that have gone hand in hand with the format’s unlikely resurgence have finally pushed the artist/entrepreneur to the point of wanting to break it off with analog discs.
It’s early June, and Anderson has just heard back from a pressing plant about an order he made — and, he says, paid for in full — last December. The plant’s expected completion date: October 30, a full 10 months after his payment. “Clearly small labels can’t operate with money tied up for that length of time,” Anderson tells me. “I’m going back to doing cassettes and CDs. Everything about vinyl pressing is just awful right now. From poor quality [to] lack of customer service. Not to mention even distributing/selling the darn things!”
over the past year. Another focus of criticism and backlash has been the vinyl shoppers’ annual holiday: Record Store Day. Amid growing acknowledgement that vinyl may not sound discernibly
than other formats — just different — the next targets of (self?) mockery have been vinyl enthusiasts themselves; as evidenced, for instance, in a recent
The frontman for noise-pop veterans Boyracer and head of likeminded label 555 Recordings has been releasing music on vinyl since 1991. But the well-documented