE IN SHOW OF HEALTH [online] BBC. Available at: http://www.bbc. co.uk/news/business-22189036 [accessed 30 April 2013] RISHEL, H., 2011. LOCAL MUSIC STORE TO PROMOTE VINYL CULTURE WITH EVENT [online] Collegian. Available at: http://www.collegian.psu.edu/archive/2011/03/25/Stax_of_trax_show.aspx [accessed 02 May 2013] ROBERTS, M., 2013. HOW THE DIGITAL REVOLUTION IS RE-SHAPING ALBUM ARTWORK [online] Music Think Tank. Available at: http://www.musicthinktank.com/blog/how-the-digital-music-revolution-is-re-shaping-album-artwork.html [accessed 30 April 2013] STYLESIGHT TRENDBOARD, 2012. CONTENT MEETS COMMERCE [online]. Stylesight. Available at: http://www.stylesight. com/fashionoffice/board-dynamic.php?mypage=10&boardnum=19366&lang=en/ [accessed 12 May 2013] STYLUS, 2012. DIGITAL CULTURE, VISUALISE ME. [online]. Stylus. Available at: http://www.stylus.com/ [accessed 12 May 2013] STYLUS, 2012. BUILD AN ONLINE COMMUNITY, INSIDE AND OUTSIDE OF FACEBOOK [online] Stylus. Available at: http:// www.stylus.com/ [accessed 12 May 2013] SOTERIOU, H. 2012. CRATE DIGGING AND THE RESURGENCE OF VINYL [online] BBC. Available at: http://www.bbc. co.uk/news/entertainment-arts-21010240 [accessed 02 May 2013] SANDERS, R. 2012. PRINT ISN’T DYING – IT’S INNOVATIVE [online] Agility Blog. Available at: http://blog.agilitycms.com/ print-isn-t-dying-it-s-innovating [accessed 12 May 2013] SUSANKA, J., 2010. LISTENING TO MUSIC IN A DIGITAL AGE [online] Crisis Magazine. Available at: http://www. crisismagazine.com/2010/listening-to-music-in-the-digital-age [accessed 14 May 2013] STANLEY, B. 2013. THE DIY DREAMERS WHO NEVER GOT SIGNED [online] The Guardian. Available at: http://www. guardian.co.uk/music/2013/apr/03/diy-dreamers-never-got-signed [accessed 13 May 2013] TREI, M. 2012. IS IT TIME FOR A CASSETTE REVIVAL? THESE GUYS THINK IT IS [online] DVICE. Available at: http://www. dvice.com/archives/2012/01/is-it-time-for-1.php [accessed 09 May 2013] WELSH, A. 2012. ZINE AND DONE IT [online] The Independent. Available at: http://www.independent.co.uk/artsentertainment/music/features/zine-and-done-it-8300830.html [accessed 12 May 2013] WILSON, E. 2011. MAGAZINES BEGIN TO SELL THE FASHION THEY REVIEW [online] NY Times. Available at: http://www. nytimes.com/2011/09/26/business/media/magazines-begin-to-sell-the-fashion-they-review.html?pagewanted=all [accessed 12 May 2013] WELSH, A. 2012. WHO NEEDS RECORD LABELS? [online] The Independent. Available at: http://www.independent.co.uk/ arts-entertainment/music/features/who-needs-record-labels-1920056.html [accessed 12 May 2013] WILLIAMS, E., 2011. THE VINYL FACTORY CONCEPT [online] Creative Review. Available at: http://www.creativereview. co.uk/cr-blog/2011/march/vinyl-factory-st-martins-lane-hotel [accessed 02 May 2013] WEBER, C., 2012. DIGITAL KILLED ALBUM COVER ART – OR DID IT? [online] Examiner. Available at: http://www.examiner. com/article/digital-killed-album-cover-art-or-did-it [accessed 14 May 2013] 99

APPENDIX APPENDIX 1: Interview with Stefan Molinaro Producer, DJ and record collector - Hi Stefan, thank you for talking with me today. When did you start producing and Djing and why? I started Djing when I was 14. My dad has a lot of vinyl, and I used to listen to a lot of music with him when I was younger, I’d say this is where i get a lot of influences from for the music i make and decide to play. A main reason i started djin was due to my cousins playing sidewinder tapes in the car to me and the fact that my uncle was able to give me his pair of turntables. - As a DJ yourself, do you feel like DJing is something everyone wants to do? Over the past few years i’ve noticed a lot more people are suddenly showing their ‘high interest’ in music and Djing. - Does this bother you? Why do you think everyone now wants to be a DJ? . I think the change in popular music has a lot to do with the sudden trend to become a DJ. Dance music has conquered the charts with a lot of DJ/producers now being the ‘superstars’, I think this has influenced a lot of people to take up the art (lol). - You often play vinyl when you DJ. What is it you prefer about playing vinyl rather than using CDs or a laptop? Whilst DJin i like to be able to physically touch the vinyls, it’s definitely a lot more fun and you cannot beat the sound produced from a Vinyls record over a CD or USB controller. - Do you value DJs a lot more when they use vinyl during their sets? Yeah. It requires a lot more skill to mix vinyl, rather than just pressing a sync button. There’s always a better selection of tunes played during a vinyl-only set, as DJs can only bring a limited amount of records with them. I know they’ve taken a lot more time to carefully pick out records they want to play, rather than pleasing a crowd. - What is your opinion on vinyl-only releases? The best way to put out music and get it out to the right people. - When did you start collecting records, and why? I started back when I first got my turntables, again because of my dads collection it definitely inspired me to start my own. I also needed songs to play on my own turntables in order to practice mixing. - What is it you value about owning records? The artwork is definitely a big part to owning records, I love collecting old records and knowing that in future they’ll be a little insight into the era they were made. Having a physical copy that you can hold is far more valuable to me than owning an mp3 that can easily get lost or duplicated, I could lose my entire library with ease but it would take a lot more to get rid of my physical collection. - What persuades you to buy a record, rather than buying the MP3 version? Sound quality and the fact of having a physical copy. - Is there anything in particular that you look for when buying records, besides from the music itself? Nice artwork, the amount of presses that were put out (How many it was limited by) It’s also nice to buy some 5 or 7”s occasionally. - Have you ever bought a record solely for the artwork? Why? I had to buy some of the Pink Floyd albums, I really liked the artwork on those. I think they’re nice to have in the collection to show people. 100

- What kind of EP artwork appeals to you the most? Is there any particular trend you have noticed recently? I’ve noticed a lot of photographs being used recently, also hand drawings seem to be appearing on EP covers. Hand stamps are being used a lot for limited runs which i personally love. Minimal designs normally appeal to me more especially if the vinyl is marbled or a colour other than black. Minimal artwork focuses more on the music within the EP itself. - Are you more inclined to buy music if it is produced in a limited run? Yeah, as I know I’m one of the only few people that have it. It means more that way. I recently managed to get a handmade 5” record from Kyle Hall, a producer from Detroit, and there was only 7 copies pressed in the world for Record Store Day. It’s nice knowing I was lucky enough to get one. I didn’t even know what tracks were on it - no one did - but because it was handmade and there was only seven copies in the world it felt way more special owning that record. Kyle Hall wrote a handwritten message in there too, and it was all hand stamped. I was then talking to him via email and he put me on the guest list for his launch party in London a few weeks later. That personal communication between the producer and the buyer is something I really value as a collector. - Where do you go to discover new record labels, artists and music? I follow certain record labels, which I can then look for at a Record Store. I often then ask the guys at the sore for new releases from similar labels, as I trust their opinion. Sometimes I just go and have a listen or ask for any recommendations. I also look online via places like SoundCloud, Surus, Beatport, Juno, or the Record Store websites. I also follow a lot of DJs and producers on Twitter and Soundcloud, which is a good way to find out music from people you admire. Resident Advisor is an important one to follow too. - Do you ever buy music magazines? Why? No not really. I find that they are rarely up to date with the music I like, and they’re all quite alike. They don’t go into depth about certain labels, artists or a particular genre - they just touch the surface and I’m not interested in that. If I buy something physical, I want it to look nice so I can keep it. Music magazines all tend to look the same and you can clearly tell they’re mass-produced. - Do you ever look at music blogs? Why? No. I think a lot of music blogs post something because everyone else does, and it’s not their personal interest. They all seem to have a race with each other, and it takes the value away from the artist’s new releases. Do you often read up on a new record label, artist or band you recently found? If so, where do you find the information? Yeah, if I hear one track from a new artist I discovered I want to find out what else is under that label, and what they’re all about. It’s nice when someone asks me about a record label and I can hold a conversation about it. It’s valued amongst me and my friends too. I mainly go to Resident Advisor to find out about the labels, and if I like the label enough I’ll go on their Facebook page or whatever. If you favourite them on Resident Advisor or Facebook, it will often update you with new articles from music magazines or blogs. Do you feel valued by the record labels you stay loyal to? For example, you attend their events, read up on their artists, follow and buy their new releases) Certain labels I feel valued by, and I think it’s easy to tell when a label values their listeners. Some labels put out the odd free song or put on exclusive parties or competitions, or like Kyle Hall, produce something in a limited run and give their own personal message and artwork and stuff alongside it. - What could record labels do to engage with their listeners and fans, and make them feel more valued? Free exclusive parties and exclusive material given out to those that really care and value their work as a record label.

101

- There has been a recent vinyl revival in the past few years, with the celebration of Record Store Day. Do you think this is a flying trend amongst young people or do you think vinyl is here to stay? To be honest, I’m not really bothered. I know it’s going to stay for me, so that’s all that matters. Vinyl won’t ever die out, there are too many people that care about it. Crate is a collectable, quarterly magazine that takes an innovative, cultured and intelligent approach to electronic music while supporting the work of independent record labels. Each issue is dedicated to a different independent record label and will be produced in a limited run. This is inspired by the increase of exclusivity, the vinyl revival, and the rise of vinyl-only presses within electronic music in a digital age. The record labels will be carefully selected by Crate to ensure their consumers fit in with the ideologies and values of the Crate consumer. Wild Oats has been chosen for the first issue, as it is a renowned upcoming vinyl-based label in the electronic music scene. It has also branded its label heavily on aesthetics as well as sound, and Kyle Hall, who runs the label, is launching his new EP in the UK this summer. - Would this be the type of thing you would buy? Why? Definitely. It supports the work of independent record labels while giving a detailed insight into each label. As long as the content is thorough and differs from other music magazines and blogs, people would definitely be interested in buying something like this. Knowing there are only a limited amount of copies on each label will encourage people to buy Crate, and it’s a nice way of marking a time in history in the digital age that we live in. - What kind of content would you expect to see in a publication of this sort? - Would an exclusive tape featuring a few tracks or mix from the label be of any interest to you? - How much would you pay for Crate? The amount of copies produced would definitely alter the amount I would pay for it. The less copies produced, the more I’d be willing to pay. If there was an event, I’d happily pay £15. Otherwise, for the tape and exclusive content etc, I’d probably pay around £10. Thanks for taking the time to answer these questions. India Rose

102

APPENDIX 3: Email with Midori from Wild Oats India Rose <indiaroseblog@gmail.com> 29 Apr to midori Hi Midori, Kyle (I assume it’s Kyle who runs the Wild Oats Twitter?) just gave me your email when I asked whether you would be happy to help out for a university project I’m doing. He said he’d me more than happy to help. My name is India Rose, and I’m in my final year at Nottingham Trent University, UK. For my dissertation I’m creating Crate, a collectable, quarterly magazine that takes an innovative, cultured and intelligent approach to electronic music while supporting the work of independent record labels. Each issue of Crate is dedicated to a different independent record label and will be produced in a limited run. The record labels will be carefully selected by the magazine to ensure their consumers fit in with the ideologies and values of the Crate consumer. I am a huge fan of Wild Oats Records and the artwork accompanying your releases and events, so would like to feature Wild Oats for the first issue. This, of course, is only hypothetical, so wouldn’t be sold. It’s just for university. As the magazine will include exclusive content - including invites, artwork, interviews etc - I’m wondering whether you would be happy to send me over some hi res images of any artwork or visuals related to Wild Oats to include in the magazine? If, for the artwork, you have a specific artist or designer, and it would be better for me to contact them, would you be able to forward on this message or give me their email? You will all be credited for anything you send over that is put in the magazine, and it will only be viewed by my tutors. Thanks and I hope to hear from you soon, India Midori | Wild Oats 29 Apr to me Hi India, Thank you for thinking of us for your project. I think we may be able to help you out. Were there any specific titles you had in mind, as far as artwork? I remember writing my thesis at school and needing some help from artists, so i totally understand. In the meantime, allow me to gather some images for you. Best, Midori

103

India Rose <indiaroseblog@gmail.com> 29 Apr to Midori Hi Midori, Thanks for getting back to me so quickly. If you’ve done it yourself you know how stressful it can be without the right contacts in the time frame you have, so thanks for helping me out too. Well as the issue would solely be about Wild Oats - including anyone involved with the label - any related artwork or visuals would be relevant, whether it be artwork taken from an EP or just work the artist has done. Obviously the more the better, but any amount would be helpful. Is it you designs does the artwork? Kyle didn’t actually tell me when he gave me your email. Best, India

Midori | Wild Oats 29 Apr to me Sure, I will gather as much artwork as I can in the next few days. I actually did do the artwork for The Boat Party. I did photography, Kyle did the editing and coloring. We came up with the concept and meaning around it together. For his earlier work, our friend Cleveland Thrasher did the artwork-- Sungoddess, Kaychunk, the Anthony Shakir record, and NSNT. And even earlier (when Kyle was in high school) a friend Sean Linn. So through the discography, you can track the growth not only through the music, but the artwork too. It’s nice that everything is usually in-house. Hopefully by the end of the week I can send you something via WeTransfer, so look out for that. Peace, Midori

104

APPENDIX 3: Interview with Callum Reece Works at Mixmag - Hi Callum, thank you for talking with me today. When did you start working at Mixmag, and what made you want to start working for them? I’ve been at Mixmag for just under two years now. Had always wanted to work for one of the top music magazines in the country after studying journalism and running a number of music nights at university. Managed to get work experience and literally after 2 hours in the office I knew this was exactly where I wanted to be. - What do you think makes a good music magazine? Without question it has to be the team. Right through from the writers, photographers, design team and MDs if collectively they are all on the same page and are pulling in the same direction good things happen. - Music magazines are currently dealing with the growing possibility of their medium being rendered obsolete by the expansion of online media. How has the market changed since you have been working at Mixmag? When I started the mag had gone from selling over 100,000 copies a year to around 30,000 in something like 8 years. The magazine market appears to be on a consistent slide which means we have to find are source of income from other areas. Our website continues to go from strength to strength and we’ve also branched out into running events and creating a TV channel. - As media evolves, major magazine publishers are expanding to offer other media and services. Esquire is moving into e-book publishing, Vice is moving into television, and Wired is moving into the conference and event-planning arena. Do you think there is room for both digital and print media in music, or are music magazines in danger of dying out in the future? There is always going to be room for both. I think its more of a case of is there going to be demand for both in say like 10 years and realistically its going to be about 10% 90% in the favour of online and apps maybe even 5% 95%! It’s a massive shame as there is nothing like having a good read of a magazine. That physical copy can’t be replicated and we’ve seen the same thing happen with how people now consume their music. - Has Mixmag been affected by this shift in the market? How has Mixmag dealt with it? Initially we were but we handled it really well. Took stock a bit, saw what the issues were and then adapted and moved forward. Like I mentioned earlier we’re finding new ways to ensure the company stays profitable and so far it’s going really well. - What do you think music magazines have that online media doesn’t? Personally for me it’s attention span. I tend to skim read a lot of articles I read online whereas with a magazine I naturally seem to take my time and commit to the article. I also think with a magazine you can get a real feel for the actual issue, it may include various articles about one general subject be that the summer season in Ibiza or Glasto whereas with online media it feel like its always go to be more digestible, focused and current.

105

For my dissertation I’m creating a hypothetical music magazine. Here’s a brief introduction to it: “Crate is a collectable, quarterly magazine that takes an innovative, cultured and intelligent approach to electronic music while supporting the work of independent record labels. Each issue is dedicated to a different independent record label and will be produced in a limited run. This is inspired by the increase of exclusivity, the vinyl revival, and the rise of vinyl-only presses within electronic music in a digital age. The record labels will be carefully selected by Crate to ensure their consumers fit in with the ideologies and values of the Crate consumer. Wild Oats has been chosen for the first issue, as it is a renowned upcoming vinyl-based label in the electronic music scene. It has also branded its label heavily on aesthetics as well as sound, and Kyle Hall, who runs the label, is launching his new EP in the UK this summer.” Crate will be its own brand, with a fairly minimal aesthetic. This allows each record label and their artwork shine through, while still keeping each magazine consistent. Content will include: - Exclusive interviews focusing on the culture surrounding the labels, personal stories and an in depth history of the label, giving a reader an insight into the people behind that label (this will be similar to RA and Red Bull Academy lectures, rather than the standard questions you often get with music magazines and blogs. It’s a little more in depth, as we have the whole issue to play with for each label). - Exclusive artwork will feature in the magazine from the artist involved in each label. The limited number of copies will feature artwork on A4 card or thick paper, which will be fixed into the spine. This is designed to keep or use as a poster. - One-use codes. Like the Nonplus Think and Change box set, for example, a small piece of paper will be fixed into each copy with a one-use code for an exclusive download (this will be digital for cost reasons) and/or for the first pre-sale vinyl orders for that label. - Exclusive invites. Depending on whether a branded event co-hosted by each label is feasible (close knit event like Boiler Room with limited capacity), invites will be given out in the limited number of copies and will not reissue anymore outside of the publication. This builds hype around an event and in turn the publication. This could also change the quantity of magazines printed per issue. • - A tape with an exclusive mix from the label, featuring unreleased tracks from the artists themselves or upcoming artists. This will be heavily branded for Crate, so they can be collected as a set like the box sets.” - Would this be the type of thing you would buy? Why? Sounds cool like the idea and the fact that it’s completely dedicated to one label means that’s there should be some wicked content in there that may not exist in another publication. One point to make/warning is that a lot of it seems to depend on exclusive content which can often be quite hard to get if you don’t have a bit of power behind your publication. Distribution for something like this would also be KEY but as an initial idea I’m backing it. Each issue we do our cover star guest edits a whole section of the magazine and its led to some amazing stories that we’ve been the first to have so that whole unique insight into an act or label definitely works.

106

- What kind of content would you expect to see in a publication of this sort? (If I haven’t mentioned anything already) A section dedicated to the labels influences would be wicked as it would also allow the reader to get even more of an insight into their favourite label and potentially they’d discover new music which we’ve all got time for. Would be quite nice to get an insight into what they do when there not working on the label as well as other labels they’re into. - Would an exclusive tape featuring a few tracks or mix from the label be of any interest to you? For sure - like I said we’ve all got time for new music! - How much would you pay for Crate? (Mention if there was an invite for an exclusive event, and if that wasn’t feasible how much would you pay for it without the event) I’d say even for a quarterly mag with epic content music and an invite no one would really want to go more than £10 mainly due most people always waning stuff for free or as cheap as possible! Thanks for taking the time to answer these questions. No worries my dear – jah bless.

107

APPENDIX 4: Questionnaire What do I want to figure out? - Age/gender - How do you search for new music Youtube (32%) Soundcloud (68%) Facebook (25%) Twitter (28%) Spotify (15%) 22 Tracks (12%) Blogs (32%) Podcasts (29%) Online magazines (22%) Magazines (18%) Word of mouth (47%) Record store (5%) Radio (14%) Other (please specify)? DJ sets from websites like Boiler Room was mentioned numerous times - Where do you buy your music from (Tick all that apply)? iTunes (16%) Beatport (22%) Via Soundcloud (33%) Record stores (42%) Online record stores (19%) MP3 online coverter (30%) Torrent sites (75%) Other (please specify)? Sent from friends, free downloads via Soundcloud and blogs - Are you more inclined to buy music if it is produced in a limited run? Yes (69%) No (31) - Do you pride yourself in owning a limited release? Yes (77%) No (23%) - Why? - Do you prefer to own the artwork of a new album or EP (printed or digital)? Yes (62%) Not bothered (38%) No (0%) 108

- Are you more inclined to buy albums or EPs rather than buying the MP3 versions if you like the artwork? Yes (57%) No (43%) - Have you ever bought an EP solely for the artwork? Yes (25%) No (75%) - Do you ever buy music magazines? Yes (21%) No (79%) - Why? - What don’t you like about music magazines? - Would you ever buy a magazine just by looking at the front cover? Yes (29%) No (71%) - What don’t you like about music blogs? - Where do you go to find out about a record label you like? (Tick all that apply) Resident Advisor (45%) Blogs (24%) SoundCloud (38%) Documentaries (61%) Label’s own website (69%) Other? - How often do you read up on a new record label, artist or band you recently found? Often (45%) Sometimes (32%) Never (33%) - What do you enjoy reading about the most? - Do you feel valued by the record labels you love? (You attend their events, read up on their artists, follow and buy their new releases) Yes (24%) No (76%) Why? - If no, what could record labels do to make you feel valued?

109

APPENDIX 5: Secondary Research Proof that support from big independent record labels can happen

Vinyl Sales

110

111

ANALOGUE V DIGIAL

112

113

114

115