New EU packaging rules known as ‘PPWR’ (Packaging and Packaging Waste Regulation), designed to reduce the environmental impact of packaging waste, entered into force on August 12, 2026.

If you sell vinyl records in or to the EU, this means you may now have to cover the cost of recycling packaging such as LP jackets, cardboard mailers, shrink wrap and inserts.

For vinyl sellers, the issue is not only the cost of recycling packaging, but the broader administrative burden attached to Extended Producer Responsibility. According to FirstFloor, depending on where and how they sell, businesses may need to register with national packaging systems, pay recycling fees, meet recyclability requirements, and in some cross-border cases appoint an authorised representative in each EU market where they sell.

If you are a record shop simply reselling other people’s vinyl, responsibility for the original product packaging may sit elsewhere in the chain. However, if you are a label or independent artist selling your own releases directly to consumers, you will generally have EPR obligations for the packaging you put onto the market.

First Floor argues that the burden could be especially difficult for small sellers using platforms such as Bandcamp, Discogs and other direct-to-consumer marketplaces. Independent labels, artists, collectors and niche sellers often rely on low-volume cross-border sales, where even modest annual compliance costs can quickly make small runs of records, tapes or merchandise uneconomical to sell across multiple EU countries.

Our Take: If PPWR makes sales too expensive or complex, smaller operators may retreat from EU markets, leaving more of the physical music ecosystem in the hands of larger retailers and distributors. For the vinyl industry, the priority should be practical compliance pathways that improve packaging standards without undermining the small-scale sellers who keep record culture diverse and international.

Suno Plans Vinyl Pressing Service for AI Music Creators

Suno has announced that its users will soon be able to turn songs generated through its AI music platform into physical records through a new service called Suno Vinyl. Users can build a tracklist from their Suno library, with up to 46 minutes of audio per record, and design the sleeve, labels and cover using their own artwork or Suno-generated artwork.

Each 12-inch black record is made from PETG and comes with a full-colour printed sleeve and labels. The finished record will be quality checked, pressed and shipped directly to the user, with pricing estimated at $45 plus shipping, according to Music Business Worldwide.

Suno recently raised more than $400 million in a funding round valuing the company at $5.4 billion. The company says the service is aimed at users who want to turn AI-generated music into personal keepsakes or gifts. “Press a personal keepsake. Press a gift for a loved one. Press the anniversary song, the birthday track, the inside joke that became an anthem,” the Suno Vinyl page reads.

Suno’s move follows a wider push toward on-demand vinyl. In 2025, SoundCloud teamed up with elasticStage to offer artists direct access to made-to-order vinyl pressing, with no minimum order. Suno applies a similar logic to AI-generated music, extending the model from independent artist releases into personalised, platform-native creations.

Our Take: Suno Vinyl highlights both the promise and the tension of on-demand pressing. The technology could open new pathways for personalised, small-run physical records, but applying it to AI-generated music raises unresolved questions around rights, authorship and transparency. For the vinyl industry, the key issue is whether physical products are being made with clear rights, transparent authorship and respect for the creative work behind the music.

Fans Frustrated by Incomplete Vinyl Editions

A new report by The Guardian has found that several recent vinyl releases have arrived with different mixes, shortened tracks or missing songs, leaving some fans feeling ‘shortchanged’.

The feature highlights examples including Charli xcx’s ‘No One Lasts Forever’, where a spoken-word contribution from filmmaker David Cronenberg was missing, as well as Olivia Rodrigo’s latest album, where the vinyl edition contained missing bridges, outros and other musical passages.

Fans who discover missing musical sections across a range of recent releases have sometimes initially assumed their copies were mispressed, highlighting a potential gap in understanding around the vinyl manufacturing process and the time required to produce physical records.

While artists have apologised to fans, many of whom preordered the vinyl editions, the phenomenon highlights the need for artists and labels to account for the longer lead times required for vinyl releases.

Pressing plants typically require masters and artwork several weeks ahead of release, meaning physical editions can need to be finalised while an album is still being completed for digital release.

Our Take: Vinyl is still seen as one of the most desirable and collectible formats for music fans. Labels should build vinyl manufacturing lead times into the release process as early as possible and clearly communicate any differences between physical and digital editions, helping maintain consumer confidence in vinyl as a premium physical format.

CUE BURN POLL: WHAT’S YOUR TAKE?

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Q&A: Cue The Record on The Power of Collective Vinyl Listening

Mustafa Ali-Smith was enjoying success as a vinyl-only DJ in New York when he realised something was missing. While getting people to dance felt great, he became increasingly aware of how disconnected many of his peers felt in nightlife. At the same time he realised he wanted to create a space where individual, unheard tracks could have more room to breathe, rather than always blending one hit record into the next.

Inspired by the growing conversation around ‘third spaces’, places where people can gather, connect and spend time together outside of home and work, he saw an opportunity to create a space where people could slow down and experience an album in full, with its music, artwork and history brought into focus.

That idea became Cue the Record, a listening event built around music, community and intentional listening. What began with around 10 people has grown to an average of 80 attendees, with a dedicated sound system, mobile record store and plans for a Cue the Record radio platform dedicated to vinyl-only DJ sets.

Behind the scenes, Cue the Record is undoubtedly serious about its cultural objectives, collaborating with institutions such as the Brooklyn Museum, and often selecting meaningful records that have had a significant social impact on people’s lives.

However, a huge part of the event’s success comes from the informal setting, which encourages participants to tap their feet, sing along to their favourite songs and share their personal stories and connections to an album. This genuine spirit of participation has helped Cue The Record become a community that people return to, not only to discover new records but to connect with fellow music enthusiasts.

Why are events like Cue The Record especially popular now?

Mustafa Ali-Smith: People are yearning for connection and to relate to other folks. You don’t get to do that on an intimate level as much in the New York nightlife space. You’re there, but you aren’t typically talking to the people around you or engaging with them on a deeper level.

At Cue the Record, it’s typically a bunch of strangers in a room. Here and there, someone will bring a friend, but for the most part, it’s strangers. The connection and throughline is that they all came because they have an interest in the album we’re covering, or they’ve heard of it. That becomes the starting point for them to talk to their neighbour or connect with other folks in the room who they wouldn’t otherwise talk to.

We’ve cracked the formula of bringing random people into a room and having them leave feeling connected to those people, with music as the throughline. Music is so universal. We’ve done so many different types of albums. We just did Patrice Rushen and Minnie Riperton, but then we’ve done a Future record and a Rihanna record. These bring out different types of groups, but people connect over music universally, no matter the genre or when it was released. We found something universal here, and that’s why it works.

Why is vinyl an important part of that listening experience?

First, I’m a vinyl head, so I wanted it to be vinyl. But the other piece is that vinyl forces us to slow down and be in the moment. It matters so much more for the audience to go through the listening process with us rather than us just being up there hitting a button.

For them to be in the crowd and hear us talk about the record, talk about previous projects the artist worked on, show the album artwork, pull the record from the sleeve, lay it down, and play it, then to move into the listening portion where they see us brush off the record, place it down, and put the needle on the vinyl, then people’s eyes start to close as the song starts to play. That’s a full process they get to experience that forces them to slow down. New York is so fast-paced, moving at the speed of light, and people don’t get moments that frequently to just sit and go through a process slowly.

Do you think vinyl records have something unique about them that preserves cultural history?

The vinyl record in and of itself speaks to why we do what we do. The record is an archive and a piece of history. When you look at the back of a record, you see the musicians, producers, photographer, and cover designer. These details completely pass us by when we just hit play on a streaming service. You don’t get much in the way of liner notes on streaming.

Through these sessions, we uncover connected histories. For example, Buddy Miles played drums on Bette Davis’s 1974 album They Say I’m Different. When we covered Minnie Riperton’s 1974 album, guitarist Marlo Henderson played on it, and both Marlo and Buddy ran in the same circles working with Jimi Hendrix and Miles Davis. Both records share a similar rock-aligned feel and were released in the same year with overlapping musicians. That’s information we were able to uncover directly from dissecting the liner notes. It’s about maintaining the history carried within the physical record.

Do you think people want to listen to full albums now more than ever?

The fact of the matter is that people just don’t listen to full albums as much as they did in the past. That’s in part to blame on social media, which is about having a viral soundbite, putting out viral songs, and those being the highlights of the album.

What we’re trying to do is push a narrative that it’s important to listen to full bodies of work. What we’ve seen is that people come in and say, “I heard this song and that song, but I never listened to the full project.” For a lot of people, they’re doing it for the first time with us.

With Cue the Record, people are trusting us as musical archivists. Because of that, they are more willing to explore projects in full that they probably wouldn’t have considered in the past.

How do people usually experience Cue The Record listening sessions?

Before we start every session, we give our run of show and set expectations. I feel our listening sessions might be somewhat non-traditional compared to other groups that require complete silence. The reality is that it’s not natural for us to listen to things and not respond. As listeners, it’s natural to tap our feet, hum, sing, or dance.

We preface every listening session by telling our audience that whatever the music is calling you to do, we want you to do it and feel the music in that way. We still ask them to be respectful of others in the room, no side chatter; if you have to talk, step out. Generally, people respect that, and you see it bring up so many things.

We did a Willie Colón listening session, one of the most popular salsa albums ever released, and people got up and started salsa dancing. You see people singing, and for the more emotionally pulling albums, you see people cry. You get so many different emotions.

Telling people to feel it and allowing them to respond in that way is what makes Cue the Record so unique. We’re not asking people to be performative and just sit there. If they want to sit there, they can, but we want them to respond in the most authentic way they want to.

What audience attends Cue the Record?

It varies every single session as far as age range. You have anyone from their late 20s and early 30s all the way to their 60s or 70s. We have folks bringing their parents, and people who were alive when the albums came out in the ‘70s.

When we get to the Q&A portion, we get to hear from all of these people. For example, when we covered Bobby Caldwell’s self-titled album, someone in the audience took the mic and shared that she was 13 when the album came out in the early ‘70s, and that they used to play it at the roller-skating rink. You get that in every session. It’s beautiful because we want it to be a mixed-age demographic.

It also varies across race. Seeing us do Willie Colón brings out a lot of folks from a Latin background; doing Bob Marley’s Exodus brings out folks who identify with the Rastafari tradition. Our albums are meant to bring out different types of people, and we see that across the board.

What sets us apart from other listening spaces is that we state upfront that we aren’t the sole experts. I host, typically with a co-host, and we often mention that while we’ve done a substantial amount of research, we are not experts on the entirety of someone’s life. When we get to the Q&A, everyone in the audience is an expert in their own experiences connected to that record, and we want to hear from them.

Do you see Cue The Record as an educational space?

We play two parts: it’s educational, but it’s also a fun, engaging experience. I align our hosts and presenters as music historians and cultural archivists because so much of what we do, not just during the listening session, but on social media, is uplifting archival footage and videos related to the artist.

If we’re doing a Minnie Riperton session, we post archive clips of her performing beforehand to table-set with our followers. So much of our presentation is research-based. We go into the archive to tell the story of the artist and build a narrative around them. It’s educational at its root, but also very engaging. Those two things can sit in the same space, and we are an example of that.

What keeps people coming back to Cue The Record and creates a real community feeling?

It’s rare that people get to listen to music in this way amongst other people. Having a shared space to listen fully together intrigues people, as does the curiosity of finding out something they didn’t know about a project they love.

We could do a popular album like D’Angelo’s Voodoo, and someone in the crowd will say, “I’ve listened to this so many times, but this is the first time I heard this instrument on this sound system,” or, “This is the first time I drew the connection that D’Angelo created this album in the studio with the Soulquarians, Common, and Erykah Badu.” Tapping into people’s curiosity brings them to learn. We give out program cards with the tracklist and an overview, and people jot down notes.

To build community before the event starts, we bake in 30 to 40 minutes for people to talk to one another. I go around and introduce myself so everyone meets at least one person. After the event, I talk to folks again.

The Q&A piece where we pass around the mic helps a lot. It’s rare that you get a chance to share in an open audience about how you connect with an album, and giving people that platform creates a strong sense of connection.

How important is the sound system you have for the event?

The sound system was a priority for us. To have credibility as a listening space, we needed a good sound system. When we first started, we didn’t have a great system, but around our fifth session, we made an investment in one.

Now, when we announce records, people tell us, “I haven’t heard this before, and I’m not going to listen to it until the session because I want to hear it on Cue the Record’s sound system.” People tell us they hear things they’ve never heard before. That’s how important it is. Even now, we’re consistently thinking about how we can improve the sound because new ways of listening are always being designed.

Lastly, having experienced the success of Cue The Record, what would you say is the true value of vinyl records?

To me, the value of a vinyl record is about the stories it holds, whose hands it touched, who gets to listen to it, and who put their time and effort into bringing it to life. A used record has lived so much life before it gets to you. I find records with written notes inside, and knowing that a record has lived through so much and will live beyond me is what’s important. It’s about the stories the record carries.

This conversation has been condensed and edited for clarity. The views expressed are solely those of the featured creators and do not necessarily reflect the views of The Vinyl Alliance.

Have a vinyl industry story to share? We’d love to hear it! Email us at cueburn@vinylalliance.org and let’s start the conversation.

Vinyl Alliance Heads back to Haarlem

The Vinyl Alliance will be attending Making Vinyl Europe and the Haarlem Vinyl Festival, taking place in Haarlem, Netherlands from 30 September to 4 October.

This year’s conference edition explores the theme ‘Building Value Beyond Volume’, bringing together pressing plants, labels, suppliers, engineers, manufacturers, retailers and other professionals from across the vinyl industry to explore new ideas shaping the future of physical music.

Over the weekend, festival attendees can expect a full-on celebration of vinyl culture, with shows, listening sessions, a record fair - now moved to Haarlem’s central square, talks, a gear repair cafe and the Vinyl Alliance’s “education zone” with access to experts from around the industry.

If you’re heading to Haarlem, we’d love to meet you. Whether you’re a Vinyl Alliance member, industry partner or simply want to find out more about what we’re working on, get in touch to arrange a chat with the team. See you in Haarlem!

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Two new mid-year reports from the US and UK show that demand for physical music ownership continues to grow across both vinyl and CD.

In the US, CD sales surged 16% to 16.3 million units during the first half of 2026, outpacing vinyl’s 2.4% growth, according to Luminate. Even excluding BTS’ ‘ARIRANG’ and K-pop releases more broadly, CD sales still increased by 6.7%, with Luminate attributing the format’s renewed appeal to affordability, nostalgia and collectability. Around half of Gen Z and Millennial CD buyers also don’t actually own a CD player, highlighting how physical music is increasingly valued as a cultural object rather than just a playback format.

Meanwhile, vinyl has now surpassed CDs in value in the UK physical music market, according to Music Week. Physical album sales grew 3.7% year-on-year to 8.1 million units, with vinyl cited as the main driver of growth. Vinyl sales increased 16.4% year-on-year to 3.8 million units, putting the format on track to also overtake CDs in volume later this year. The performance was driven by another successful Record Store Day alongside major new releases including Harry Styles’ ‘Kiss All The Time. Disco, Occasionally’, which sold more than 157,000 physical copies.

With the average vinyl LP selling for around £29 (€34, $38) compared with approximately £12 (€14, $16) for a CD, according to the ERA, the two formats increasingly serve different roles within the market. Vinyl has a higher-value role in the physical market, while CDs provide a more accessible entry point into physical music ownership.

Our Take: Overall, physical music sales continue to grow, demonstrating that younger audiences, like Gen Z and Gen Alpha, value ownership, collectability and a tangible connection to artists. The question for the vinyl industry is: ‘How to protect vinyl’s value and quality while also making sure there are accessible paths for younger fans to participate in the culture?’

Tiny Vinyl Launches Tiny Record Player

Tiny Vinyl has launched a record player designed exclusively for its 4-inch records, featuring built-in speakers and Bluetooth connectivity. Billed as the world’s smallest record player, it is now available at Target in the US for $50 (£38,€44), alongside a mini Crate $20 (£15,€17) and Frame accessory $15 (£11,€13).

The Nashville-based company recently celebrated pressing its millionth Tiny Vinyl record, with co-founder Neil Kohler attributing the brand’s success to the accessibility of its products. “When we go to vinyl conferences, we’re always surprised by the number of people who thank us for getting more people into vinyl,” Kohler told What Hi-Fi?. “It’s not something you sit down with to listen to The Dark Side of the Moon,” he added. “It’s not that kind of product, and it was never meant to be.”

Tiny Vinyl collaborated with engineers who previously worked on Marshall Bluetooth products to develop the player, creating custom-built components, including a miniature tonearm, platter, and control panel, specifically for the new playback device.

Our Take: The Tiny Vinyl record player helps broaden the appeal of vinyl culture by targeting those who might not have the living space to accommodate larger vinyl playback systems, or who may not be ready to invest in higher-priced records and hardware. Products like these help introduce new audiences to vinyl ownership, and as these consumers become more engaged, they represent potential future customers for 7” and 12” records, as well as higher-end playback systems.

Warner Music Tests Vinyl Recycling Scheme With Independent Record Stores

Warner Music Group has launched a pilot scheme inviting consumers to recycle damaged or unwanted vinyl records at select independent US record stores. From July through September 2026, stores including Sweat Records (Miami), Rough Trade (NYC) and Amoeba Music (LA) will accept records regardless of the artist, label or condition. Working with recovery partner Virterras Materials, the pilot will assess participation rates, material quality, transportation and processing requirements, as well as the overall viability of large-scale vinyl recovery, according to Music Business Worldwide.

“Independent record stores have long served as gathering places for music fans and stewards of music culture,” said Madeleine Smith, Senior Director of ESG at Warner Music Group. “The pilot brings together retailers, recovery partners, and music fans to explore an important question: what would it take to create practical pathways for recovering unplayable or damaged vinyl records? It’s a vital first step in understanding what’s possible.” The initiative follows Warner Music’s previous collaboration with GZ Media and Abbey Road Studios, which demonstrated that unsold vinyl records could be recycled into new records without compromising sound quality.

Check the Warner Music website to see if a record store located near you is taking part.

Our Take: At a time when many third spaces, from clubs to grassroots venues, are disappearing, Warner Music’s recycling pilot highlights the growing role record stores can play as community hubs. Beyond selling records, independent stores can become partners for initiatives that bring fans together, strengthen local music communities and create new value for vinyl culture. Read our interview with Carrie Colliton of Record Store Day for more ideas on working with independent record stores.

CUE BURN POLL: WHAT’S YOUR TAKE?

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Q&A: Laced Records’ Danny Kelleher on Why Gaming Fans Are Collecting Soundtracks on Vinyl

Video games have become one of the most culturally significant forces in global entertainment. Valued at $322.6 billion in 2025, the games market is now larger than recorded music and theatrical film combined, according to PWC. Yet, as gaming becomes increasingly digital-first, fans are turning to physical editions as a way to express their connection to the worlds, characters and soundtracks they love.

This is driving a new wave of demand for VGM vinyl (video game music vinyl), with soundtracks becoming collectible cultural objects in their own right. While vinyl releases of game soundtracks have a long history, from ‘Super Mario Bros’ to ‘The Legend of Zelda’, recent years have seen the format experience a major resurgence, fuelled by passionate gaming communities and demand for beautifully designed collector editions.

At the centre of this revival has been Laced Records. Founded in London in 2015, Laced has built a reputation through numerous respected releases, from acclaimed indie titles like ‘Hotline Miami’, whose soundtrack helped fuel the synthwave revival, to blockbuster franchises including ‘DOOM’ (2016), where Mick Gordon’s industrial-metal score became iconic far beyond gaming.

Most recently, Laced’s release of ‘Clair Obscur: Expedition 33’ demonstrated the growing cultural impact of game soundtracks, becoming one of the highest-charting original video game soundtracks ever released. It reached No.1 on the UK and French Vinyl Albums Charts and spent more than 20 weeks at No.1 on the Billboard Classical and Classical Crossover Albums charts.

To explore what is driving this new generation of game music collectors, we spoke with Laced founder Danny Kelleher about why gaming fans are embracing vinyl, how soundtracks are becoming cultural objects in their own right, and where the future of VGM vinyl is heading.

There’s been a lot of talk recently about Sony potentially moving away from physical gaming discs. Why do you think gaming fans, whose passion largely exists in a digital world, want to collect music on vinyl?

Danny Kelleher: Fans of particular video games and series love to have physical, tactile objects to express their fandom, everything from t-shirts to vinyl to skateboard decks! That’s potentially going to be even more the case as the games themselves move away from physical media.

As much as it’s an archival and high quality audio format, vinyl is also a premium-feeling piece of merchandise. Beyond the music it’s a way to enjoy large, beautifully printed artwork, highlighted by special effects like gold foiling or spot gloss. It’s also a way for the developers and musicians involved to elaborate on the aesthetics of the game and soundtrack.

Vinyl makes a great gift. You can frame the sleeves (and the discs themselves!) if you want. You can assemble a mighty collection of the greatest game music ever created to show off your taste. Above all, it’s a lasting piece of memorabilia that allows someone to relive what they loved about a game’s vibe, world, and lore.

Was there a big shift in behaviour you observed among gaming fans that convinced you there was an opportunity for video game soundtracks on vinyl?

Back in 2015/16, there were a couple of trends playing out. For Laced, we had the good fortune to work on one of the great indie game soundtracks, Hotline Miami. It was a compilation of underground artists so good that it travelled well beyond players of the game and contributed to the burgeoning synthwave genre.

That same year (2016) we also released the soundtrack for No Man’s Sky (although marketed by PlayStation, it was developed by a small indie team) which was created by 65daysofstatic, a pioneering instrumental rock band. Around that time, the trend of indie games collaborating with exciting music artists helped us find our feet as a label.

Another trend in the mid-2010s was that other labels including Data Discs were approaching video game companies, especially Japanese stalwarts such as SEGA, to produce vinyl for games with legendary soundtracks like Streets of Rage. A few years later we worked with Capcom to release some of the iconic Resident Evil soundtracks on vinyl, and went on from there to work with SEGA, Bandai Namco, Konami, Square Enix, and eventually Nintendo.

What do you think is different about gaming fans who collect vinyl compared with music fans who collect vinyl?

There is a significant difference from our experience, which is that the love of the game or series trumps the production quality or refinement of the music as judged against the wider music genre it may be speaking to. Also, the strength of affection for a game can see the soundtrack of a relatively tiny indie sell way more vinyl records than a heavily marketed AAA game.

We’ve seen hit after hit in the market, for example Minecraft, Undertale/Deltarune, Celeste, Stardew Valley, Hollow Knight, and Clair Obscur: Expedition 33, which were all games with relatively humble beginnings in terms of budget and team size. Sometimes, the solo or lead developer was also the composer, in the case of Toby Fox (Undertale) and ConcernedApe (Stardew Valley). Those soundtracks sell out concert venues, sometimes whole international tours, while some AAA IP struggles to garner that level of adulation.

For releases like the DOOM soundtrack it looks like you’ve released multiple editions that have sold out again and again. Is it part of your strategy to create four or more versions of each vinyl release, with alternate artwork and colour variants, so fans have different editions to choose from with each release?

We only really vary editions through disc colour and effect, although we judge each release on a case by case basis, including represses. In almost every case, we will make minimal production changes while picking an appealing new colour disc variant.

If enough time has passed, we will go all out on a reissue. For instance, our original Hotline Miami 3LP set is out of print, but for the game’s 10th anniversary we released an enormous 8LP set with every track from Hotline Miami and its sequel. Similarly, for Bloodborne’s 10th anniversary, we added a Volume 2 vinyl with additional tracks, and a collector’s box with stunning Caryl runes slipmat.

I read that you work closely with fans when developing your box sets. What does that actually mean in practice? Are you asking fans what kind of design or artwork they’d love to see?

The people working at games companies know their games backwards and forwards, and are often ardent fans of the franchises in question. Of course we research online to see what fans are saying about a potential music release on forums and social media; there’s also fan art platforms, wikis, and the like.

We will speak to superfans of a particular game if we need deeper context, or to double check an aspect of the lore. Sometimes the sleeve artist for a vinyl set will also be a big fan, for instance ultimatemaverickx with all our Mega Man releases. We’ve had series fans curate tracklists for sets as well, for instance with the Mega Man Zero/ZX: The Collection box set.

Where does vinyl sit among the other merchandise you create at Laced? Do you think there’s a different type of fan who wants vinyl versus CDs, cassettes, toys, or even MiniDiscs?

There are dedicated VGM vinyl collectors, then there are collectors of all merch relating to a particular game or series. For instance, we’ve seen some jawdropping collections of Resident Evil merch, where our vinyl sets are just one element.

We work with Devolver Digital and Jagex (RuneScape) on merchandise, where we’ve helped create woven blankets, socks, pins, plushies, and everything in between.

We often get requests for CD in addition to vinyl for releases, and the case for CD releases is gradually increasing once more in this age of ephemeral digital streaming services. We’ve produced MiniDisc in the past as a novelty, it’s not seeing a resurgence, really, and cassettes are a fun but still niche format. Generally speaking though, we’ve kept the Laced store angled towards music, predominantly vinyl.

It looks like you sell most of your records directly to fans, but do you think there’s greater potential for video game soundtracks on vinyl to be sold through traditional record stores?

We supply the vast majority of our releases to international distributors who, in turn, supply records stores all over the world. We love seeing our releases in the wild, and we’d also be very keen for more record stores to have a dedicated video games OST section. There are video game brands which have reached the mainstream: Halo, The Legend of Zelda, and DOOM for example; and newer games have had a massive impact, including Clair Obscur: Expedition 33. Those might be the trojan horses needed to convince record stores to make more space for video game music.

What do you think it means for video game composers and publishers to release a soundtrack on vinyl? Does it help elevate game music culturally or make a game’s release feel like a bigger cultural moment?

It’s putting a marker down in several ways. It’s saying ‘this music deserves to be memorialised in this long-lasting, beautiful-sounding format’. It identifies the game as one that is admired enough to justify high quality merchandise.

On the flip side, game companies see that a vinyl release adds a sense of quality, of classiness to a game or series. It can be a beat of a game’s marketing campaign, pre- or post-launch. It can also be a way to respond to community demand and support, for instance, we released the vinyl for Warhammer 40,000: Mechanicus years after the game and OST launched because fans had fallen in love with the music.

We’ve seen soundtracks and their vinyl releases resonate beyond the game, into music and cultural spaces, including the examples mentioned (DOOM 2016, Hotline Miami, Undertale, etc.) Video game concerts are a huge thing now, and our vinyl releases for the Final Symphony classical concert programs of Final Fantasy are a sublime way to enjoy that music.

The Clair Obscur: Expedition 33 physical soundtrack release became its own, enormous product launch, urged on by massive fan demand, and that success does raise eyebrows outside of gaming.

That said, perhaps we’re still waiting for a video game score or soundtrack album or song to go as mainstream as, say, Star Wars, Titanic, The Bodyguard, or Inception.

Do you think there’s a missed opportunity around classic games whose soundtracks have never been released on vinyl?

Yes, there are quite a few fan-favourite and cult soundtracks that haven’t had the vinyl treatment. Mainly, this is down to the priorities of the relevant rightsholders. Occasionally, it’s because the rights situation is unclear, and so it’s a legal no-go. But it’s our job in terms of label A&R to make the case for a particular vinyl release, and to cross all the t’s and dot all the i’s in terms of rights. L.A. Noire has an exquisite soundtrack but I don’t think that’s been pressed yet.

Where are you seeing the fastest growth in demand for video game soundtracks on vinyl? Is it still North America, or are other markets beginning to surprise you?

We recently announced vinyl sets for Zenless Zone Zero, and it has exceeded our expectations in terms of the Chinese market. That’s a very specific gaming brand though thanks to the HoYoverse being this huge cultural force, so it’s unclear whether other Western or Japanese soundtracks would also do well there, for example.

Lastly, what has been the vinyl release you have been most proud of creating with Laced Record?

Both the Halo Original Trilogy box set and The Legend of Zelda: Breath of the Wild took a long time and a lot of persistence to make happen when it comes to rights, so seeing those realised has been very satisfying. None of those sets are particularly crazy in terms of extra items or wild design choices, but we’re delighted with the final product quality and faithfulness to the games.

This conversation has been condensed and edited for clarity. The views expressed are solely those of the featured creators and do not necessarily reflect the views of The Vinyl Alliance.

Have a vinyl industry story to share? We’d love to hear it! Email us at cueburn@vinylalliance.org and let’s start the conversation.

Record Store Day Summer Camp 2026

The Vinyl Alliance will be attending Record Store Day Summer Camp 2026, the annual gathering of the independent record store community in New Orleans.

Taking place from 27–31 July, Summer Camp brings together record store owners, distributors, labels and other industry professionals to connect, learn and help shape the future of physical music.

For those yet to experience RSD Summer Camp, expect a first look at upcoming vinyl releases, exclusive limited editions, conversations, panel discussions and keynotes with industry leaders, and demonstrations from some of the biggest names in turntable and audio hardware.

Beyond the business, Summer Camp is also a celebration of record store culture. Attendees can enjoy live music, DJ sets, listening parties, food and drinks, community activities and evening social events that make it feel much more like a true summer camp than a traditional industry conference.

If you’re attending and would like to connect with the Vinyl Alliance, please get in touch. We look forward to meeting and catching up with fellow Campers!

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Danish design brand Fritz Hansen and Technics have launched a unique, limited-edition collaboration: a reissue of the SL-40CBT Direct Drive Turntable alongside a reissue of the Kaiser idell™ Luxus 6631-T desk lamp. Wallpaper* magazine reports both come in a matching deep burgundy finish and were previewed at Copenhagen’s 3daysofdesign festival, where visitors could listen to a selection of vinyl records in a Scandinavian interior. A key part of the collaboration was to highlight the power of timeless design and craft, juxtaposing a Technics deck built on direct-drive technology, first launched in 1970, with a Bauhaus lamp by designer Christian Dell that first appeared in 1936. “Technology has an expiration date of about 12 months,” observes Dario Reicherl, CEO of Fritz Hansen Asia. “If I buy a Leica, however, I can pass it on to my daughter. If I buy Technics, it’s the same: the design is the same as it was seventy years ago. It’s timeless. When you buy a machine made with craftsmanship, it lasts forever.”

Our Take: Technics and its direct-drive systems are legendary within DJ culture. This partnership sees the brand take the respect it has gained as a DJ staple over decades and help elevate it to a timeless design classic. For brands across the vinyl value chain, collaborations like this one, reaching outside of traditional audio brands, offer an opportunity to reach new consumer segments and build fresh narratives around your values and identity.

The Rolling Stones Team Up with Marvel to Create Superfan Vinyl Editions

The Rolling Stones and Marvel have announced a collector vinyl series for the band’s forthcoming album Foreign Tongues out on July 10th. According to Hypebeast, the five US-exclusive releases are each priced at $70 (€65, £54), and inspired by Spider-Man, Captain America, Wolverine, Thor, and The Hulk. The band’s famous tongue logo is integrated into the superhero universe in various guises, with Wolverine slashing his claws in front of it, Spider-Man weaving the icon from his webs, while the Hulk lifts the Rolling Stones tour bus in front of London’s iconic Houses of Parliament. Each vinyl variant also comes with a custom ‘What If…’ comic book insert designed by Marvel illustrators specifically for this release, giving collectors a highly desirable secondary object that deepens engagement and makes it far more collectible than the standard pressing.

Our Take: Today 86% of consumers are drawn to encounters that inspire awe, wonder, and a renewed worldview. (VML, January 2026) Unexpected remixes across IPs help create massive excitement for superfans across different verticals, while well-considered and designed vinyl inserts deepen the lore making it go beyond a simple money grab stunt. Labels and artists might consider creating a special edition vinyl that brings together two superfandoms for an upcoming release.

East London Record Stores Join Forces for The Dig Vinyl Crawl

Rook Records has brought together 14 shops in East London for a free-to-attend, one-day vinyl crawl called The Dig, which is set to take place on June 27th. Participating stores, including Rough Trade East, Kristina Records, and Hidden Sounds, will host live performances, DJ sets, and merch giveaways. Comedian Stewart Lee will serve as the event ambassador, with The BBE Store hosting a closing party. “It’s really about bringing the community together and celebrating the good stores that East London has,” says Louis Rooney, co-owner of Rook Records, speaking to , “Every store that we speak to gets customers that come in and they say: ‘We live just around the corner, I never knew you were here.’ So we want to do something that really celebrates: ‘Yes, here we are, we’re in your community, you should come check us out.’”

Our Take: While global events such as Record Store Day have shown the power of exclusive releases and media coverage to mobilise people to celebrate vinyl culture, community-driven initiatives like The Dig highlight an opportunity for independent stores to collaborate across the year. Members of the vinyl record industry should think about joint marketing campaigns, shared programming or neighbourhood crawls as collaborative opportunities to help new audiences discover local vinyl scenes.

CUE BURN POLL: WHAT’S YOUR TAKE?

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Q&A: Kobi Waldfogel on Reimagining the Modern Record Fair with VinylCon

In 2021, vinyl collector Kobi Waldfogel noticed a huge disconnect between local record stores packed with a new generation of younger buyers, and traditional record fairs where there seemed to be a lack of anyone under the age of 50. To bridge this gap that same year the Denver-based events specialist first launched Rocky Mountain Record Show. Then following the success of the local event, in 2024 the event series officially relaunched as VinylCon in Philadelphia, with the mission to create a fun event that would appeal to everyone from hardcore crate-diggers to first-time vinyl enthusiasts.

By focusing on the experience itself, curating vinyl-only DJ sets, food and drink outlets, and selecting venues in popular city cultural hubs, VinylCon has successfully modernised the classic record fair model. Now operating across six major U.S. markets, including Los Angeles, Philadelphia, Atlanta, and New York, VinylCon’s footprint is expanding rapidly with their flagship LA event regularly drawing upwards of 4,000 attendees, while regional shows average a robust 2,000 collectors. We sat down with Kobi to discuss the importance of social gatherings that bring together the vinyl community, the collecting habits of the new Gen Z vinyl enthusiasts, and why the physical act of digging remains the ultimate vehicle for musical discovery.

Why do people come to VinylCon when they could just go to their local record store or buy a record online? What draws people to the event itself?

Kobi Waldfogel: It starts with the selection of records. It’s around 60 record stores all crammed into one space for the weekend. That’s initially what catches people’s attention, but then I think they realize the community aspect of it. Record collecting can be a solitary hobby, especially when buying records online or going to record stores. This is a different kind of experience because there are a thousand other people who are also passionate about music, and the exchange of information is incredible to watch.

People initially think, ‘Oh wow, that’s going to be a crazy selection of records. I’m going to find some stuff I’ve never seen’. Then they leave, come home, and think, ‘Wow, I met a lot of cool people and learned about a lot of new music from the sellers. Each seller has deep knowledge of their records and things you’ve maybe never heard.’

What kind of sellers do you have? Is it usually the record stores that are in that specific city coming together and meeting each other for the first time as well?

There are a super wide range of sellers. Some are just collectors who decided, ‘I have too much stuff, I’m going to bring some things down to the record fair to sell and use that money to buy new records’. Then we have record stores or large sellers on platforms like Discogs or eBay who decide to use the record fair as an opportunity to sell records without a brick-and-mortar store. We also have lots of brick-and-mortar shops as well, but I would say they’re in the minority as far as the makeup of any individual show.

So it’s usually more online collectors who come out?

I’d say so, yeah. But we’re starting to get a pretty good network of vendors because now we’re in six cities all over the U.S. If I do a show in a certain city, we’re pulling vendors from up to a day or two’s drive away. We do also have some people who have been doing all the shows. We just did our first New York City show two weeks ago, and I had a vendor who does my Los Angeles show, who is based in LA, drive out, which is a three-day drive. It’s created more opportunities for some of these vendors to have a good excuse to travel, and they know that we’ll promote the shows. It’s turned into a little community within the community of the vendors who have been traveling to every show.

And what kind of audience attends VinylCon?

It’s everybody from people who maybe just got their first turntable and are looking to fill their first box of records, to the hardcore collectors. That’s the principle that I run everything through: ‘Is this going to pass the smell test for the hardcore collectors, but not intimidate someone who just got started?’ There are collectible records in the four-figure plus range that change hands at the show all the time. And there are also people coming in, finding a box of five-dollar records, and getting really excited because they just found a bunch of stuff they don’t have for their collection. It’s about having all of that within the same space and making it a fun vibe with really good music, a bar, and food.

We also do tons of digital marketing, like targeted Facebook and Instagram stuff, to actively try to get that younger crowd to engage with the show, and we succeed with that. I love seeing the young people at the show. It still skews a little older just because that’s the makeup of collectors in general, but I would say we have more young people than your average record fair.

Is there a difference between how different generations dig at or navigate the event?

What I notice is younger people are definitely more into the newer releases and collectible pressings, like color vinyl or liquid vinyl. All those types of collectibles skew towards the younger audience, which isn’t necessarily a revelation, but we definitely see that at our shows. Now we’re even starting to have younger sellers come to the show who specialise in that type of stuff.

Whereas more seasoned collectors are looking for the ‘Holy Grail’, used stuff that just doesn’t come up for sale too often. I walk around the show and look up some of these records on Discogs, and there are none for sale online, but you can get it at the show if you’re willing to pay.

Have you seen the VinylCon audience itself evolve since 2021?

As we repeat the show in the same markets, it becomes more of a community thing. I honestly didn’t necessarily recognize the importance of the community aspect when I first started. But it became apparent pretty quickly. I watch people either meet for the first time, or often I get introduced to someone by a seller saying, ‘Oh, I haven’t seen this person in 10 years’.

I had an experience in Philly, where a local DJ was talking about the show and how he really enjoyed it. He was saying how there are all these micro-communities within this scene that never get to see each other because mostly what they do are bar nights where they do their smaller things. The other group they know is at a different spot, so they never really see each other. He was saying there were four or five different little micro-communities that all were at this larger event, and that was a special experience.

What have you learned about collectors over the past few years running this event?

I find record collectors to be super passionate about music and usually open to discovering new music, which is really exciting. There’s just so much recorded music that you can keep discovering infinitely. It’s a really fun hobby because it’s interactive like that. The further you get into it, you find more obscure stuff, and when you put it on the turntable, you’re probably the only person in the world listening to that record because it’s so obscure. That’s an interesting part of it.

I would say at almost every single show I’ve done, I’ve ended up with at least one, if not multiple, records that I’d never heard of or knew existed. I think a lot of people have that kind of experience. I talk to people who are so deep into collecting, and have been doing it for 30 or 40 years, and they’re still discovering new stuff. It really is infinite. As far as recorded media goes, you can’t know everything.

Have there been any super rare records that have come up at the fair that even surprised you?

Yeah, I know in LA, one of my vendors, Rockaway Records, specialises in very rare records and they had The Beatles’ White Album number seven, like serial number 0000007. They could trace it back to whoever originally owned it with the band and the producers. I think they were trying to get 70 grand for it.

But there are four-figure records everywhere, which is that high level of stuff. We also have people who come from Brazil; we have some Brazilian sellers who bring lots of rare stuff from other countries. That’s another specialty. Certain vendors specialize in a specific country, and we have sellers who specialize in Japanese pressings. All those kinds of little niches.

Do you find that different cities like LA, New York, Philly, or Atlanta have different collector cultures?

There are certainly differences. In New York, there’s incredible Latin and salsa music, records that were popular in New York that are more easily found there. That music is also super popular right now and collectible, so it’s fun to see all that stuff more concentrated in New York. LA has its own Latin music as well, but it’s different. And with the music industry being there, with Capitol Records and all the labels, there are a lot of promos and music industry hand-me-downs making their way into the collectibles market.

What is the split of new records and used record at VinylCon?

It certainly skews towards used records, but we have a few vendors that specialize in new records. For these new record sellers, curation is key because they only have so much space at the show, so they bring what they think will sell, and they do very well. I’d guess the show is probably 80% used records and 20% new records.

Major labels should definitely be paying attention to used record collecting just as a barometer of people interested in the hobby. It’s not a separate interest group; we’re all promoting the hobby and promoting collecting. The more people who are interested in having a turntable and a record collection in their home, the better it is for everyone, for the used sellers, the new sellers, the labels, and the artists.

A lot of new people might be getting into it through a relationship with an artist they are very into, so they’re buying their vinyl as a piece of merchandise more so than just needing to have vinyl. It’s like, “Oh, I’m going to buy a T-shirt, a water bottle with their name on it, and I’m going to buy the vinyl.” Hopefully, that leads to them getting a turntable. But that intro through wanting to connect with artists is key. That then leads to used vinyl record purchasing.

What dreams do you have for the future of VinylCon? Or are you already living the dream?

I’m living the dream in that this is my job, and I get to go to record fairs all the time and get lots of cool records, so it’s going pretty well. I’d love to see the shows continue to grow into more cities. We’re in six cities right now, and I’d love to add two or three more cities by the end of next year.

Some international shows would also be amazing. If someone wants to bring VinylCon to their country or their community, hit me up. I’ve been working with some local partners in certain cities where they help with local things, and then I can bring everything I’ve learned organizing these events.

I would also love to involve more labels and stakeholders in vinyl culture. We’ve had labels set up in the past, more on the reissue-focused side, but there’s a huge opportunity for them to show the more hardcore, used collectors what they’re up to.

But I will tell you one thing that I have learned: it is very, very hard to compete with records. We’ve done stuff where even when we have a world-famous DJ playing vinyl records at our show, there are maybe 20 people watching the DJ and a thousand people digging for records. It’s difficult. That’s a struggle I have.

Look out for VinylCon in Los Angeles Aug 22-23rd, in Atlanta Aug 29-30th, and in Denver Sept 26-27th.

This conversation has been condensed and edited for clarity. The views expressed are solely those of the featured creators and do not necessarily reflect the views of The Vinyl Alliance.

Have a vinyl industry story to share? We’d love to hear it! Email us at cueburn@vinylalliance.org and let’s start the conversation.

𝗩𝗶𝗻𝘆𝗹 𝗔𝗹𝗹𝗶𝗮𝗻𝗰𝗲 𝗟𝗶𝘀𝘁𝗲𝗻𝗶𝗻𝗴 𝗦𝗲𝘀𝘀𝗶𝗼𝗻𝘀 at HIGH END Vienna 2026

We’re excited to report that our first-ever Vinyl Alliance Listening Session at HIGH END Vienna 2026 were a great success, with more than 40 sessions taking place across the four-day event.

Across four days, we brought label-curated records into world-class listening rooms, connecting the people who release records with the people who build the systems that bring them to life.

A huge thank you to our participating label members:

Beggars Group, with Radiohead’s OK Computer, Cocteau Twins’ Heaven or Las Vegas, Pulp’s More, David Byrne’s Who Is the Sky?, and Robyn’s Sexistential.

Ninja Tune, with Floating Points’ Crush, Kamasi Washington’s The Epic, and Black Country, New Road’s Forever Howlong.

Sony Music Entertainment, with Pink Floyd’s Wish You Were Here 50.

Warner Music Group, with Flea’s Honora and Tom Petty’s Wildflowers One-Step Edition.

And a huge thank you also goes to our hardware members and partners, who hosted these sessions on exceptional playback systems: Audio-Technica, Ortofon A/S, Technics, TAD Labs & TRANSROTOR, and IAD HiFi with Luxman, Wharfedale and Wilson Benesch.

And finally, thank you to HIGH END SOCIETY for supporting this initiative.

This is the Vinyl Alliance in action: bringing different parts of the vinyl value chain together around the record itself. If you would like to join the Vinyl Alliance or collaborate on future initiatives, please get in touch!

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Approximately 10,000 unsold vinyl records were shredded, reprocessed, and pressed into new commercial-grade records without compromising the sound quality artists and fans expect. The initiative, developed by Warner Music Group and GZ Media, explored whether recovered PVC from unsold records could be reused in the manufacturing process while still meeting commercial audio standards.

Several variants of records, containing various ratios of recycled material ranging from 10% to 100%, were pressed alongside records made of 100% virgin PVC. These records were blind-tested by a panel of seven experienced engineers in a listening test coordinated by Abbey Road Studios.

“Vinyl listeners care deeply about sound quality, so the standards for this project were always high,” said Miles Showell, Mastering Engineer at Abbey Road. “What impressed me was how consistent the pressings were across the different material blends, showing that sustainability and sound quality do not have to be at odds.”

During the pilot, the differences in audio quality fell within a range of approximately 0.5 points on a ten-point scale, and the three highest-rated variants fell within a narrow range of 0.2 points. These consisted of 25% mixed-origin recycled material, 100% homogeneous recycled material, and 100% virgin material, suggesting no audible difference between virgin and recycled material.

The full report titled ‘Giving Vinyl a Second Life Without Compromising Sound’ can be found here.

Our Take: The Warner and GZ Media pilot suggests recycled PVC vinyl may now match traditional pressings on audio quality, with blind testing challenging assumptions about audible differences. For artists, labels, and pressing plants, it strengthens the case for post-industrial recycled vinyl as a commercially viable way to reduce deadstock waste.

Thousands of Fake Records Seized in the UK

A new BBC report states that the City of London Police discovered more than 6,000 fake records in a warehouse in Luton on 22 April, with an estimated street value of around £260,000 (€300,000, $330,000). The haul included counterfeit pressings of albums by artists such as The Beatles, David Bowie, Queen, The Sex Pistols, and Taylor Swift.

Officers said the warehouse was one of a number of operations in the UK being used to manufacture counterfeit records and warned that the resurgence in vinyl has made the format an increasingly attractive target for organised counterfeit activity.

The UK’s Intellectual Property Office said counterfeit records “deceive vinyl collectors and financially harm hard-working artists and the music ecosystem that supports them.” It also noted that fake editions of high-value releases are increasingly appearing on online marketplaces, sometimes priced at extreme premiums.

The BPI (British Phonographic Industry), which supported the operation, said it would continue to target illegal supply chains. Its Director of Content Protection, Peter Ratcliffe, warned that counterfeit markets not only damage the UK music industry but can also fund wider criminal activity.

Our Take: The rise in counterfeit vinyl highlights growing pressure on supply-chain verification as demand increases and distribution gaps widen. As seen in our coverage of bootleg activity in Russia and China, illicit supply chains are becoming more embedded in the market. For labels and pressing plants, there is a need to strengthen traceability and authentication to protect value and trust in physical releases.

Ann Demeulemeester Unveils Limited-Edition Vinyl Capsule

Fashion Designer Ann Demeulemeester and avant-garde retailer H. Lorenzo have launched an exclusive Spring/Summer 2026 capsule collection alongside a limited-edition vinyl release, marking 20 years of collaboration on fashion and music between the two brands.

The centrepiece of the drop is a highly limited vinyl record featuring the original runway soundtrack composed by Aimee L. Nash for creative director Stefano Gallici’s SS26 show. Recorded live at the Réfectoire des Cordeliers in Paris with Gabe Vabenschoten, the three-track release includes the runway prelude, a full ten-minute version of Reclamation of the Minotaur, and its finale arrangement. Only 50 copies of the vinyl were produced.

The release is paired with 50 portrait T-shirts featuring Aimee L. Nash, alongside a black-on-black version of the brand’s signature Napoleon jacket. To mark the launch, the brands hosted a live event featuring a record signing with Stefano Gallici, performances by Aimee L. Nash, and a special appearance by Billy Idol, who previewed unreleased material from the Alan Vega archive.

Our Take: Luxury fashion houses including Louis Vuitton and Saint Laurent, alongside activations such as Ann Demeulemeester’s limited SS26 vinyl collaboration with H. Lorenzo, are increasingly using vinyl as a storytelling tool. Curated box sets and limited editions are helping artists beyond the music industry, be it in fashion, film or gaming, mark and preserve iconic moments in physical form. In an era where so much culture feels temporary, physical formats are a unique object that fans can collect, return to, and use as reference points over time.

CUE BURN POLL: WHAT’S YOUR TAKE?

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Q&A: Max Gössler of intakt! on Running a Modern Pressing Plant

Max Gössler is the co-founder of intakt!, a Berlin-based vinyl pressing plant launched in 2016, which has become known for its colourful, limited-edition pressings with diverse artists from techno producer Len Faki to singer-songwriter James Blake. Often these record designs verge on the psychedelic, with intakt! now offering special design collections for artists to pick and choose from, like ‘All You Need Is Love’, a collection inspired by the 1960s, that features out-of-this world patterns, flowing effects, and visceral shapes.

Here, speaking to CUE BURN, Gössler discusses the realities of running a modern pressing plant, the balancing act between industrial production and creative experimentation, and his advice for first-time artists navigating vinyl economics. He also reflects on how vinyl culture itself has shifted, from functional A-side/B-side DJ tools toward slower, conceptual listening objects, a change accelerated by COVID and the decline of club-centric production cycles, and one that has opened space for more ambitious, design-led record making.

When did intakt! start to create the special limited edition vinyl pressings?

Max Gössler: Well, we started pressing with manual presses. At the beginning we used them for single-coloured records, black, white, sometimes splatter, but they were always fully occupied. During the vinyl rush of 2021–22 we were running them seven days a week, sometimes two or three shifts, trying to meet demand.

That didn’t really make sense because it wasn’t what those presses are best at. They’re good machines, but pressing 2,000 or 5,000 standard black units on manual presses doesn’t make sense. Small runs, maybe 100, are fine, but not large orders.

At that time we only had one automatic press and two manual presses, so we had no choice. Demand was too high, then the market slowed down. Later we got another automatic press in 2023, and suddenly the manual presses were often idle.

We had employees who had been working those presses for years, including night shifts, weekend shifts. I wanted to keep them. It also didn’t make sense financially to ignore the presses, especially with ongoing costs like loans on the machines.

We had done some experiments before, like a Henrik Schwarz record years earlier with complex multicolour pressing, but we couldn’t get the sound right at that time. That was one of our first real attempts at something special.

Later I started thinking more about focusing on specials. We still needed to keep the machines running and the people employed, and I didn’t want to press standard black records on those machines anymore.

Len Faki then approached us in early 2023 and showed us images from a New York artist he had licensed for his upcoming 8xLP Boxset, which he had produced in the 2 years during lockdown. He asked us, if there is a way to actually press records which would work the designs. A few months before we had started with more complex multicoloured records. So, when Len came around asking for new styles and design, it was just matching perfectly what we had been up to the months before.

The artwork was also perfect as a reference. We needed to do around three or four rounds of revisions until we found the optimal combinations of colours to match with the artwork. We sat in the kitchen, discussed ideas, we then did multiple rounds of colour test pressings, and tried to match each design.

In the end we replicated the concept almost one-to-one. It’s on our website in the unique bespoke section: those eight records are part of the Fusion box set.

We needed around 35 test pressings to get it right. Each record has a connection to the inner sleeve design. It took around two months just to produce those editions, sometimes only 15 copies per variation.

That was the first project where we realised we wanted to continue doing this. At first it was still low capacity, so we used downtime on the manual presses to experiment further.

It took about a year and a half to really spread the word and attract clients for these kinds of releases. Now it’s growing steadily.

Today it’s still a mix: very limited editions of 50–100 copies, sometimes 200 on automatic presses, sometimes full black vinyl runs. It’s a hybrid model.

How does the process of creating these special variants actually work?

It’s PVC-based. Everything is about puck composition, sometimes called the PVC cake. We compose the material, sometimes with two or three people working together.

Now with more extruders (machines that melt raw vinyl pellets), it’s become easier. But it’s still very labour-intensive. Automatic presses can do around 100 records an hour; manual ones maybe 20–40 depending on complexity.

Even if you press the same design ten times, each record will look slightly different, but still clearly part of the same family. Over time we’ve improved and the variation range has narrowed, but it will never be identical. The more colours involved, the more unpredictable it becomes.

At the beginning, selling these was also difficult. On one hand, we’re positioning ourselves as specialists in this area. On the other, these records are more expensive, so it’s harder to get orders.

We also need to make sure the work volume is consistent. Manual presses require more people. If there are no orders, you still have to pay staff. That becomes risky quickly. So for us it’s about balancing employment stability with creative output.

Can you tell us more about how the intakt! special collections were created?

Originally clients came to us with sleeve designs and we built around that, but that became too complex and slow for many clients. Now we offer curated collections so clients choose from existing designs. These are pre-designed series released every few months at a set price. That makes the workflow faster and more predictable.

If we press similar designs in sequence, it reduces cost and complexity, and allows better pricing for clients.

We never really did aggressive marketing before. But now we promote these collections more intentionally. It also is a nice change and a bit of fun to do creative work and coming up with ideas, topics and designs for these collections, in contrast to being stuck in repetitive factory work.

You also did a pressing for James Blake’s Trying Times release with Blood Records…

Yes, the James Blake album was not the most complex pressing which we did there, but the batch of gold PVC we got at the time unfortunately sounded very noisy. I listened to the first pressings when we started the production, and the music was so silent and his voice is so subtle and gentle and there are parts, where there arrangement is very reduced and so in these quiet parts you then end up hearing the background noise of the gold material right away.

I didn’t want to mess that up and actually panicked a bit. Our supplier admitted they were having a bit of trouble at that time with the gold and there was no way we could get new material. So I thought, okay, let’s redesign the record and propose to the label, to change the design, even though it was already published. And actually the record, the redesign sounded fantastic and the record looked much more beautiful than the original design.

And when I saw the album getting announced on Instagram, the record and the cover matched so well. The new special design just had that deep but subtle effect which is also matching the character of the music in a way, all in all I was actually very happy and satisfied that we took the risk in changing the production on the fly. The final result simply is one of my personal overall highlights of last years productions.

But, only about 10% of what we do is these special projects. Around 90% is still standard black vinyl on automatic presses.

For example, the Paris Live album from Nils Frahm. That was a very audiophile record. You know, that silent glass instrument in this one track was around minus 18 decibels, so it is really quiet and close to the ground noise. That definitely was something where we had to also pay attention to produce a high quality black record pressing. And that definitely has been one of the projects where I was very happy that we were able to do it.

What is your advice for artists or labels looking to press on vinyl for the first time?

My general advice to new labels is simple: think carefully about costs. Don’t design a record you can’t recover financially unless you’re confident you can sell at least 50%.

Start small. Maybe 200 black records first. Then do a limited special edition on top. Use that to fund the rest. And sell as much as possible directly. If you rely only on distributors and shops as a new label, margins are too low to survive.

If you sell 300 records through distribution at €5–6, it often won’t cover costs once mastering, cutting, pressing, and artwork are included. Direct sales like on Bandcamp, and directly to the audience at shows are essential.

Bands with touring capability can sell at €20 per record directly, which changes everything. Electronic artists have to find other ways, but direct sales still matter.

It’s not about rejecting record stores, they are essential, but they’re not always the first step for a new label trying to survive. If you only sell 30 or 50 records, the model collapses quickly.

A lot of labels stop after catalog number 2 or 3 because the economics don’t work. At the same time, vinyl survives because some artists build sustainable systems combining direct sales and distribution.

How has the type of music you have been pressing at intakt! changed over time?

When we started, due to our friends and connections to labels who do electronic music, that was naturally the first type of clients which we had. At that time DJ records were a bigger part of what we did in general.

We were doing techno records, house records. One track, two tracks maybe on the front side, one on the back side, up to four tracks, not more than that. And I think at that time still DJ records were a bigger part in general. And a lot of people were producing records, tracks were finished, and released as vinyl records.

But that changed. Vinyl as a DJ tool has dropped in significance. And then COVID-19 happened… clubs were closed… and obviously all those people who were going ‘boom boom boom’ on the weekends, life slowed down, everyone was locked down.

And then you’re sitting at home, maybe you don’t like ‘boom boom boom’ so much anymore. So suddenly a lot of electronic artists were doing ambient albums.

I know people today who say, as a label, I don’t want to release techno maxis which go in, have attention for two months, and then go out again. I want something more timeless.

The conceptual point about the release has become way more important. I think that’s very good for vinyl, because vinyl is a very good part in contributing to a whole concept. So if DJs deejay with CDJs and USB sticks while conceptual pieces of art happen on vinyl, I’m fine with it. It’s not against each other. I think it can be complementary.

This conversation has been condensed and edited for clarity. The views expressed are solely those of the featured creators and do not necessarily reflect the views of The Vinyl Alliance.

Have a vinyl industry story to share? We’d love to hear it! Email us at cueburn@vinylalliance.org and let’s start the conversation.

Vinyl Alliance Curates Listening Experience for High End Vienna 2026

For this year’s edition of High End Vienna, the Vinyl Alliance is presenting a unique listening experience pairing label-curated records with world-class playback systems.

Across the four days of the show, albums from Warner Music Group, Sony Music, Beggars Group, and Ninja Tune will be showcased on systems from Audio-Technica, Ortofon, Transrotor, Luxman, and Takumi.

The selection spans alternative rock, electronic music, soul, jazz, art-pop, and landmark catalogue releases, featuring artists including Radiohead, Flea, Kamasi Washington, Cocteau Twins and more.

Created specifically for High End Vienna 2026, the initiative explores how exceptional playback reveals the depth, detail, and emotional impact of a great pressing — whether rediscovering a classic album or hearing a contemporary release in a new way.

Vinyl Alliance members from across the supply chain will be attending High End Vienna 2026. If you’ll be there and would like to connect, please get in touch!

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Scottish singer-songwriter Lewis Capaldi released a vinyl record ahead of this year’s 2026 Record Store Day with a blank white sleeve design, no artist name, or title. Stores across the UK and US, including Rough Trade, received crates of the record, featuring pitched-down vocals, from a new song by Capaldi. The records were free for customers to take, although NME reports one version already sold on eBay for £2,500 ($3,386, €2,885). Before Capaldi revealed the record was his by lip-syncing to the song’s proper studio recording in a TikTok, much hype and speculation arose. Fans were guessing online if it could be a record by The 1975, Bon Iver or Niall Horan.

Our Take: Artists might consider how vinyl records can act as keys to unlock secret experiences, rewarding fans who are curious enough to go one step further than an average listener. Lewis Capaldi’s mystery record was a calculated risk, but its success demonstrates the enduring power of the physical format and the record store’s role as a destination for cultural discovery.

The Revolver Club Celebrates Vinyl Record Lyrics In India

The Revolver Club created a collectible poster campaign, displayed in-store as well as at leading coffee shops and hangouts in Mumbai and Delhi, that celebrates lyrics from different songs containing the word ‘record’, from Dead or Alive’s ‘You Spin Me Right Round’ to Deep Purple’s ‘You Can’t Do It Right’.

The campaign spanned a diverse array of artists and genres, illustrating the enduring influence of vinyl throughout music history. Led by the tagline ‘Music is vinyl. We have it on record,’ the posters featured QR codes that allowed customers to purchase the featured record directly, creating a seamless path from discovery to ownership.

“Vinyl is a growing subculture in India,” says Hayden Scott, creative head at VIRTUE agency Asia, speaking to Little Black Book. “This campaign is specifically targeted to people who have heard of vinyl, toyed with the idea of owning it but never really taken the plunge.”

Our Take: There is an opportunity to engage first-time buyers of vinyl records by going beyond the traditional record stores and billboards. Success lies in connecting with new audiences in the spaces where they already live and socialise, using the powerful medium of music to bridge the gap between cultural familiarity and physical ownership.

MusicWatch Sheds Light on Used Vinyl Market

The record industry is currently celebrating a milestone, with new vinyl sales recently eclipsing $1 billion in annual US revenue. However, writing for Billboard, Professor Russ Crupnick, Managing Partner of MusicWatch, argues that used vinyl is the overlooked engine of the modern music ecosystem that is quietly fuelling the fire.

Since 2016, used vinyl sales have surged by 171%, consistently outselling CDs in the U.S. for several years. Crupnick suggests that this is helping fuel discovery.

“Exploring new artists or genres via used product might lead to more new physical music sales, and even increased streams, ticket and merch sales,” he notes, urging even those who don’t directly benefit from used records to consider them a key part of a healthy music ecosystem.

Our Take: More research needs to be done to understand the role of used vinyl as a low-cost entry point into the record market, as well as the impact it has by continuing to inspire fans to discover legacy artists. Moving beyond one-time sales to include used sales of a record could also help the industry understand the long-term impact of records beyond release week.

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Q&A: Thom Skarzynski on Engaging Fans with Vinyl Records

While most of the music industry was focusing solely on streaming numbers, Thom Skarzynski noticed a huge disparity between the number of bands that were selling out arenas and the number of records actually being purchased. As the founder of Happiness, an agency that specializes in physical product strategy and indie retail campaigns, Skarzynski found that superfans weren’t just hungry for music; they were hungry for a sense of ownership.

At a time of overwhelming digital noise, Skarzynski found vinyl to be the perfect opportunity to create something authentic, human, and personal. Moving beyond mere product specs like color variants or vinyl weight, he focuses on the experiences that surprise and delight superfans, prioritising long-term engagement over short-term wins.

In this interview for CUE BURN, we speak with Skarzynski about the importance of treating record stores as destinations for discovery, the hidden opportunity in limited first pressings, and why you might just want to add confetti to your next vinyl release.

When did you realise that vinyl had such powerful potential as a tool for artists?

Thom Skarzynski: I would love to say that it happened when I was working on Travis Scott’s Astroworld because those numbers were humongous the first week. But the truth is when I was hired in 2023 to work at Fueled By Ramen, the band Twenty One Pilots was one of my first projects.

They were selling a million tickets, and their merch was going nuts. Their sales projection for record sales was somewhere in the 40,000 range, and it was based off of streaming numbers. But, I knew we just hadn’t been focused on these people the right way.

So, I went to my boss and said; “I know the forecast is 40,000, but I want to make 80,000 vinyl for the first week”. He stared at me deadpan and just said; “You will be fired”. “If these do not sell and we are sitting on 80,000 vinyl records, there is no way you will last another two weeks here.”

I knew we had to take a big swing though, and sure enough, it sold. We treated the fan base well. We knew they wanted to hold on to something physical.

That was the first time I could see our vinyl selling out faster than we anticipated. We sold out of everything. So much so that on release date, we had nothing to sell on the site. And they did an hour long YouTube livestream that aired live on TV, and we had nothing to sell during it. It was like, buy the digital album. That was the only thing left.

What made you feel so confident that you could go from 40,000 to 80,000 records?

It was just seeing the fan base. They were paying for everything but music. At the same time we were seeing Imagine Dragons selling 30,000 in the first week, and Glass Animals doing 38,000.

Both of those artists can sell out arenas across the globe, but maybe their physical plan isn’t catering to the audience the same way. Maybe they don’t have a team that’s thinking twice about it.

So, honestly, it was a big swing. But I was brought in to do exactly that. The initial conversation was, we have a whole bunch of artists here that may not stream, but that have huge fan bases, and we need to find a way to work with them.

Why has vinyl become such a powerful way for artists to connect with fans today?

Fans want something they can hold on to. They don’t necessarily care about the vinyl. Fans are just dying to hold onto something and feel a sense of ownership, which you just don’t get with streaming, or a fleeting live show.

What is your advice for artists looking to release on vinyl?

We’ve tried different approaches. When I worked with this band, A Day To Remember, we maintained the standard streaming rollout for casual fans, but gave the hardcore collectors a five-week head start on physical. So if you’re a fan you can go to a store and buy it immediately, or order from their web store. It did extremely well. I’m a big fan of the experience, not only in the store, but after the store. So, while you’re waiting for your product to come, what happens?

When I first worked at Fueled By Ramen and Roadrunner, if we had an artist in the building, we’d say, here are 20 phone numbers. You can use our phone, give them a call and thank them for ordering, and that would bubble under the fan base and we would see sales rise because of it.

Everybody’s advertising everything. It’s just noise. So for me, it’s a matter of just giving a little bit of a human touch to it. Whether that’s even in the packaging when you finally send out the vinyl when it’s released, or including a Post It note that just says thanks and your signature.

That’s the kind of thing that spreads. I’m not saying every band should hand sign 2,000 records. It feels more special if you’re the one person out of 10 or 20 that received a note saying thank you. Surprise and delight, they call it in the industry. That creates a super fan.

A human touch in a digital world goes so much further. So that’s my advice to even smaller artists. Just make it feel authentic. Make it feel human. That’s all people want.

When you’re designing a vinyl strategy today, what are the most common mistakes you still see artist teams make?

The biggest one is treating vinyl as an afterthought. Teams are deep in streaming strategy, social rollout, press, and vinyl gets added to the conversation two months before release. At that point you’re already behind. Lead times are 10-14 weeks minimum from most plants right now, and if you want something special, like a unique color, textured packaging, a die-cut, you need even more runway.

The second mistake is a lack of variety. Fans buy multiple variants. That’s not a theory, it’s what the data shows repeatedly. One color isn’t a strategy. Two or three colors with real differentiation, in the vinyl itself, the packaging, the inserts, gives fans a reason to buy more than once and gives stores something to build a display around.

When you’re designing a vinyl release that really resonates with fans, what separates something that sells from something that becomes meaningful?

Intention. Fans can feel when something was designed for them versus designed to hit a number. The releases that become meaningful are the ones where every element, the color, the paper stock, the insert, the weight of the packaging in your hands, feels considered. It tells the fan that the artist thought about this moment.

My favorite product is still a journal with handwritten lyrics and doodles tucked inside. It costs almost nothing extra to produce and fans lose their minds over it. Why? Because it feels like something the artist made for them specifically. That’s the gap most campaigns never close, the distance between “here’s a product” and “here’s something just for you.”

Do you think vinyl plays a different role to CD or other formats in a campaign, or are they interchangeable in your strategy?

They’re not interchangeable at all, they serve completely different functions and I think conflating them is a strategic mistake.

Vinyl is an identity purchase. When someone buys a record they’re saying something about who they are. It lives on a shelf, it gets displayed, it gets talked about. It’s the format fans photograph and post. It anchors a campaign culturally in a way nothing else does.

CD is a volume play and a chart play. It’s fast to produce, inexpensive, and when you build it into a configuration, a journal with a CD pocket, a boxset, a zine, it becomes chart-eligible and drives numbers in a way vinyl can’t match on speed. They work best together, not in competition.

A lot of campaigns focus on first-week impact. How should teams think about vinyl over the longer lifecycle of an album?

First-week thinking is the enemy of a great vinyl campaign. Vinyl is a slow burn by nature. Plants have lead times, stores reorder when they sell through, fans discover records months after release. I’ve seen records outsell their first-week vinyl numbers three times over in the six months that followed, purely because the stores kept getting requests and kept reordering.

The teams that win long-term treat vinyl as a living part of the campaign. New variant drops tied to tour dates, indie exclusives at specific stores, a color that only exists at independent retail, these are the tools that keep a record culturally alive a year after release. Streaming tells you how many people are aware of an artist. Physical sales tell you how deep the fandom actually goes.

How early do vinyl strategy decisions need to happen now, given manufacturing timelines?

Yesterday. Genuinely. If you’re reading this and you have a release in the next six months, you’re already in a tight window.

The honest answer is that vinyl decisions need to happen 16-20 weeks out minimum if you want any real flexibility. That means colors, configurations, packaging finishes, variant count, all of it. At 12 weeks you’re working with whatever the plant has available. At 8 weeks you’re doing a standard black pressing and hoping for the best.

I always tell teams: lock vinyl first, build everything else around it. It’s the longest pole in the tent. Treat it that way.

Do people who are preorder vinyl do so to support their favourite artists?

It’s part supporting the band and then part just like owning something cool. There’s a ton of times where people will pre-order a new album because they’re fans of the band and they’re assuming they’re gonna like it. There is a huge consumer that pre orders on, on vinyl. It’s massive. Vinyl can take up more than 75% of our overall pre-orders.

But it’s on the artist to create something interesting enough, whether that’s a vinyl variant or taking care with what it looks like or, creating things that complement the album because translating a general fan base into buyers for a specific new album is a narrow funnel. Getting people to invest upfront is the hardest thing you can do.

There are some people who want to collect everything from a band as well…

Totally. That’s why it’s unfair when it’s like 12 different versions of the album and 20 other merch items. It’s like, how much are you asking your fans to do?

You could have variance, but don’t make it so your fans are paying hundreds of dollars just to be a part of it. There should be a low entry point and then as high of an entry point as you want on the high end. But, don’t lock other people out.

You recently spoke about how vinyl is incredibly popular among Gen Z, yet many young people have never actually visited a record store. Is there actually a much bigger audience for records that just hasn’t been introduced to the culture yet?

It’s wild. I mean everyone used to think record stores were just about nostalgia. That’s completely neglecting that there’s an entire generation that’s still discovering it. Being there with the crowd, going through the bins, finding things, it’s brand new to them. Like, even the smell of a record store, you have to be there to experience it.

I love that people are doing these record store listening parties. I hate that it’s become so popular that a lot of people are just checking a box of. But then again, you see things like Harry Styles who turned it into a party based around the album. That’s what it’s supposed to be used for. Don’t only get people there to stand around with their arms crossed listening to the album. Create a scenario out of it.

I do think record stores are going to continue to flourish. I read an article recently that physical malls are also making a comeback. This generation likes going window shopping, looking through the racks of stuff. That’s pretty cool. Let’s keep encouraging them to do it.

What record stores do next will be important and it could involve taking in some collectibles, merch and selling tickets to shows. If I’m a fan looking for a Tyler the Creator figurine, I don’t know where else to go if it’s not on his web store. But if I think my local record store might have it, it becomes a destination again. And you know what… They are going to flip through the bins while they’re there and it feels good. People have to stop treating record stores like a nostalgia trip and start treating it as a place of discovery.

Do you think there’s anything the pressing plants could do help artists engage more with superfans?

So one of the things that I have seen that I actually really enjoy is a good amount of artists have been launching first pressing editions before they even announced the new album.

Instead of sending me a sample for review, do a run of 50 copies or 100 copies. Maybe you number them, maybe you sign them. It depends on how you want to interact with the fans and however you want them to experience it.

But I’d say that’s probably the closest it is like from the very first pressings that you’re making. How do you make that feel special? Because everything else is just the machine and you’re printing thousands or tens of thousands of them. It’s up to the artist right now and the company to call that out and say, hold on to those first pressings.

Do you think there are any other missed opportunities for superfans when it comes to vinyl?

It’s about giving them a great experience. What keeps superfans on, and that’s also what creates new super fans is simply putting a little extra care into it. It doesn’t have to cost money, it doesn’t have to cost much time, it’s just a matter of thinking ahead of time, “What do I want the experience to be?”

Super fans are the lifeblood of the industry. They’re at every show, purchasing everything. So what’s a way to kind of give back to them, or find a way to connect with them?

Make sure that the unboxing experience is good. I forget which album it was, but Taylor Swift. shipped something like 400,000 and each one came with confetti inside. If she can do that at that scale then like you with your thousand vinyl can do a cool idea that’s unique to you as well. Or hell, do confetti!

This conversation has been condensed and edited for clarity. The views expressed are solely those of the featured creators and do not necessarily reflect the views of The Vinyl Alliance.

Have a vinyl industry story to share? We’d love to hear it! Email us at cueburn@vinylalliance.org and let’s start the conversation.

Vinyl Alliance at Music Biz 2026: Analog in the Age of Algorithms

The Vinyl Alliance is proud to be programming a panel at this year’s Music Biz Conference, exploring what vinyl’s continued rise can teach the wider music business.

Analog in the Age of Algorithms: Lessons from Vinyl’s Resilient Rise will look at how streaming discovery, social media, fan communities, and artist-led campaigns are driving physical sales in new ways. Featuring voices from Warner Music Group, Atlantic Music Group, Vertigo Vinyl and more, the conversation will unpack why vinyl is no longer a niche concern, but an increasingly strategic part of the modern music economy.

The panel takes place Monday, May 11th at 3:25pm as part of the conference’s Let’s Talk Physical program. More info here.

Vinyl Alliance members from across the supply chain will be attending Music Biz. If you’ll be there and would like to connect, please get in touch!

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Gain full access to reports, market data, and knowledge exchange workshops with our membership.

Find more information about membership at vinylalliance.org/membership

Vinyl sales in the United States rose 9.3% year over year marking the 19th consecutive year of growth, according to the Recording Industry Association of America’s (RIAA) 2025 Year-End Music Industry Revenue Report. Unit sales increased 7.9%, suggesting the rise is driven by demand and is not just price-led. “It’s a resurgence of vinyl as both a listening experience and collectable art,” says Mitch Glazier, chairman and CEO of the RIAA.

This trend is echoed globally. The International Federation of the Phonographic Industry (IFPI) found physical-format revenue grew at a faster rate than any other category, reaching $5.3 billion in 2025, an increase of 8%, according to its 2026 Global Music Report. Vinyl led the gains, with revenue up 13.7%, while CD revenue also rose 3.7 percent, indicating broader interest in physical media.

Our Take: Vinyl has become a central part of how releases are brought to market: multiple editions, creative packaging, direct-to-fan offerings all give people a reason to own, not just stream. The focus now should be less on validating demand, and more on how the industry supports it by maintaining quality, keeping it accessible, and strengthening independent retail, which accounts for roughly 40% of vinyl sales in the US, and remains a critical point of connection between fans, artists, and the format itself.

Physical-only Album Release Debuts at No. 3 on Billboard 200

American singer-songwriter Sturgill Simpson’s latest album ‘Mutiny After Midnight’, credited to Johnny Blue Skies & the Dark Clouds, was released only in physical formats, including vinyl, compact discs and cassettes.

The album was not made available for streaming or digital download. Even so, it debuted at No. 3 on the Billboard 200 with 59,000 copies sold, all from physical editions, including an indie-exclusive red vinyl pressing.

The decision to forgo digital distribution helped draw attention to the project, according to Variety, and drove strong first-week sales, helping it become the first physical-only release to reach the Billboard top 10 in nearly three years.

The previous example came from a limited-edition vinyl pressing of Taylor Swift’s ‘Folklore’, which sold all 75,000 copies on Record Store Day. Outside of RSD releases, physical-only projects have rarely reached similar chart positions.

Our Take: The success of vinyl-only releases outside major events like Record Store Day suggests labels and artists with engaged fanbases should consider thinking about the format as a primary driver of both revenue and cultural impact, rather than a secondary release strategy, especially now that records are proving to be a successful strategy for cutting through the noise of digital streaming.

Gen Z Embraces Analogue Bags To Reduce Screen Time

The new “it” bag among Gen Z does not come with a designer logo. Instead, so-called ‘analogue bags’, filled with hands-on activities like crossword puzzles, knitting, novels and journals, have become popular with younger people. The trend reflects a growing effort to reduce screen time and stay offline, according to The Guardian.

The term was coined by Sierra Campbell, a 31-year-old content creator in California, whose January analogue bag video, stocked with a New Yorker subscription, gel pens and a sketchbook, drew more than 200,000 views in five days.

The trend is part of a broader revival of analogue culture, including vinyl records, print magazines and point-and-shoot cameras. The shift comes amid fatigue with constant connectivity: 35% of Gen Z consumers globally say they are taking up analogue hobbies because of digital exhaustion, according to a 2026 report by VML.

Our Take: The shift away from constant scrolling toward offline activities reflects a broader desire among Gen Z for tactile experiences that engage the hands as well as the mind. In our Gen Z & Vinyl report we found vinyl as a physical object gives young people a sense of ownership and control that few other music formats can match. 76% of Gen Z survey respondents ‘purchase vinyl to have a physical copy of music’.

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Q&A: How Miami’s Sweat Records Prepares for Record Store Day

Since 2005, Sweat Records has been more than a retail store. It is an inclusive, cultural event space serving the local Miami community. Founded by Lolo Reskin and her business partner, the shop stocks a unique international catalog that mirrors Miami’s own diverse migrant population. On any given afternoon, a crate digger might discover a Kraftwerk Goes Latin record or Zelda & Jazz 2 by The Deku Trio. The store’s staff and selection make the space feel inclusive, where an all-ages policy is a point of pride and regular listening parties allow patrons to exhale and embrace their ‘freak self’ without apology. Having weathered the literal and figurative storms of the last two decades, including hurricanes, recessions, and a global pandemic, Sweat has stood as a witness to the vinyl resurgence since the very first Record Store Day. As the industry prepares for this year’s event on April 18th, we spoke to Reskin to get a behind-the-scenes look at the logistics of planning for the biggest record day of the year, and some highlights from past editions, including a visit from a certain Iggy Pop.

How do you prepare people logistically and culturally for Record Store Day?

Lolo Reskin: We’re super staffed up. We have an extra register going and we have our own system of how we do our RSD exclusives. Every year there are going to be new people participating. They ask questions like, “Hey, will you hold this for me?” and we’re like, “The number one rule of the day is we are not holding anything for you.” It’s about showing up, right? For RSD, it’s all about the line. If you’re in line before a certain time, you’ll get to select one thing.

It’s one copy per title per person, so you can’t buy doubles. We just want to give people the chance. And we do a thing where if you’re in line one hour before we open at 9:00 AM, we go down the line and anyone who was there by then gets to call one item that we’ll pull out of the bin and put behind the counter for them.

That way, if we let in a group of people at once and we only had one copy of something, someone who didn’t wait nearly as long as you won’t scoop your item. We saw that happen one year when we used to just let everyone bum-rush in. This guy had waited since four in the morning for one thing, and then some guy who waltzed in found it first and was like, “Cool, mine.” We were like, “No.”

Now we do this system and people know that if they’re in the first chunk of the line, which could be well over 150 people, they can at least be guaranteed they’re going to get one thing they really want. Then they can shop as much as they want. Just no doubles. We think it’s pretty fair.

How do you approach what titles you’re going to stock at Sweat for RSD?

All vinyl orders are gambles because vinyl is a one-way sale. Thankfully, we run great retail software and have kept our data for a long time, so I have great data on which artists do and don’t sell. I have so much of it in my head already.

Mostly, we order titles we would be happy to carry if it was just any Friday release day. If there’s a group we know we’ll sell a couple copies of, we’ll get that and a couple extra. We also solicit input from our customers. We have a lot of regulars who send us their request lists. We don’t guarantee anything, but they’ll often request titles we wouldn’t have ordered otherwise, and we’ll make sure we get copies in.

This year we made the biggest order in Sweat Records history because there are certain artists, like TV Girl, that we never stop selling. We ordered a gigantic pile of their RSD release because week-to-week we’re selling handfuls of copies.

I put all my orders in six weeks ago, so I’ll get surprised when the boxes arrive in the next week or two. But we keep a spreadsheet to see what orders we put in and what the actual fulfillment looked like. You could order ten of something and get one, or order 50 and get 50. It’s always a crapshoot depending on how many of the RSD Pledged shops have ordered what quantities. They allocate them on the back end and we just see what arrives.

Do customers already know what’s coming out and ask you to stock it?

Oh, they all know. They’ve downloaded the RSD list. They have the screen grabs on their phone. That’s why when we go down the list for “What’s your pick?”, sometimes something will have already been called and we’re saying, “Okay, what’s your number two pick?” People very much know our drill by now.

As soon as the list drops, we put up a post that says ‘List is out’. Some people do a spreadsheet thing; we just say; ‘Leave it in the Instagram comments’. We count them up and see what the pulse is. Then we ask the regulars what their RSD picks are this year. I’ll get photos of handwritten lists, texts, emails, just to make sure we can try to get the stuff for them.

You’ve participated since day one. How has RSD changed since the beginning?

For the first RSD there were a handful of releases meant to celebrate independent record stores. It was pretty much around the start of when vinyl started going like this. Last year was the 19th straight year of vinyl sale increases, which is awesome.

I remember we made RSD part of our store birthday celebration at the time. Once RSD became so huge, we actually split them up because it demanded being its own thing. We’ve thrown street festivals and worked with the punk venue next door. The first one was just the launch of a new idea, and now it’s a thing people look forward to. There are some people we literally only see on RSDs. It’s the only two days they go to the record store all year, but that’s fine. We’d rather see them two days a year than zero.

Nowadays, vinyl is so pervasive and the dominant physical format that it’s a bigger deal. People know they want to find an indie store. We hear it all the time: “I’m in Miami for a wedding, but it’s RSD so I had to find out who’s doing it.” It’s a holiday for a lot of people.

Have you seen the profile of collectors change over the years?

It’s literally all types. We see our older Prog Rock guys, the New Wave Gen X and Millennials coming out for The Cure. They always put something out on RSD, like a deep New Wave cut or Orchestral Manoeuvres in the Dark B-sides. Then there are the young kids coming in for Olivia Rodrigo and the hits of the day. RSD does a really good job on the list with variety. There’s always something for the Deadheads, Americana people, and awesome random Hip-Hop albums. The stuff people wait in line for is across the board. Someone might even be waiting for the Spongebob Squarepants soundtrack. Okay, go off! Yes! It’s very jovial.

Every week in the store we sell a turntable to someone where it’s their first ever one. The other day I showed a guy in his 30s how to put the needle on a record. He asked, “How do you know when it’s the next track?” We’re totally happy to do that education because he’s a brand new record collector and we’re going to be his local store now. That’s the best part of the work: turning people on and getting them set into their own vinyl rituals.

Do you think events like RSD encourage Gen Z to visit a store for the first time?

For sure. When an artist like Chappell Roan, who’s so popular with them, puts out an exclusive thing, the superfans are going to come out regardless of whether they’ve been to a store before. It’s a great gateway.

We are an all-ages event space, so we encourage younger people to come by having shows that are on a sliding scale, like $5 to $15. We’re in a city that’s really spread out. Miami is gigantic. Kids might see us on Instagram but can’t go because we’re a 40-minute drive away. RSD is a good excuse for them to beg their parents to take them. The listening parties bring out a lot of young people, too. We just hosted ones for BTS, Mitski, and Harry Styles.

Is there an event alongside RSD this year, or is it focused on sales?

It’s always an event. We have a DJ booth and DJs all day. We have people doing coffee, matcha, and breakfast sandwiches in the morning. We have a Jazz band playing next door at lunchtime. We hire someone for graphic design and make it a fun day with free beer and non-alcoholic beer. Why wouldn’t you want to stop by Sweat?

Are there any highlights from previous years that look back on fondly?

Thankfully, most of them have been great. In 2012, Iggy Pop was the official ambassador. He lives in Miami and is a friend of the store, so he made his official RSD appearance at Sweat. It was awesome. We had a place for him to park his Rolls Royce. He sauntered around all day with a leather vest on and signed records, basically receiving people like he was the King of England. Then a couple years later, he made an unannounced appearance. That was almost even more fun because people would just walk in, see him, and freak out. Those are very fond memories. He’s incredible. So smart, cool, and graceful.

With competition from big-box stores like Walmart, is RSD more important than ever?

Absolutely. We were the ones who kept vinyl going through everything. For big-box stores, it’s just a line item to get people inside. If I were the benevolent dictator, they would never get exclusive editions.

Third spaces and community spaces are more important than ever. Selling records is the main thing we do, but it’s also the way we fund our cultural activities. We have friends at the local bookstore who feel the same way. They sell books so they can host author events and book clubs. The best thing you can do if you like records is buy them from an independent store because then you’re supporting the artist, the label, the distributor, and the money goes back into your community.

What else could labels do to support indie stores?

Some labels are doing great jobs with special indie exclusive editions and cool swag. When the last FKA Twigs album came out, we had really cool wristbands, pins, and stickers. Fans want that stuff. Also, having the artists shout out local stores or encouraging people to pick up the indie exclusive is always appreciated.

Do you think record prices are too high?

Major label prices are too high. They could be lower to keep the longevity of vinyl sustainable. A lot of indies are doing it right; they keep their prices chill and we can sell a brand new single record for $25 or under. When major label releases come out at $50, it’s off-putting. It drives some to CDs, but more than that, it loses them sales. I’ve watched a young person pick up a record they want for $40, look around, find another one they’re happy with for $20, and take that instead. I hope in my heart that artists are seeing more of that increased money, but I have no idea.

We have an in-store loyalty card where every 12 records you buy, we give you a $20 gift card. That’s our way of offsetting some of the price stuff while rewarding repeat customers.

Lastly, where would independent record stores be today without Record Store Day?

The RSD movement does great stuff for us. We need that representation because it’s absent in other music industry realms. I was on the Recording Academy Florida chapter board for many years, and while they advocate for artist rights and education, music retail wasn’t a component.

Record stores are the ones on the ground, hand-to-hand putting music in people’s hands. We’re like the real-life algorithm. My staff give great recommendations. A lot of people want that experience IRL more than clicking around a tiny screen. Record Store Day has functioned as a nice umbrella organization for listening parties and the RSD Summer Camp, which is very valuable.

People can whine about it not being the release they wanted, but honestly, let people have fun. It’s great to have a blowout party and make sales before going into the summer. The fact that we opened and then a holiday about us was invented is great. Yay! Celebrate us. We are doing some cool shit and we are valuable in our community.

This conversation has been condensed and edited for clarity. The views expressed are solely those of the featured creators and do not necessarily reflect the views of The Vinyl Alliance.

Have a vinyl industry story to share? We’d love to hear it! Email us at cueburn@vinylalliance.org and let’s start the conversation.

The Next Vinyl Alliance Members Meeting is set for Alexandria, VA

The Vinyl Alliance is excited to host its next Members Meeting on May 26th & 27th in Alexandria, Virginia.

Vinyl Alliance members from around the globe gather in-person twice a year, once in North America and once in Europe. VA meetings bring together participants from across the vinyl ecosystem to exchange knowledge, gain market insight and work collaboratively to address issues facing the industry.

In the words of one VA member: “I see two main benefits from the meetings: The ability to discuss certain topics across the supply chain, and being part of a group that has the potential to contribute to the ongoing popularity of records.”

The event is limited capacity and invite only, but if you are planning to attend the Making Vinyl Conference in Alexandria the same week, please get in touch. We’d love to connect with you during the the VA Members Meeting in May.

If you are considering joining the Vinyl Alliance please visit our Membership page.

Subscribe now

Join The Vinyl Alliance

Gain full access to reports, market data, and knowledge exchange workshops with our membership.

Find more information about membership at vinylalliance.org/membership

While Record Store Day is traditionally known for celebrating pop icons and classic rock, this year’s edition, taking place on April 18th, promises a far more diverse lineup including special vinyl editions of the KPop Demon Hunters soundtrack and Wicked: One Wonderful Night, alongside novelties such as a fully functioning Rolling Stones 3″ turntable set.

Just a few years ago, animation soundtracks were considered niche, and K-pop releases on vinyl were relatively rare. But as record collecting culture has surged in popularity, we are seeing new crossovers between fan communities. In fact, according to Luminate K-pop fans are now more than 69% more likely to purchase a vinyl record, signalling how diverse collector culture is becoming.

Legacy acts like The Rolling Stones are also pushing even further to stand out. The Crosley-made RSD3 Mini Turntable may look like a shelf-piece novelty, but it’s fully functional, featuring built-in speakers, Bluetooth connectivity and a pre-mounted Audio-Technica cartridge, positioning the release as both collectible memorabilia and a working playback system.

Our Take: Gen Z has played a defining role in transforming Record Store Day from a rock and pop centric event into a culturally diverse event spanning genres, generations and media formats. “They’re deeply connected to the artists they love and are very open-minded when it comes to genre, gender and generation,” says RSD co-founder Carrie Colliton in an interview with CUE BURN. For the complete list of Record Store Day 2026 releases, see the official lineup.

Vinyl Sales Rose For The 19th Consecutive Year in 2025

Luminate’s year-end report shows U.S. vinyl album sales increased for the 19th consecutive year, rising 8.6% to 47.9 million units in 2025. More than four in ten vinyl albums were sold through independent record stores, according to Billboard. At the top of the sales chart was Taylor Swift’s The Life of a Showgirl, followed by releases from Morgan Wallen and SZA.

The entry of the KPop Demon Hunters soundtrack at No. 4 signals a broader shift in audience demand toward diverse cross-cultural media, however. “As we look to the year ahead, the path to success is no longer about wide, shallow reach,” said Luminate CEO Rob Jonas. “It requires a deep understanding of how music interacts with film, gaming, regional cultures and the evolving habits of a modern audience.”

The continued growth of the vinyl market is also reinforced by results from Alliance Entertainment, which reported selling 16.3 million vinyl records in the 12 months ending December 31, 2025. The Florida-based distributor posted a 3% year-over-year increase in vinyl revenue, attributing growth to “continued consumer demand for collectible and limited-edition releases.”

Our Take: Results from Alliance Entertainment confirm that growth is being driven by limited editions, variants, exclusives and premium packaging. With around 40% of sales happening through independent retailers, the vinyl industry should consider exclusive launch releases at independent record stores as a key strategy for engaging with fandoms looking for a deeper connection to their favourite artists, films and franchises.

Gen Z’s Love of Physical Media Extends to DVDs

According to the LA Times, Gen Z is helping drive a revival of DVDs and Blu-rays, with video rental shops reporting record months and growing membership numbers as young people embrace physical media.

DVD sales were falling for years, dropping more than 20% in 2023 and 2024 alone. However, the falloff slowed significantly in the past year as sales of DVDs, Blu-rays and 4K Ultra HD declined just 9%, according to the trade association Digital Entertainment Group.

“We see across all of our platforms, books, vinyl, everything, is way up for us,” says Bill Castle, the director of Barnes & Noble’s music and video section, who added that their demographics continue to skew toward younger shoppers. “People want to own things and build libraries. It’s convenient. They can listen or watch them at any time. They don’t have to worry about what streaming service has it up.”

Our Take: In our Gen Z & Vinyl report we looked at how ownership of physical media is becoming increasingly important to younger generations, with 76% of respondents ‘purchasing vinyl to have a physical copy of music’. Rather than one-off purchases this generation sees records as part of a permanent collection they will enjoy coming back to for many years to come, suggesting the industry should consider vinyl records as cultural objects with legacy that fans are willing to pay a premium for.

CUE BURN POLL: WHAT’S YOUR TAKE?

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Q&A: Wrensilva On Creating The Ultimate Record Console Listening Experience

Wrensilva has a unique proposition in the world of high-fidelity audio: a handcrafted record console that bridges the gap between design object and music system. Hand-built in San Diego, with finishes including natural walnut, white oak and gold grille, these consoles have become beloved by successful musicians and vinyl lovers who value the warm analog sound.

As Louis Vuitton creates a house with a listening room furnished with vinyl records, and Saint Laurent releases a limited-edition record collector box set, we are seeing vinyl become synonymous with a more aspirational lifestyle that signals taste and refinement. Undoubtedly, Wrensilva sits at the peak of this world, with its mid-size The Standard model starting at $14,900 (€12,615, £10,987) and the M1 starting at $18,900 (€16.010, £13.974).

While the price range may seem out of reach for many, for true audiophiles Wrensilva offers an elegant, finely tuned immersive audio experience that comes endorsed by creators including Abbey Road’s Giles Martin and Grammy award-winning mix engineer Manny Marroquin. Its timeless mid-century design makes it a natural centerpiece for the home that can be passed down for generations.

Bringing this story to life for the Vinyl Alliance, co-founder and Head of Audio Scott Salyer kindly took the time to explain Wrensilva’s design process, from how they calibrate the cabinet’s internal resonance to why paper cone speakers remain the gold standard for translating the analog warmth of vinyl.

What was the moment where you fell in love with creating or designing record consoles?

Scott Salyer: I fell in love with record consoles when I was 10 years old. I grew up with one and in Michigan, outside of Detroit. It was probably horrible. Maybe a Zenith, mostly made out of plastic that looked like wood, with an eight track in it, a record player and an AM/FM receiver.

Then this unit migrated into my bedroom and I got to play my first Kiss record on it. I remember sitting in front of this console with the glow of it listening to this Motown station CKLW out of Detroit.

I’d sit there for hours mesmerised and eventually my mom would come in and she would distract me and turn the station to just white noise. She’d be like: ‘Oh yeah, the station went off the air. Time to go to bed’. When I was about 20 I was like, ‘wait a minute’. It never went off the air.

My grandmother also had a record console in her dining room. The record player was such an important part of Christmas and Thanksgiving when we had huge family dinners. So with Wrensilva we strive to be part of the family and create a centerpiece of the house.

Many years later, after being a musician, a recording engineer and then becoming a professional furniture maker, we would listen to records in our shop. All my records are completely ground full of sawdust. I just had my old Acoustic Research turntable and some Mission 707 speakers in the wood shop, and we’d listen to records constantly in the background while building furniture. Then the idea of Wrensilva started there: ‘Wouldn’t it be cool to make this great console stereo that gave that feeling that I had when I was younger.’

With the other founders we all came together to really bring the vision to a solid point and go forward with it. Everything I’d done in my life came together to give me that ability to actually help on this. There’s a lot of heartbreak, a lot of struggles, but it’s beautiful.

What goes into crafting a Wrensilva console?

If I was going to build one by myself, it’d take me a couple hundred hours to do. But the way we’ve set up our production, it takes about 35 highly skilled man hours. There’s a certain made to order aspect of it, but we’re typically ahead of that, at least certain levels because we’re set up to scale. So everything is designed with that in mind to be able to produce.

Our consoles are built in two parts. There’s an inner cabinet which is really the performance aspect of it. That’s got a lot of very strategic vibration isolation techniques happening within it. But you don’t see any of that. Then there’s this outer shell that’s the decorative body of it typically made from walnut or oak.

First we’ll build up the inner cabinet. Then the speaker boxes. So we have a whole speaker division. Those are put together, and from there all the initial wiring will start. Tons of little details like the hardware and elements for the vibration isolation.

There’s a whole division that just installs and builds crossovers. Tests the speakers to make sure they match the original design. If you do a frequency sweep of a Wrensilvar speaker out of the console, it’s an absolute mess. It’s all over the place. That’s by design though, because when it goes into the cabinet, the cabinet flattens it out.

So that’s one of the benefits of getting a Wrensilva is that’s where you want your speakers in a cabinet. Ours are designed to actually perform at that place. Like the whole console is part of the speaker.

There’s a lot of moving parts. It’s all on us. It’s not just the speaker. It’s the amplifier, it’s the turntable. It’s everything. Wrensilva is a full system. We’re building stuff for people that don’t want to deal with the component stuff. So we’re taking on all that responsibility for all those parts. It’s not like if the amplifier goes bad, you contact one person.

Some audiophiles argue that the playback turntable itself should be separate and isolated from the speaker system due to vibrations. How did you overcome that audio-design problem with Wrensilva?

They’re totally right. It is a bad idea. But, just the desire to make a console that performed well was what we needed to ignore the fact it was a bad idea and just figure it out.

We’ve created this isolation factor to our turntable because if we didn’t, it’d be a mess. We are literally putting our turntable in the most un-optimal situation you could imagine. Like, it’s in the cabinet, right?

So to get it to perform as well as it does, with a 200 watt amp in our cabinet, and 9 ½ inch Satori woofers in the M1… That’s an absolute hurricane of energy happening there, and the fact you can turn our consoles all the way up, full blast, loud, with a record playing and we’re not getting feedback… It’s an impressive feat that we’ve accomplished, honestly.

Most people are dealing with some rumble from their wood floor. We’ve completely eliminated that. It really started with intuition from the beginning, and it’s just been refined over the years.

With the audio spatial design were you trying to create a sweet spot for listening to the Wrensilva? A lot of people talk about sitting in front of the console on the floor.

I wouldn’t say that was intentional. The fact that people want to sit in front of the console really plays into the emotional connection they get with it. How it feels when you’re sitting around a campfire or fireplace.

From my perspective, the biggest thing to focus on is just making the cabinet disappear sonically as much as possible. So you do get width and height from the speakers and it just fills the room.

My original falling in love with consoles when I was 10, was probably partly because the speakers were low to the ground and that the bass just kind of rolled out and just kind of created this fullness to the whole room.

That was 100% part of the original Wrensilva philosophy. We don’t have a subwoofer, but those 9 ½ inch Satori woofers in the M1 go down to the low 30 Hz frequencies. It’s deep, even at low volume. I love bass. I won’t design anything that you just can’t really feel.

You use papyrus cones for your speakers. What was your thinking about using paper versus any other material?

Well, it’s essentially a paper cone that just has a really great stiffness and lightness to it. It’s really strong. But it also has a certain warmth to it I feel.

I was a guitar player for a long time, and to me guitars sound the most like they’re coming out of a guitar amp when they’re played through paper cones.

Metal cones or fiberglass cones, everything’s going to have a different quality to it. But I’ve always been in love with the sound of a paper cone. It brings out and accents what most people call ‘warmth’, but I’ll call it ‘the character of vinyl’. It represents what people love about vinyl a little bit clearer than some of the other stuff.

Guitars sound great on vinyl. I was with Mike Campbell, Tom Petty’s guitar player, who’s one of my favorite guitar players of all time. He has one of our Tobacco Walnut M1’s in his living room, and he was so stoked on how the guitars sounded coming through the Wrensilva.

Wrensilva is known for collaborating with a lot of renowned mix engineers, musicians. How does working with them inform your design process?

Yeah, we make it a huge point to work with creators, musicians, producers, engineers, people that know the music so intimately to get their input when we’re working on a design.

If you go to somebody like Giles Martin, and sit down with him in front of the console with a tool set in place to allow him to listen to, and make changes to the sound profile so that he hears it the way he remembers it. In a way, it’s just simple. It’s just reverse mastering these speakers. Giles is great at it. He immediately hears different frequencies so clearly.

They will listen to a new design and just go, right, okay, this needs to be tweaked a little bit. Honestly, it takes five minutes to get it to a technically good place that sounds good. But to get insight from people like that is priceless to me.

How do you balance designing something that feels timeless? So not too nostalgic, and not too contemporary and of the moment?

For me, it just needs to not feel overdone visually. I find myself gravitating away personally from designs that are too visually loud and kind of almost leave too much impact on you at very first glance.

It’s like looking at a guitar that is super highly figured and then stained and has this incredible pop, that’s like ‘ wow, that’s amazing’.

Then I look at my 1992 Les Paul classic, which was modeled on the faded look of Jimmy Page’s sunburst guitar, and it’s just got a very simple wood grain, and it’s just gorgeous.

And I will never get tired of looking at that. The more I look, the more I find little things about it that are subtle and keep me interested.

So it’s what’s going to give lasting interest to you rather than, what’s gonna just pop out easily. It’s easy to impress right off the bat, but then I find stuff like that starts to wear on me visually, and I rather just enjoy something that’s mellow.

Lastly, a lot of what you read from Wrensilva is that it’s an heirloom piece that’s passed down through generations. Could you tell us where that philosophy of creating a heirloom piece came from?

That also comes back to just my memory of the record consoles and how there’s still a lot of them out there. The good ones lasted. You can go out and find them. I doubt they sound anything like what we’ve done, but there were some really beautiful ones, especially the German ones. For me a record console absolutely has to be that because it becomes part of the family. And we find that all the time with our customer base.

People will tell us that they’re kids are going to get this Wrensilva eventually. Or they’ll buy another one for their children as a wedding present because their kids got obsessed with it because it became part of the family.

That’s a responsibility we have as the furniture maker, to create things that will last that long and be part of the family forever and just keep giving enjoyment. And that’s another reason that at the core it’s always an analog system because if you’ve got electricity you can play records.

This conversation has been condensed and edited for clarity. The views expressed are solely those of the featured creators and do not necessarily reflect the views of The Vinyl Alliance.

Have a vinyl industry story to share? We’d love to hear it! Email us at cueburn@vinylalliance.org and let’s start the conversation.

Vinyl Alliance Members Meeting

The next Vinyl Alliance Members Meeting is set for May 26th & 27th in Alexandria, Virginia.

The Vinyl Alliance gathers its global membership in-person twice a year, once in North America and once in Europe, bringing together prominent players from across the vinyl value chain to exchange knowledge, gain market insight and work jointly to address issues facing the industry.

Building on the energetic participation and insightful sessions at last meeting in London, we’re excited to bring that same spirit of collaboration and exchange to Alexandria, Virginia.

The event is limited capacity and invite only, but if you are planning to attend the Making Vinyl Conference in Virgina the same week, please get in touch. We’d love to connect with you during the the VA’s Members Meeting in May.

If you are considering joining the Vinyl Alliance please visit our Membership page.

Subscribe now

Join The Vinyl Alliance

Gain full access to reports, market data, and knowledge exchange workshops with our membership.

Find more information about membership at vinylalliance.org/membership

Sony is releasing the PS-LX3BT(€299, £299, $399) aimed at first-time vinyl listeners, as well as the PS-LX5BT (€399, £399, $499), a model geared at those looking to upgrade their system. Both offer sleek, minimal design, with Bluetooth connectivity, Hi-Res Wireless Audio, and simple ‘plug and play’ options via a simple audio cable and built-in phono equaliser. What elevates the PS-LX5BT model to a premium audio experience is a high-grade cartridge, gold-plated audio jack and a more rigid, one-piece body designed to suppress vibrations with a heavy rubber mat for better damping. According to WhatHiFi, Sony meets the mark for creating a ‘fun, ridiculously user-friendly and resoundingly listenable’ playback device.

Our Take: Sony’s doubling down on accessibility for both new audiences discovering vinyl for the first time and those looking to upgrade their audio setup signals the sustained strength of the vinyl revival. Its integration of Bluetooth connectivity and ‘plug and play’ options make the experience easy and enjoyable. Rather than compete at the high end of the audiophile market Sony is making turntables that are stylish and affordable, with competitive sound quality.

Pharrell Williams Designs A Listening Room for Louis Vuitton’s Paris Fashion Show

For Louis Vuitton's Autumn Winter 2026 menswear show during Paris Fashion Week, the brand's men's creative director Pharrell Williams created a minimalist timber house featuring a dedicated vinyl listening room. As reported by Living ETC, the luxurious interior included ‘slick’ sound equipment, impressive vinyl record storage and Louis Vuitton-branded records, making it ‘the dream of audiophiles everywhere’. The house concept, developed with architectural firm Not A Hotel, was designed to embody the fashion collections idea of ‘timelessness’ in architectural form: ‘a vision of future living built on function, savoir fair, and human need’.

Our Take: As creative director of Louis Vuitton, Pharell Williams is fusing music and luxury fashion to create a high-fidelity lifestyle for the brand. In this context, owning a vinyl collection, and having a room dedicated to the experience of listening to records, has become an aspirational dream for luxury fashion houses and their followers. Coupled with Saint Laurent’s recent release of a limited-edition vinyl box set, there is a clear opportunity for the record industry to create ultra-premium editions that appeal to high-net worth individuals.

Tiny Vinyl Is Bringing Four-inch Vinyl Records To Europe in 2026

Following the debut success of its miniature collectible vinyl records in the US, Tiny Vinyl is entering the European market this year. To make this plan a reality the company has appointed Ruben Planting, an experienced strategic consultant in the music industry who has held leadership roles at Deepgrooves Vinyl Pressing, Making Vinyl, and Music Declares Emergency Netherlands among others. “Ruben brings a wealth of experience in international music distribution and revenue growth strategies and is uniquely positioned to connect US innovation and European retail,” Tiny Vinyl founders Neil Kohler and Jesse Mann told Music Business Week. “By connecting with the resurgent European vinyl market, he will continue our success abroad with dedicated partnerships with retailers and bespoke editions for artist fan clubs, gifting, and tours.”

Our Take: As vinyl increasingly functions as an expression of fandom, display, and identity, particularly among younger audiences, miniature pressings offer artists and retailers a new way to participate in vinyl culture. The 4-inch size and lightweight nature of Tiny Vinyl records make them a compelling merchandising opportunity, especially for artists on tour looking to release limited-edition, accessible collectibles for fans.

CUE BURN POLL: WHAT’S YOUR TAKE?

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Q&A: Tina Edwards On Crafting A Vinyl DJ Set

When it comes to jazz, funk, leftfield club music and vinyl-only DJing, there are few people better placed to talk about it than Tina Edwards. An international touring DJ, curator of Bandcamp’s Jazz-ish Jazz Club, co-founder of music curation platform Re:sonate, and the Queer Jazz event series, Edwards is deeply plugged into what’s next for global record culture.

In this interview for CUE BURN, Edwards dives into how she builds bold, genre-blending sets that move both minds and dance-floors, her practical advice for new vinyl DJs, why 45s have become a secret weapon in her bag, and why the ritual of digging for records feels increasingly meaningful in a digitally saturated world.

Why do you love vinyl DJing?

Tina Edwards: When you collect vinyl, you attribute value to it. There’s a different experience to downloading an MP3 or WAV compared to digging for a record, deciding to purchase it, and finding a physical home for it where you live.

There are memories attached to it, whether it’s where you found it, who introduced you to it, where you’ve played it, a moment where you’ve played it out and it went down really well. I find that you add emotional value to records in that way.

It also makes me more decisive when I’m DJing with vinyl because you have to pre-plan a journey or narrative beforehand. You can do that with USBs, but there’s a kind of decision paralysis that can get in the way when you’ve got thousands of tracks in front of you. So when you’re playing only with vinyl it helps you streamline what it is that you intend to do with a set.

What goes into building your vinyl DJ sets?

I begin with a mood, theme or a sub-genre. For example, I’m preparing a set for a recorded on film performance next week, and at the moment cumbia is piquing my interest. So I’m using that as a starting point to be like: ‘right, what do I have in that realm in my vinyl collection? What can I add that compliments what I already have, and help me become a student in this area of music?

Last year I only bought 45s as a challenge to myself because when you travel with LPs, it’s really hard work. I was gifted bad balance in life, so I have to be really cautious about how I pack because having a suitcase and a trolley, that alone is a real challenge for my balance in itself.

So I’ve been buying plenty of 45s recently to try and counteract that and that has been a really fun brief for myself and has also saved my chiropractor bill a little bit.

How many records do you usually carry on tour?

If I’m doing an international gig then I’ll bring my Phonica backpack, which can fit about 40 LPs, and I’ll bring a nice small vintage leather case which can fit about eighty 45s.

But, if I’m gigging at home and I can just hop on a train, then I can take my pulley case and my backpack and my little box. So then it’s 150-200 maybe.

I did 30 flights last year for gigs, and whilst that’s a privilege, and I had the best time, I’ve got to be really methodical about packing because of my small frame. It’s important for me to be quite focused on which records will help me to tell what story.

Has searching for 45s changed the type of music you’re getting into?

It’s easier to take a punt on a 45 because there are two tracks to listen to. The B-sides are often the ones that stick out to me because they’re a little bit quirkier or alternative.

I’ll tend to buy a 45 if I like both tracks, whereas with an LP, I’ll tend to buy one if I like three or four tracks. Obviously the ratios are off, but instinctively it just means that I end up taking more 45s home with me. They win me over a bit more quickly.

In Zurich, there’s a really great store called ZERO ZERO near club Kasheme, where I had a residency, and I went there and spent hours just digging through the boxes under the crates, and came away with loads of quirky disco.

Wherever it is that I’m shopping, I will try and lean into what it is that the city excels at. So in Bilbao last year, I was looking for Spanish and Latin leaning records, and found some great stuff that I wouldn’t have easily found elsewhere outside of the country. So it kind of means that I go a little bit more specific and niche when I’m digging for 45s.

Are there any record stores that you would recommend for jazz or funk in London, or around the world?

Phonica is an obvious one that comes to mind. In the 45s area they stock some really brilliant jazz, dance records. Sounds of the Universe is obviously a good one to go to. I’ve also been lucky enough to go to a few places in Tokyo and to have dug around in Disk Union. Tokyo is such a mecca for jazz, and Japanese pressings are really sublime.

When I’m clicking on Bandcamp and Discogs, I’m being a bit more strategic and straightforward with my time, finding it online and ordering. I know what I’m looking for. Whereas when I’m digging, I’m looking to discover something that will be completely new to my ears, usually amongst Latin or disco or more left-field sounds.

What are you searching for when you are digging for records?

When it comes to vinyl releases, for me it’s the music itself which is capturing my attention and everything else is a bonus that enhances the experience.

Liner notes, a particularly interesting design or an inner zine are all beautiful to add, but I just get straight into the music. I put a lot of my records online on Instagram, and I share my recommendations, but I do find collecting records quite a personal experience in a way. When I get a record, I sort of just tear into it and go straight to the music.

How many records do you think you have in your collection now? How do you organise them?

I’ve got about 750 LPs and probably two-hundered-and-fifty 45s. I need more shelves. A lot of records are on the floor now in small piles against the walls, which my wife is very sweet about, but you do have to climb over certain things from time to time. So she’s very forgiving.

In my house my records are categorised alphabetically. I do it by first name, controversially, because there’s so many artists that just go by one name. Björk is my all time favorite artist, and I’ve got everything she’s released on vinyl. So I feel like if it’s literally the first letter of the artist’s name I know where to look for it.

What would be your number one tip for people who would want to get into vinyl DJing?

If you’re starting to get into vinyl DJing, then you’re probably only just starting to collect records, or figuring out how to curate them into a cohesive set. So try to expand your collection in a way that makes sense for playing live.

I like to use the analogy of buying a capsule wardrobe. People buying pieces that you can wear multiple times with multiple different things. So if you put that analogy onto vinyl DJing, you start looking for records where you think, ‘I love this’ and ‘This would work really nicely with this 45 that I have’. That way you’re going to get good use out of your record.

So if you’re starting out, buy things that make you excited, but also try and piece it with what you have already because you’ll be able to get gigging a bit sooner.

Then in terms of creative advice, just follow your instincts and do what feels good for you because if we do manage to ‘crack a formula’ for something like DJing, then everything quickly gets boring.

What makes sense to me as a DJ putting together a set might not make sense for someone else in their process. It’s the distinctive way in which a DJ or selector connects the dots that helps to make you who you are and makes your offering unique.

So I wouldn’t want to over advise a brand new DJ. I would more just offer the practical advice of how to build their collection.

Do you find your vinyl only sets are attracting a younger audience?

Yeah, I’d say a lot of interest comes from online. I hear from a lot of people on Instagram and TikTok, looking to start collecting records or want to start gigging out, and asking: ‘What advice do you have?’

With my live sets, I find my audiences tend to be multi-generational. Sometimes, I’ll get older heads coming over and wanting to talk about the track IDs, the sleeves or talk about the music generally.

Whereas I can tell some younger people are watching quite intently, and they’re studying a little bit, (which I like to see), but maybe they’re a little bit shy about approaching me. They’re welcome to, though!

But there’s definitely been a slight increase in younger heads looking a bit more interested in records over the last few years.

Why do you think vinyl digging culture is so relevant today?

People are increasingly looking to go back to the experience that you get in a record store. It’s a reaction to screen fatigue, and the amount of noise we receive about what we should be listening to. Vinyl digging culture is reclaiming the autonomy to choose to discover something for yourself, and take yourself on that journey independently. It’s rewarding because we can get playlists and recommendations from radio shows, but when you choose to set aside time to physically look for something that sparks your curiosity, and then you get excited about it because you found this little gold nugget of treasure that you want to take home and make it something you own… that’s just a very different experience to the status quo at the moment.

Lastly congratulations on becoming an official Bandcamp Curator for its Clubs initiative. Can you tell us more about how the Jazz-ish Jazz Club is going?

Bandcamp are really good at finding new ways to get people to engage with independent music, and Clubs is a really cathartic alternative to the music landscape we have right now, which is: ‘consume, consume, consume’.

With Clubs, I get to pick an album that members then obsess over for a whole month. First, that comes in the form of an interview with the featured artist. Then, there’s a listening party with special guests. We had Kamasi Washington drop in for a listening party a few months ago, which is wild. Everyone gets a download of the record, and there’s a lot of conversation on the forum, and a lot of music recommendations being exchanged with people sharing their own music as well. So It’s just a lovely corner of Bandcamp I’m really happy to be a part of.

To stay in touch with Tina Edwards check out her latest radio show with DJ Gilla on Bandcamp Weekly, and follow her on Substack where she posts music recommendations, events and updates

This conversation has been condensed and edited for clarity. The views expressed are solely those of the featured creators and do not necessarily reflect the views of The Vinyl Alliance.

Have a vinyl industry story to share? We’d love to hear it! Email us at cueburn@vinylalliance.org and let’s start the conversation.

Gen Z & Vinyl Report: One Year On

It’s been one year since the Vinyl Alliance published our comprehensive Gen Z report offering deeper insights into why this generation is drawn to vinyl and willing to pay a premium, even as rising prices impact their purchasing power. Whether it’s to express identity, create moments of relaxation, or connect with a wider community of collectors, vinyl records are making a powerful impact on youth culture today.

Beyond our membership’s enthusiastic reception to the report at our biannual Vinyl Alliance members meeting in Vienna, the report has gained significant global traction with features on CNN, CNBC, and Music Week, as well as presentations at Reeperbahn Festival & Conference (Germany) and Music Biz (USA) among others. If you haven’t seen the findings yet, you can download a free preview of the report right here.

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The Parisian luxury house has released a limited-edition vinyl box set featuring 24 records selected personally by creative director Anthony Vaccarello. The collection is intended as a tribute to music across several distinct eras that ‘showcase the artistry of analogue sound’, with several exclusive releases for Saint Laurent. The box set also includes a digital interactive component, allowing those lucky enough to receive the gift to discover the lore behind each record and what inspired Vaccarello’s selections. Plus, six of the records contain access passes to coveted Rive Droite artefacts, ranging from designer cameras to signature caps. According to Hypebeast, this chic holiday gift, released at select Rive Droite stores, is limited to just 70 copies worldwide, with a price tag of €3,850 ($4,510, £3,384).

Our Take: Luxury fashion houses are increasingly aligning themselves with the intimacy and intentionality that come with experiencing analogue sound. By creating an intimate vinyl playlist through the lens of its creative director, paired with a digital component that unfolds the story across 24 records, Saint Laurent turns a traditional box set into a shared daily ritual. Released during the holiday season, this invites loyal Saint Laurent customers to slow down, and create a deeper connection with the house. There is more opportunity for vinyl listening to be positioned as a daily luxury ritual, as well as more potential for artists to add rich storytelling to accompany records through digital integrations.

John Lewis’ Christmas Advert Celebrates Vinyl Gift Giving

In the UK, the John Lewis Christmas campaign has become akin to the US Super Bowl ads in terms of cultural impact, and this year the iconic British retailer chose to make vinyl the central storytelling device of its famous seasonal advert. In the two-minute film, an awkward teenage son gifts his 50-year-old father a vinyl record featuring the iconic ’90s dance hit ‘Where Love Lives’ by Alison Limerick, which is also reimagined as a new version by producer Labrinth for the campaign’s soundtrack. On discovering the gift, the father heads straight to his record player, which transports him back to the 1990s, awakening nostalgia for his teenage years, as well as memories of his son as a toddler. Meanwhile, the son expresses his love through a thoughtful gift that creates an intergenerational connection without words. Little Black Book reports that Rough Trade curated vinyl range at John Lewis will also exclusively stock a vinyl release of ‘Where Love Lives’, with Side A featuring Alison Limerick’s iconic original version, while Side B presents Labrinth’s newly reimagined interpretation. Profits from the £15 ($17, €17) limited-edition vinyl will support the John Lewis Partnership’s Building Happier Futures programme.

Our Take: The John Lewis advert runs across TV, digital, cinema, billboards, and social channels, supported by extensive in-store experiences signaling the brand’s belief in vinyl as a powerful storytelling tool capable of connecting all its retail touchpoints. For the record industry, the advert’s concept highlights a growing opportunity to position vinyl as a powerful, emotional intergenerational bridge, particularly when it comes to male relationships, where verbal communication is traditionally difficult.

Silent Vinyl Album Protests AI

Kate Bush, Hans Zimmer, and the Pet Shop Boys, alongside more than 1,000 other musicians, have lent silent tracks to a new protest album, with the track listing spelling out: ‘The British government must not legalise music theft to benefit AI companies’. According to NME, the record is set to be pressed on vinyl, but instead of instrumentals and vocals, listeners hear only the occasional clatter or faint background noise from empty recording studios. Titled ‘Is This What We Want?’, the album suggests a future in which there are no artists left to create new music if AI companies are allowed to exploit musicians’ intellectual property to train their models. The release comes as the UK government plans changes to copyright law that would make it easier for artificial intelligence platforms to develop and train models using copyrighted work without requiring a licence. “I am very concerned the government is paying more attention to US tech companies’ interests rather than British creatives’ interests,” said composer and campaigner Ed Newton-Rex, speaking on the motivation behind the album. All profits from the £28 ($37, €32) release will be donated to the charity Help Musicians. The album is available to order here.

Our Take: Despite being a largely silent protest album, it was crucial for music activists to release Is This What We Want? as a physical vinyl record, giving people an object they can purchase, collect, and hold onto. Both this protest release and the John Lewis record featured in this month’s newsletter offer audiences a clear incentive to buy vinyl in support of a cause, turning records into symbolic, historic objects rather than just another listening format.

CUE BURN POLL: WHAT’S YOUR TAKE?

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Q&A: We Ask 5 Substack Writers Their Predictions for Vinyl Culture in 2026

For this special edition of CUE BURN, we reached out to some of our favourite Substack writers engaged with vinyl culture to learn more about how they came to love the format, their thoughts on record trends in 2025, and where opportunities exist for the industry looking forward into 2026. From activist music writing, to album art critiques, soundsystem culture, fan-driven research, to the everyday rituals of record collecting, each of their Substacks approaches the format from a different angle. Across these conversations, a few key themes surfaced: the power of vinyl for deeper multi-platform storytelling, the importance of not treating vinyl fans simply as a cash-grab opportunity, and the value of shared knowledge and human connection between the community that supports record collecting culture. As the Vinyl Alliance, we hope these conversations will help ignite different perspectives on the vinyl format, and inspire you with new ideas looking ahead to the new year.

Will McCartney – Noise Narrative

After contributing to publications like Mixmag and The Quietus, Will McCartney created Noise Narrative as a way to write about music on his own terms. Through essays, photographic reports, interviews, and mixes, the journalist platforms the people, scenes, and issues he believes deserve to be celebrated. A key source of inspiration came from travelling to Morocco in his early twenties, where he spent a few days living with the indigenous Amazigh people of the southern Moroccan Sahara. With very little shared language, they spent hours each evening playing hand-crafted drums together. “It produced a lightbulb moment for me,” says McCartney. “Music, when viewed as language, is a deeply potent prospect that I could write about forever.”

You recently wrote about crate digging in Tokyo and Amsterdam. Did you find any surprising cultural nuances or differences between Japanese and European record stores?

One thing that fascinated me was the role that Japan’s record stores play in everyday urban life. The stores are densely embedded into the cities; up stairwells, in basements, inside big electronics stores, in department complexes. Shopping for records there is a routinised hobby. In Amsterdam, or even here in the UK, record stores often feel more like a destination, or part of a street’s siloed independent-retail ecology (alongside cafés, barbers, clothes). Trips to European stores have often felt more occasional - a weekend browse, a leisure outing, a lifestyle choice.

The other big cultural difference is the staff-customer relationship. In Japan, staff felt more akin to specialist curators. None of the stores I visited there were particularly chatty affairs unless I instigated it, but the knowledge was there if I needed it. It’s a quiet authority that feels different to my experiences in Europe, where the staff-customer interaction is often part of the value: conversation, scene gossip, social.

You often write about music from an activist stance, investigating national anthems, deep diving into Two-Tones’ role in Thatcher’s Britain, and the power of ‘ecomusicology’. Do you think there are areas in which the vinyl industry could become more activist?

Totally. I’d love to see more mainstream conversations around circularity and recycling in vinyl culture. Vinyl as a medium has undoubtedly been fetishised over the last decade, often for good reason. But I think the danger with this is that the emotional gravitas of nostalgic tactility that the vinyl format provides us often blinds us to the costly effects it can have on our planet and our people.

Have you noticed any new trends when it comes to vinyl record culture in 2025?

Something I’ve seen this year is vinyl-only runs as a pushback against streaming culture. Vinyl-only runs have obviously always existed, but I’ve seen more artists this year make statements in doing so. If you want to hear this music, you’ll have to prove that you don’t rely on Spotify.

What has been your favourite vinyl record of 2025 and why?

Jerskin Fendrix - ‘Once Upon A Time In Shropshire’. I’m going to plug my dear friend’s record here. It’s a breathtaking album about a coming-of-age that I was a part of. Jerskin wrote the score for Poor Things, Kinds of Kindness and Bugonia, and his latest personal release is filmic in the most gorgeous way.

What is the biggest opportunity for vinyl record culture looking forward to 2026?

Vinyl is one of the last truly tactile media canvases. I think it has a dearth of storytelling real estate which is criminally underused. Sleeves, booklets, inserts… so many vessels to expand depth of meaning, for contextualisation.

Emily White – emwhitenoise

Emily White is a music tech product advisor who has worked at platforms including Spotify, Billboard, and NPR Music. She sees her emwhitenoise newsletter as an ongoing form of user research, or space where she can learn from, and actively participate in, the community of music fans and artists she builds for. Her monthly deep dives investigate the post-streaming era through the lens of music fandom, culture, and technology, with a strong focus on the fan perspective, whether through original surveys or interviews with professional fans and tastemakers. Ultimately, White also views the newsletter as a future distribution channel for the products she creates.

You recently wrote about college radio booming among Gen Z listeners. How do you think the vinyl record industry can lean into this trend?

I spoke to several college radio stations around the country for my newsletter on Gen Z’s college radio revival, and they all spoke about their physical music libraries with pride. Many stations are specifically requesting promotional vinyl from labels. Some Gen Z-hosted shows are even vinyl-only. The vinyl industry can lean in by sending targeted promo releases directly to college stations and supporting campus-based programming, a highly engaged music discovery ecosystem.

What can the vinyl record industry learn from the success of established or startup music tech platforms in 2025?

We’re seeing a surprising revival of iPods and digital music libraries, which makes the humble vinyl download code very relevant again. Tech platforms have trained listeners to expect seamless access and portability. Vinyl can meet that expectation by treating digital access as a core part of the product, not a throwaway bonus, by thoughtfully linking ownership of a physical record to a meaningful digital experience.

What has been your favourite vinyl record of 2025 and why?

I haven’t purchased any vinyl yet this year, actually! I have a record player, but my vinyl collection is mostly symbolic. I prefer to buy merch I can wear. But my favourite albums of the year were: ‘Humanhood’ by the Weather Station, ‘Cover’ the Mirrors by Ben Kweller, ‘Earthstar Mountain’ by Hannah Cohen, ‘Getting Killed’ by Geese, ‘Ego Death at a Bachelorette Party’ by Hailey Williams, and ‘Addison’ by Addison Rae.

What is the biggest opportunity for vinyl record culture looking forward to 2026?

The biggest opportunity is to fully embrace vinyl as part of a multi-format ecosystem, not just a nostalgia object. Building systems where owning a record unlocks access, IRL or digital, where vinyl becomes a membership card.

Rachel Cabitt – The Art of Cover Art

Rachel Cabitt is a photographer, designer, and art director who started The Art of Cover Art as a Tumblr page, uploading a collection of vinyl packaging images she had been saving on her computer. When she began adding visual credits to the works, she would often get sidetracked, falling down research rabbit holes on Discogs, discovering one cover photographer or designer after another, alongside countless lesser-known artists. What makes the Substack particularly unique is Cabitt’s focus on highlighting niche album cover artists and subcultures from around the world, from unpacking the history of 1970s Pakistani 7” soundtrack art to documenting the modern artists creating covers for today’s DIY rock scene in China.

You spoke about Black and White being a visual trend for cover art in 2025. Were there any other visual or design trends you noticed or enjoyed with 2025 vinyl records?

My latest piece dove into the “I Spy” trend I’ve been noticing over the past year. These covers aren’t necessarily streaming-friendly, but they look great when printed large on vinyl. In a chaotic climate, they fit right in while also standing out.

Your piece An Ode to the Wraparound Album Cover highlights a design technique that lost its popularity. Are there any other vinyl cover design techniques you think the industry is missing out on or forgotten?

I’ve noticed a trend among major-label artists of printing multiple alternative covers. It feels more like a cash grab than a unique experience, which is what fans ultimately want. Plus, it tarnishes the album cover’s role: to be a visual representation of the music. While it may seem obvious, the industry is forgetting that sticking to a single strong image is the best design technique.

How has running The Art of Cover Art inspired your own practice as an art director for the music industry?

Writing this newsletter has kept me continually curious and aware of everything going on around me. If I’ve learned anything from researching the art history of album art, it’s that trends come and go, but timeless, unique covers transcend.

What has been your favourite vinyl record of 2025 and why?

Hardcore group Show Me The Body’s 10th anniversary release for Body War. The front of the black vinyl jacket features the band’s emblem (three coffins), and the back bears the band’s name, both die-cut into the packaging. Once you remove the vinyl, you can tear the jacket in half along a perforated line and use the packaging as a spray paint stencil. It’s defiant and messy, harkening back to the spray painted title on the original cover, the band’s ethos, and the hardcore community. I love how it challenges the idea of what a 12” canvas can be.

What is the biggest opportunity for vinyl record culture looking forward to 2026?

In November, I had the chance to speak with Craig Braun, the designer responsible for the notorious zipper on the cover of The Rolling Stones’ Sticky Fingers. His creative practice was three-dimensional, producing interactive vinyl that defied a flat surface. While he worked during a time when budgets were much more abundant, and the sky was the limit, he created memorable, unique vinyl experiences.

Now more than ever, audiences are finding new ways to listen to music that aren’t streaming-reliant. Analog and physical media are thankfully making a comeback. It feels a bit revolutionary... Now may be the time to pepper in some Craig creativity into our designs (albeit at a more restrained budget).

Suze Webb – Sound + Vision

Suze Webb helped build the independent label Mixpak from the ground up, signing and working with Jamaican artists like Vybz Kartel, African acts such as Afro B, and leftfield underground electronic artists including Palmistry. Webb has worked in artist services and business development ever since, helping artists, labels, and brands shape music strategy, creative marketing and execution. Alongside a monthly residency on London station NTS Radio, she uses her Sound + Vision Substack as a place to share real-life insights from her working life, exploring how music, design, and culture come together.

Your recent editorial ‘Are We All Audiphiles Now’ highlighted how luxury brands have embraced listening rooms and sound systems. What’s driving this rush to align with audiophile culture?

I think it’s really a mirror of our time: a mix of sincere reverence for sound and craft, a desire for physical connection and communal experiences, and a touch of late-capitalist repackaging. Audiophile culture gives luxury brands a way to signal community and cool, and “caring about music”.

How can soundsystem builders, playback manufacturers, artists, and the vinyl ecosystem tap into this trend without selling out, and actually turn it into a long-term, sustainable movement?

I think long-term sustainability comes from care - in design, in storytelling, and in how it circulates. I think people ultimately move on when it isn’t offering something concretely valuable, and that’s where trends can become empty. I think there’s a huge opportunity here for a long-term sustainable movement, though, which is great.

What’s been your standout vinyl release of 2025, and what makes it special to you?

I’m always in awe of independent labels that put their time and resources into thoughtful vinyl releases. I know firsthand how demanding that process can be! A few labels that consistently stand out and have delivered this year are: Death Is Not The End (UK), Principe (Portugal), TraTraTrax (Colombia), Soundway (UK), all of whom expertly balance depth, experimentation, and context.

Andres Celati – The Vinyl Room

Andres started The Vinyl Room as a space for vinyl lovers with busy lives to connect and learn from each other, without the snobbery often found in record-collector circles. Initially focused on audio-tech advice, collection strategies, and industry news, the Substack has since grown to encompass broader aspects of what he loosely calls ‘vinyl life’. Alongside his weekly material, Andres also runs a series called Vital Records, where music lovers from all walks of life share three records that have resonated with them personally. “You get to know a lot about a person through the records they choose to discuss,” he says. “We’ve been conditioned to present a certain image of ourselves, especially around other music lovers — but our records never lie.”

You often write guides that help readers achieve The Secret of Great Vinyl Sound or learn Habits of a Successful Collector. As a vinyl lover, what do you think the industry could do to make the culture more accessible to beginners?

I think there is a lack of down-to-earth, no-nonsense, user-friendly practical guides. Many beginners feel they cannot ask certain questions for fear of being ridiculed or belittled by so-called “vinyl snobs”, which is regrettably still the case in many circles.

Many young collectors who grew up in the age of digital downloads and streaming may not immediately understand or fully appreciate the implications of what it means to collect a physical format. Conversely, older generations who lost touch with the format thirty years ago and are now getting back into the vinyl habit may understandably feel somewhat overwhelmed by the wide array of new technological tools available.

I think more educational resources reinforcing the point that there are no stupid questions and absolutely no need to prove anything to anyone would go a long way towards making the culture more accessible.

If you have one piece of advice for vinyl collectors, what would it be?

In three words: love your stylus. Invest as much time and money as you possibly can in it. Choose the right one for your system and needs, clean it every time you spin, always keep it in check, and replace it often. Your records will thank you.

How has The Vinyl Room Substack helped connect you to a wider community of vinyl lovers?

The community aspect here on Substack continues to surpass all my expectations, not just when it comes to connecting with other record collectors, but with music lovers in general. There is a thriving community of music writers here (affectionately called “the MusicStack”), and we all bring something different to the table. The camaraderie and support between us, the fun we have together, and the valuable knowledge we keep gaining from each other are the real engines that keep The Vinyl Room going.

Have there been any trends you’ve noticed when it comes to vinyl record culture or playback equipment in 2025?

There’s a more nuanced understanding of (and greater appetite for) high-quality audio. Until recently, some music fans wouldn’t, or simply couldn’t, tell the difference between your run-of-the-mill streaming platform and the higher-quality audio you get from other, perhaps more niche and specialised services – not to mention the difference between streaming and vinyl.

What has been your favourite vinyl record of 2025 and why?

My absolute favourite vinyl record of 2025 is Mariah Carey’s Here for It All, which wowed fans and critics alike. It’s incredible that an artist of this calibre can continue to push boundaries and grow artistically at this stage of her career.

What is the biggest opportunity for vinyl record culture looking forward to 2026?

For a while now, there has been an increased focus on fans getting more direct access to their favourite artists through records. Special editions with enhanced, and sometimes additional, artwork can elevate the music-listening experience, especially as streaming fatigue and the need for a “digital detox” continue to dominate conversations. There’s still plenty of room to grow on this front as more music lovers discover or reconnect with vinyl.

It’s also been interesting to see the foray of vinyl records into new territories such as (previously unreleased) film soundtracks and, for the first time, video game soundtracks. This is a great opportunity for the format to grow and reach new markets.

Perhaps most importantly, there seems to be an increase in the number of independent labels and more generally the option for artists to go for smaller pressing runs. For many indie and/or emerging musicians, this means they can now finally have their music pressed on vinyl for the first time. This is definitely something I’d like to see more of in 2026 and beyond.

These conversations have been condensed and edited for clarity. The views expressed are solely those of the featured creators and do not necessarily reflect the views of The Vinyl Alliance.

Have a vinyl industry story to share? We’d love to hear it! Email us at cueburn@vinylalliance.org and let’s start the conversation.

Vinyl Alliance London Members Meeting: 3 Key Insights

Earlier this December the Vinyl Alliance’s London Members Meeting took place at Tileyard, the hub of London’s creative community and home to local VA Member Key Production Group. Alongside insightful sessions and energetic participation, attendees enjoyed a dinner and social gathering hosted at Third Man Records in London’s historic Soho. Here we share three key opportunities and learnings from across the two-days.

Vinyl Culture Is Expanding Through Shared, Offline Experiences

Across the various sessions in London, a clear theme emerged: younger audiences are seeking out real-world, intentional listening spaces. From Rough Trade’s successful in-store events to the sold-out sessions at 180 Studios’ Listening Room, members heard how Gen Z and younger Millennials are reshaping vinyl culture around connection, storytelling, and shared discovery. As Sean Bidder of 180 Studios put it, these sessions are about creating spaces: “free from commercial pressure, algorithms, or digital distraction”. Rooted in deep listening rather than digital noise, these gatherings signal where vinyl’s cultural momentum is heading.
(See our Gen Z & Vinyl Report for more)

A More Stable Supply Chain Is Creating Space for Sustainability Progress

Manufacturers at the London meeting described a vinyl supply chain that is regaining stability after several years of post-Covid disruption. Demand has steadied, capacity planning is becoming more predictable, and operational pressures are easing in parts of the ecosystem. This improved footing is also enabling more meaningful progress on sustainability, from increased attention to recycling and material reuse to broader conversations about how environmental responsibility can scale across the industry.

Understanding the Consumer Requires Looking Beyond Sales Data

A recurring message from London was that sales figures alone no longer tell the full story of the vinyl consumer. Discussions highlighted how fans are motivated by direct support of artists, connection to niche scenes, and a desire for meaningful ownership. These are factors that don’t always register in top-line sales data. Whether through independent releases, community-driven discovery, or deeper engagement with artists they care about, today’s vinyl consumer is often making deliberate choices. Understanding these motivations will be just as important as tracking units sold.

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The newly relaunched Discogs mobile app includes real-time pricing data, barcode scanning and instant notifications when a particular record is listed for sale. According to Billboard users can now easily check their inventory, add titles to their want list, explore trending records, see top sellers and read Discogs editorial features on the go. “This isn’t just an update. It’s an upgrade,” states Kevin Lewandowski, Discogs’ founder and CEO. “The new app puts the power of Discogs in your hands like never before.” The beta release has already yielded positive results, with over 500,000 users updated to the new iOS version within the first month, and weekly usage lifting 5-10%.

Our Take: Vinyl records are often seen as part of a wider revival of analogue media, but Discogs’ upgrade shows us how digital technology can be successfully integrated in a way that improves the lives of vinyl collectors. Features like real-time pricing and barcode scanning, which give more transparency into the second-hand record market, are sure to change the dynamic between many collectors and record stores. This raises the question: ‘Where else in the vinyl value chain could digital integrations be utilised to create frictionless experiences for digitally savvy audiences?’

Urban Outfitters Celebrates Its Sixth Singles Day Vinyl Series

‘Singles Day’ originated in China as an unofficial holiday for Gen Z looking to celebrate singledom, but has now gained global traction as an opportunity to indulge in some retail therapy. Urban Outfitters honed in on the popularity of the event using Nov. 11 (11/11), with the number ‘1’ symbolising a single, as a platform to annually launch 11 exclusive 7” vinyl singles, according to Rolling Stone. This year the lifestyle retailer also hosted an in-store and online giveaway to mark the event, with the 1,111th eligible entry receiving all 11 featured vinyl titles, including artists such as Addison Rae, Miley Cyrus, The Weeknd and ‘Wicked: For Good - The Soundtrack’. “Singles Day is our snapshot of the music and culture that defined our community this year,” said Marybeth Cahill, Chief Merchandising Officer at Urban Outfitters.

Our Take: Urban Outfitters has honed in on why Gen Z loves vinyl records. Using its understanding of TikTok trends and artists defining the now, it has created a small but powerful collection of design-driven vinyl records that powerfully tie into a viral cultural touchpoint that amplifies Gen Z audience’s attitude and mindset. Similarly, in the October edition of Cue Burn we spoke to Record Store Day co-founder Carrie Colliton on the strategic thinking behind launching its RSD Black Friday Event, as a way to get record stores into the retail and media spotlight.

Aldi Launches a $40 Record Player

The German-owned retailer launched a Bauhn Bluetooth Suitcase-Shaped Record Player in black or aqua colourways at a price tag of $40 that was officially available as a one time-offer until Nov. 26 2025. Parade magazine compares the Bauhn to the Crosley record player, reporting the retro-inspired device is designed to look ‘just like designer versions upwards of three times the price while packing all the same familiarities as its higher-priced counterparts’. Aldi’s discount record player offers three turntable speeds, 33, 45 and 78 rpm, an adjustable pitch knob, built-in headphone jack, Bluetooth connectivity, and sound-isolating feet to reduce vibration.

Our Take: With the popularity of vinyl culture we are seeing mainstream retailers looking to undercut existing entry-level playback devices with more affordable gear that lowers the barrier to entry for casual music fans. The limited sales window suggests Aldi is specifically testing its product during the gift-giving season. However, what is clear is that vinyl is no longer just a niche hobby for collectors but a widespread lifestyle phenomenon.

CUE BURN POLL: WHAT’S YOUR TAKE?

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Q&A: Pastiche Berlin on Building a Community Space with Vinyl Records

Pastiche is a new hi-fi listening venue, cafe and diversely curated record shop in Berlin’s Neukölln district that opened in March 2025. The clean, minimal space, with a strong grounding smell of natural wood throughout its interior, has quickly become a hub for local creatives, artists and musicians with a global outlook. You can come to Pastich for a morning coffee, browse its vinyl collection for inspiration in the afternoon, or lie down, relax and enjoy some out-of-this-world music at one of their evening listening events.

With our Gen Z & Vinyl report finding 53% of Gen Z survey respondents express a desire for more vinyl community events or a more social experience in vinyl spaces, we took the opportunity to speak to Pastiche co-founder Billy Caso, (who co-founded the space with Matthew Mcclone), about how they turned the venue into a third-space where people can recharge, explore and connect to wider community interested in listening culture.

How did the idea for Pastiche come about?

Billy Caso: I was making music for the last ten years. And I’d make music in all genres, that’s where this open-genre idea came from. I was really inspired by a label in Los Angeles called Leaving Records. Their policy is ‘all-genre music’, and you can’t pinpoint the genre of any release. It always feels new. That’s what I’m obsessed with, that new feeling, not the same old shit.

I started struggling with my identity as a musician, playing different genres to dance floors that didn’t always appreciate it. Financially it was difficult too. So I came up with the idea: sell records, put on music events, and have a café where artists can hang out. I didn’t think anything like that existed in Berlin.

We did a lot of events before at the space with 200 people lying down listening to open-genre music. It was amazing. Not meditation or ambient specifically, just anything mind-blowing. Jazz, hip hop, punk, whatever. After that, it was like, ‘How can we make a space where this happens every weekend?’

Now we have this 50-capacity space: record shop during the day, music venue in the evenings, and the café running all the time. You can grab a coffee, listen to records, or go to an event.

How do you see vinyl’s role in the space?

The records are the connecting force of Pastiche. They connect collectors, DJs, the curious, the nerds, everyone. Ninety percent of ours are secondhand. So every time you come, it’s a different experience. I’m changing genres in the shop every week depending on what we have. If the techno sells out, I’ll change that shelf to electronica, noise, industrial, whatever. It’s a discovery shop, not a “do you have this specific record?” shop. We never have the thing people ask for. We’ve had loads of people ask for Billie Eilish, Taylor Swift, etc. Nope. Maybe Madonna. We had one Madonna once.

How are you curating the record collection for Pastiche?

Basically, Berlin has a lot of techno and house. And for me, when I opened the space, it was important to create a record shop for the weirdos like me who want strange music that isn’t commercialised or even made for most DJs. We’ve got ’70s Algerian folk, weird field recordings from Japan, Brazilian choir music with no drums, really strange, interesting stuff. It’s a lot of fun. We listen to almost all the records to write something and find the right genre, which makes it feel like a library.

How are you sourcing these records?

In Mexico, I’ve got a buddy who runs a 45s-only shop, only salsa, cumbia, bolero, that kind of music. Super niche. It’s called Casa Calypso. That’s where a lot of the Mexican stuff we have comes from. And we have a guy in Germany called Bella Patruzi who brings records from Ghana and Nigeria. He’s got his guys there who look for records, send him what they’ve found, and then he ships it all to Germany and Europe. But they know the prices now, and that’s the crazy part, everyone knows the prices. If you want crazy Brazilian records and you think, “Oh, if I go to Brazil it’ll be cheaper,” it’s not. They know what’s valuable. Everyone does because of Discogs.

The listening experience sounds quite unique. Where did that come from?

It was inspired by my experience in LA with Leaving Records. They do an event called something like ‘Sitting Under the Tree in the Daylight’ where hundreds of people lie in a park with musicians playing, and its free entry. I saw Flying Lotus, André 3000 playing flute, Mind Design, beat producers, maybe even Erykah Badu. But more importantly, all the local talent.

Berlin is always ‘club, club, club,’ which I love, but I felt there had to be another space, somewhere you don’t have to go out until 6 AM or take drugs. Somewhere you can chill until midnight and hear cool music. So we did the parties, they did really well, and now we do around 12 events a month with all different styles. Basically everything except house and techno. That’s the funny part.

Who is the usual person who comes into Pastiche?

Honestly, everyone. All ages. Some go straight to the records, some just want a coffee, but most peek into the shop like; ‘What’s going on in there?’. You also get people who’ve never touched a turntable and ask me to show them. That’s a nice experience. We’ve got listening booths, so it’s easy for them to try. You don’t just get the hardcore record-heads.

One thing I wanted to mention: in Berlin, record shops can be intimidating, and the owner can be unapproachable or grumpy. I get it; people damage records or mishandle needles. But it could be more approachable, especially for young people.

How do you do that?

Honestly? Smiling. That’s it. When people walk in, I smile. As cheesy as it sounds, it makes it more likely they’ll ask for a suggestion. They can feel comfortable. At the same time, I totally understand the “old Berlin” grumpy record shop guy. I know how to talk to them, make a joke, show respect, and you unlock the character.

Tell us more about the modular design of the space… How did that come about?

The space is small. When we do events, all the records have to be moved out. Imagine taking a whole record shop away three times a week. That’s insane. So the answer: wheels. €5 wheels from Bauhaus literally saved the day. We move thousands of records next door, like Tetris. That lets the space become 40 different things, workshops, movie nights, house legend playing ambient on Friday, experimental artist on Saturday. All because of wheels.

Were you thinking about a ‘third space’ concept when building Pastiche?

Definitely. That’s actually the main thing. Everyone has that moment in the day where you don’t want to be home but you also don’t want to spend tons of money. The space is meant to be somewhere you can go, with stuff happening, nice people around, and you can get involved.

We’re figuring out the laptop rule, we allow them, but we don’t want it to turn into a co-working overstretch. We want conversation and a bustling café as well. But people definitely meet here. In the record shop, they bond over genres; in the café, someone comments on someone’s design work. It happens all the time. Next year we’ll start an event series where people can create, make music, all that.

There aren’t many spots in Berlin where you can just be, not a bar, not needing to drink, just hang, read, have a coffee, and things are happening.

Do you think there’s more need for these spaces now?

Yeah, definitely. There’s a rise in listening culture, listening bars, etc. Trends happen, and we’re part of that, but for me, there will always be a need for spaces like ours. It should just be there for people to use. The cappuccino is €3, not €4.50. Accessible. Some places focus on being super cool, and there’s a fine line with accessibility. It’s a 50-cap venue. Very little money. But we can run it beautifully. And that’s the difference. You can tell when a space is focused on making money. Ours looks beautiful, but behind the scenes it’s hard DIY work.

This conversation has been condensed and edited for clarity.

Have a vinyl industry story to share? We’d love to hear it! Email us at cueburn@vinylalliance.org and let’s start the conversation.

Vinyl Alliance Members Meeting

The Vinyl Alliance Members Meeting is set for Tuesday and Wednesday, December 2–3, 2025, in London. Our daytime meetings will take place at Tileyard, the hub of London’s creative community and home to local VA Member Key Production Group. This will be followed by a dinner and social gathering hosted at Third Man Records in London’s historic Soho, renowned for its music history. Building on the energetic participation and insightful sessions at last June’s meeting in New York City, we’re excited to bring that same spirit of collaboration and exchange to London. The Vinyl Alliance gathers its global membership in-person twice a year, once in North America and once in Europe.

The event is limited capacity and invite only, but if you are a part of London’s vinyl and music scene, please get in touch. We’d love to connect with you during the the VA’s Members Meeting in December.

If you are considering joining the Vinyl Alliance please visit our Membership page.

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Join The Vinyl Alliance

Gain full access to reports, market data, and knowledge exchange workshops with our membership.

Find more information about membership at vinylalliance.org/membership

The Recording Industry Association of America (RIAA) has issued a request to the Office of the US Trade Representative (USTR) to review Chinese and Russian markets, which it claims have become major sources of bootleg vinyl. Music Business Worldwide reports ‘best of’ and ‘greatest hits’ collections never released by labels on vinyl, as well as unauthorised box set collections are becoming increasingly common. “[These bootlegs are] often high quality products made to closely resemble authentic ones,” and consumers may not be able to tell the difference, the RIAA noted. Often these bootleg copies are sold and shipped directly to consumers and third-party sellers on retail platforms such as eBay and Vinted who may not know they are buying and reselling counterfeits. “Vinted has become a destination platform for illicit vinyl sellers,” the RIAA wrote. “Originally created as [a] clothing resale platform, the volume of infringing vinyl listings has reached epidemic proportions.”

Our Take: With consumers often paying full price for counterfeit vinyl records, The RIAA is urging platforms like Vinted to pre-screen retailers to verify they have legitimate supply sources. While the USTR is expected to take action against counterfeiting and piracy, this also presents the industry with an opportunity to collaborate on stronger verification standards. By reassuring collectors their pressings are genuine and authentic, they can retain premium value, and the vinyl community can build greater trust in official releases.

Taylor Swift’s Latest Album Is Officially A Record Breaker

‘The Life of Showgirl’ has broken US sales records, with physical album purchases heavily contributing to its strong debut. Vinyl copies exceeded 1 million units sold in the first week, out of a total of 4 million equivalent album units (which takes into account pure album sales as well as streaming activity). This is a first in Nielsen tracking history, according to Music Business Worldwide. Swift’s strategy included 34 different album versions: 27 physical formats (18 CDs, eight vinyl LPs and one cassette), plus seven download variants, some featuring poems written by the artist). In the UK, vinyl sales of the album reached 126,000 copies, making it the fastest-selling vinyl album this century and the highest single-week vinyl total since modern chart records began in 1994. The album’s strong debut also earned Swift a BRIT-Certified Platinum within its first week, making it the strongest international album launch in the UK this century.

Our Take: Taylor Swift’s star power is unmatched, and her release strategy offers valuable lessons for the record industry. Her success shows fans are keen to buy physical formats to access exclusive content, such as poems or personal notes, that help create an emotional connection with the artist beyond digital streaming. Staged releases and timed exclusives also create a sense of urgency and excitement, while a release-party film further boosted demand for vinyl sales.

Rough Trade’s Vinyl Collection Lands at Select Vans Stores

Rough Trade is partnering with Vans to bring a handpicked selection of 50 vinyl records to stores in Oxford Street, Camden Town, and Le Marais in Paris, according to The Retail Bulletin. Known as a trusted destination for music fans, Rough Trade has been given the freedom by Vans to curate a selection designed to surprise and inspire, blending underground breakthroughs with cult favourites and timeless classics. The collaboration aligns perfectly with Vans’ brand values as an iconic label popular with skaters, surfers, artists and musicians for its ‘Off the Wall’ spirit. Unlike Rough Trade’s previous popup at Selfridges, which focused on ‘Summer Of Sound’, this selection will have records that ‘spark conversation, soundtrack rebellion and celebrate craft’.

Our Take: Earlier this year, Selfridges enlisted Rough Trade to curate its vinyl selection, while fashion retailer Urban Outfitters also launched a Pride vinyl collection this year. Together these activations demonstrate vinyl’s powerful ability to draw new audiences into retail stores, reflecting the findings of our Gen Z & Vinyl Report, in which 84% of Gen Z vinyl fans say they buy vinyl in-store, and 57% preferring the in-store experience to shopping online, with only 13% stating they prefer to buy online.

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Q&A: Carrie Colliton on Record Store Day’s Latest Black Friday Event

This November 28, Record Store Day returns with its sister event, RSD Black Friday. The lineup of releases, exclusive to independent record stores, features limited-edition vinyl from artists including 2 Chainz, Elton John, Fred Again, Miles Davis, and Van Halen. More than 100 artists are participating across a range of genres, with anniversary editions, live recordings, and special remixes to look forward to, all of which help support independent record stores at the heart of the music community. To learn more about the event and the role Record Store Day plays in vinyl record culture, we spoke with Carrie Colliton, co-founder of Record Store Day and Director of Marketing for the Department of Record Stores (DORS), a coalition representing over 70 independent retailers across the U.S.

How does the Black Friday event differ from the usual RSD in April?

We started the Black Friday version of Record Store Day in 2011. It’s the biggest shopping day of the year, and importantly its also when all the media focus on shopping. We noticed that small, independent record stores weren’t really part of that conversation. So we asked: How do we make them part of the story?

Traditionally, Black Friday meant jamming into stores and fighting for the lowest prices on mass-produced products. We wanted to flip that and focus on the idea that this is the start of a season when you’re buying things for people you love, and what better place to do that than a record store? You’re supporting an independent business, talking to real people, and everything in a record store can be a gift, from tiny presents to box sets, turntables, or speakers.

So our focus became: How do we get record stores into the spotlight? That’s actually similar to why Record Store Day started, we threw a party to remind the world (and the media) that record stores still exist. But we didn’t want Black Friday to feel like Record Store Day 2. Our goal is to offer something special that draws people into record stores during that time.

Also, a big difference is that Black Friday releases are meant to be available for several weeks afterward. Not everyone shops that day, maybe they start Christmas shopping later, but if they walk into a store and find something special, that’s a win. It’s about making record stores a go-to place for gifts during the season.

In terms of the selection process, how do you decide what records to include?

Labels, artists, managers, and distributors submit titles. Then we have an advisory committee of record store owners and buyers from across the country, different sizes, markets, and specialties. They review the list, make suggestions, and sometimes help make releases more special, like adding posters or exclusive editions.

The US list tends to be smaller for Black Friday. The fourth quarter already has a lot of releases, and stores’ budgets are stretched across multiple big titles. The focus is on ‘superstar’ artists, not necessarily household names like Billy Joel, but artists who are major within their own worlds. Because it’s a gift-giving season, we lean toward higher-value, premium items, box sets, anniversary editions, things that feel special. It’s the opposite of traditional Black Friday, which is about slashing prices. Our releases might cost more because they’re limited and high-quality.

With the focus on ‘superstar’ artists, is there concern that emerging acts might be overlooked?

Black Friday tends to focus on bigger names because it’s a smaller list and tied to the gift-buying season. Record Store Day in April is more open and inclusive. That said, the exclusive releases are the shiny objects that bring people into stores. Once they’re inside, that’s where discovery happens. Emerging artists can still perform in-store, participate in events, and build relationships year-round.

You mentioned regional differences. Do those influence what record stores look for?

Definitely. Even within a single city, every record store is different. That’s part of what makes the ecosystem thrive. The list is designed to include a broad mix of genres so every type of store, from jazz-focused to punk-heavy, can find something that fits their audience.

We don’t actually categorise releases by genre, but if you looked across a few years, you’d notice shifts. Maybe more jazz one year, more hip-hop another. It reflects what’s happening organically in stores. For example, we’ve seen big growth in pop and hip-hop vinyl thanks to fan demand and store support. We’re now working to bring more 90s R&B to the list because there’s a strong appetite for that. It’s fascinating to see how the list evolves, and how it mirrors broader generational changes in music culture.

Speaking of generations, what’s been the biggest shift you have seen since RSD began?

Gen Z, hands down. They’re deeply connected to the artists they love and are very open-minded when it comes to genre, gender, and generation. They’ll buy a 50-year-old record if they like it. TikTok plays a big role in rediscovering older music too.

Their collections are incredibly diverse. Taylor Swift next to Turnstile next to Jeff Buckley. That attitude has influenced record stores, which now comfortably stock everything from pop to punk. Stores that used to ignore pop releases now embrace them, partly because those sales allow them to take risks on niche artists. The indie charts reflect that. Everything from Taylor Swift to Testament can chart in the same week. It’s a vibrant mix, and it shows how far things have come.

Vinyl has clearly boomed since Record Store Day started. Are there still challenges indie stores face?

Ironically, the success of vinyl has created new challenges. Now that vinyl is popular again, big retailers, who don’t specialise in music, want in. They can sell cheaper and faster because records aren’t their main profit source. Plus, online shopping makes it easy for customers to skip physical stores entirely.

That’s tough for independents, because they built this resurgence. The infrastructure of pressing plants, turntables, everything, it exists because of them. And yet, they’re now competing with massive corporations who’ve swooped in at the top of the mountain. That said, more people buying vinyl overall is still a good thing. It normalises record buying and creates long-term collectors. We just want to make sure indies stay part of that story as it grows.

What is RSD doing to address those challenges?

Beyond Record Store Day itself, we work year-round with stores through the Department of Record Storese, a coalition of around 70 storefronts. There are also other coalitions, and together they form the backbone of Record Store Day. We also host an annual conference, which we call Record Store Day Summer Camp, where stores, labels, and artists connect and share ideas.

We organise contests, marketing campaigns, and listening parties, which are huge right now. They play to record stores’ strengths: real human connection and community. We’ve done national listening parties for Tame Impala, Vince Guaraldi’s A Charlie Brown Christmas, and more. These events help get indie stores included early in label campaigns, not as an afterthought.

This conversation has been condensed and edited for clarity.

Have a vinyl industry story to share? We’d love to hear it! Email us at cueburn@vinylalliance.org and let’s start the conversation.

Vinyl Alliance Members Meeting

The Vinyl Alliance Members Meeting is set for Tuesday and Wednesday, December 2–3, 2025, in London. Our daytime meetings will take place at Tileyard, the hub of London’s creative community and home to local VA Member Key Production Group. This will be followed by a dinner and social gathering hosted at Third Man Records in London’s historic Soho, renowned for its music history. Building on the energetic participation and insightful sessions at last June’s meeting in New York City, we’re excited to bring that same spirit of collaboration and exchange to London. The Vinyl Alliance gathers its global membership in-person twice a year, once in North America and once in Europe.

If you are a part of London’s vinyl and music scene, please get in touch we’d love to connect with you during the the VA’s Members Meeting in December.

Our meetings are exclusive to VA Members only. If you are considering joining the Vinyl Alliance please visit our Membership page.

Subscribe now

Join The Vinyl Alliance

Gain full access to reports, market data, and knowledge exchange workshops with our membership.

Find more information about membership at vinylalliance.org/membership

A new study from the University of Arizona suggests that collecting is driven by the desire for control, with this urge often intensifying during chaotic times. The research examined collecting behaviours from digital items in video games to physical collectibles like vinyl records.

Researchers measured the desire for control in two ways: as a stable personality trait and as a temporary urge influenced by uncertain times, such as the COVID-19 pandemic. “After the onset of COVID-19, we saw a significant spike in crowdfunding support for collectible products,” says Martin Reimann, associate professor of marketing. “It was a real-world example of people turning to collecting as a way to regain a sense of order.”

In a scenario where participants imagined collecting vinyl albums, those with a higher desire for control reported a willingness to spend more money or time to try to complete the collection. “Structure is what makes collecting so powerful,” says Reimann. “When people collect a set, whether it’s vinyl records, coins or even Tolkien novels, they’re creating a complete, holistic entity. That’s deeply satisfying.”

Our Take: The urge to collect is a universal human behaviour that goes across cultures and generations. These new findings suggest that labels and artists could have more success by designing and marketing vinyl records as part of a well-defined and complete set. However, the research also warns that companies that constantly add new items to a collection may frustrate consumers who thought their sets were complete.

India’s Vinyl Bars & Listening Cafes Are Thriving

The Hindustan Times reports a rising trend of vinyl cafes and listening bars attracting Generation Z in India’s metropolitan cities. Many of these spaces are fuelled by a nostalgia for vinyl and a desire for alternatives to mainstream electronic music, from ’60s jazz to Bollywood soundtracks. “There wasn’t really a space for alternative genres: hip-hop, soul, funk, or laid-back sounds,” says Kunal Singh Chhabra, a DJ and founder of Genre in Delhi. “That gap inspired me.”

This trend also reflects a broader desire to disconnect from digital life and immerse in real-world, multisensory experiences. “It’s intimate, interactive, and a refreshing shift from screen-based experiences,” says Amit Gupta, founder of Blockheads in Ahmedabad. His cafe offers private turntables inspired by Japan’s ‘disco dining tables,’ pairing funkier records with spicier bites, and mellow jazz with pour-overs.

In many of these spaces, music is not just background noise but a place to rediscover local cultural heritage. Baroke in Mumbai, for example, dedicates each Thursday to the records of Indian music director and singer RD Burman. “It’s a place where music isn’t just background noise but the reason you’re there,” says owner Saurabh Shetty.

Our Take: Younger generations are looking for new ways to disconnect from digital life. Our Gen Z & Vinyl survey found 61% of respondents said they are ‘likely’ or ‘very likely’ to replace digital habits with vinyl listening to improve their mental well-being. Listening bars and vinyl cafes offer a relaxed way to connect with others over a shared love of music. These spaces also show the potential for vinyl to fuel music discovery and celebrate local cultural heritage and identity.

Ed Sheeran Launches An Exclusive Vinyl Instagram Account

To coincide with the release of his new album ‘Play’, Ed Sheeran is launching an exclusive ‘Coke Bottle Clear Vinyl’ at Walmart. In addition to the vinyl, fans will receive access to Sheeran’s private Instagram account, @teddysvinylbreakfast, where he shares his favorite records each morning

“It’s the vinyl I spin every morning with my daughter,” says Sheeran. “Every morning, we make pancakes, porridge, or eggs, and I put a record on while we make breakfast. I assumed music would enter their life naturally because I’m a musician, but it didn’t. That’s why I started Vinyl Breakfast: to help them start their own love affair with music.”

The Instagram account has already attracted over 95,000 followers, highlighting strong fan interest in this unique vinyl experience. In order to claim the bonus gift, fans have to enter the code from their exclusive vinyl receipt or email into the Walmart ‘Play’ website and submit their own Instagram handle before being given access to the account. The offer must be redeemed by December 31, 2025 and is non-transferable according to Walmart.

Our Take: Vinyl records have long used QR codes and passwords to give buyers access to digital versions of their tracks. However, vinyl’s potential to unlock exclusive interactive experiences, like private playlists, behind-the-scenes content, or artist-led communities, still remains largely unexplored. The Teddys Vinyl Breakfast campaign by Ed Sheeran and Walmart shows there is still ample opportunity to use vinyl releases as more than just a way to deliver music. What could be just another limited-edition release, has become a gateway to a private digital community celebrating the shared ritual of listening to vinyl records.

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Q&A: Abbey Road’s Cicely Balston on Mastering for Vinyl

Whether you’re a musician considering releasing on vinyl for the first time, or a long-time record collector who has always wondered what actually goes into mastering vinyl, there are many elements to consider that make it a unique process when compared to releasing on digital formats. To help demystify the art and science of vinyl mastering, we spoke to Cicely Balston, an award-winning, London-based engineer currently working at Abbey Road Studios, whose esteemed credits range from remasters of David Bowie’s back catalogue to mastering Palace’s latest album Ultrasound.

What is your advice to artists who are considering releasing on vinyl for the first time?

The important thing to know is you need to get your pressings booked well ahead of your release date. Test pressings usually take about a month, and larger orders take longer.

For those that don’t know the process, what happens when a mixed digital file, or tape, is given to a vinyl mastering engineer?

The first thing that happens in vinyl mastering is that I would cut a lacquer on a lathe. You basically have a reverse turntable. Instead of a light stylus reading the groove, a very heavy, sharp stylus cuts into a blank disc. That’s how grooves get created and how we transfer the music from a file or tape onto a physical disc. It’s why mastering engineers used to be called transfer engineers.

Next, the lacquer is electroplated in a factory. You coat a very thin layer of metal on it. Then you peel it off. From the positive and negative versions, stampers are made. Finally, the vinyl itself is pressed: plastic is heated and pressed between the A and B stampers to create the record you can play.

How different is the vinyl mastering process to digital?

There are definitely different considerations for mastering vinyl onto a disc because you’re working on the mechanical side of sound. You’ve got to balance out all of the factors like the length of the side, the amount of bass, the amount of stereo, the kind of dynamic range, and the actual sonic quality.

If it’s really bright, then that tends to come out on vinyl. So you might need to keep an eye on the top end to make sure it’s not distorting.

There are a lot of subjective things to balance out and that’s to do with the actual groove geometry. So getting the music onto the disc in a way that fits. Depending on whether I have 15 minutes or 25 minutes to fit onto a 12-inch side, I might make different choices.

You’ve got to think about the physics of it. The grooves are waveforms on the disc. So if you have something that’s a high amplitude takes up more space. And if you have something that’s a low amplitude it’s going to be quieter and take up less space. Then bass frequencies take up more space than high frequency content because the wavelengths are longer and the grooves are physically bigger.

Would good advice be to put fewer tracks on a record?

I would hesitate to restrict people’s creative freedom. If your music was extremely bass heavy you could always do it as a double disc. It’s more important to find people that you trust and love to work with, so that they bring out your musical intention, as opposed to restricting yourself in advance.

Do you have a favourite analogue compressor or a favourite analogue eq? Do you use digital as well?

I use both. In my studio at the moment I’ve got a Maselec EQ and the original EMI TG console, which is an Abbey Road Studios perk. There’s an EQ in that which sounds really nice. And even if you do roughly the same EQing (equalising), they sound very different. Then I’ve got a Manley Vari-Mu and an API compressor. I don’t have any sort of fixed chain though. I use different digital and analogue gear for every song. It’s about what suits that song individually.

Is there a specific lathe that you cut on? Are there any stylistic differences between them?

I’m working on a Neumann VMS 80. I’ve also worked on a VMS 70 before, and when I started at Gearbox Records there was a really beautiful lathe called a Scully, which was fixed pitch. These lathes were all built somewhere between 1960 and 1990 so they’ve been updated, fixed and tweaked with new components as the years have gone by. There aren’t stylistic differences, but mechanical quirks that affect some of the decisions that you might make. It’s better to think of each lathe as an individual piece of equipment to get used to. Each lathe has its quirks, like a classic car. So it’s about getting to know yours.

What is the difference between a good vinyl master and an excellent master?

So generally anyone cutting vinyl should in theory get the music onto the disc in a way that works on a technical level. The difference between a good and excellent master for me is that you’ve arrived at the sound that suits the music and works for the person best. There are all these completely subjective choices around compression and level that are all just as valid as anything else. So its nice when you can really lend your expertise and your experience, but not in a way that overshadows what the person wants.

You also play in orchestras and bands. Is there anything from your own musical taste that you then look for when it comes to mastering, in terms of sonics that you enjoy bringing out?

I like bass. With bass, particularly, it’s nice if you can sculpt it in a way that means it’s not too much for small speakers. It’s quite nice to leave in for the people that have invested in their setup, and want to hear X, Y and Z features of the music.

Remasters are a big part of the vinyl market right now. Are there are any interesting aspects to remastering these classics that’s different from mastering a new release?

Yeah, I think with remastering, you’re often working on something people already have a connection to, which can be tricky. You’re suddenly more aware of existing opinions, hopes, or worries about the remaster. It’s about balancing those expectations with the goal of bringing in a new audience.

Sometimes people don’t always realise the decision-making process behind why certain sources are chosen or why tracks don’t sound exactly like previous versions. The goal is always to use the best source available, though. Sometimes the original tapes from the 80s or 90s may simply no longer be usable because we’re now 40 years on.

It’s actually a really rewarding process to update songs to today’s technical capabilities and then rereleasing it on vinyl, for new audiences. It gives people a chance to experience albums they might have missed the first time around.

This might be a crude way to put it, but when you say ‘bring it to a new audience’ does that mean the brief from a label might be to bring out more bass for Gen Z fans?

Yeah, sometimes it’s that, or sometimes it’s like a re-release that then has more context to it. So you’re also releasing some demos at the same time, and then suddenly you have a different perception of the overall album. That’s why it’s quite nice having the deluxe versions, box sets, or live albums. Suddenly there’s a bigger picture of this artist. It’s not just: ‘oh, here’s this one album’. It’s like, here’s what it sounded like on tour. Here’s what it sounded like in its demo stage.

Lastly, what’s your advice to those who want to get into mastering vinyl?

Mastering, like anything else, is generally about practice. It’s about ear training. If you are using a low pass EQ, take it out, put it in, hear what it’s actually doing with your ears, as opposed to like any sort of mastering by numbers. It’s not about whether you should always turn it up by this much, or it should always measure this many LUFS. It’s more like, ‘we’ll see what happens if you do less or more’. Try picking two different EQs and doing the same settings on both. See if one of them sounds more energetic, or if it’s affecting the frequency spectrum in a way you’re not expecting it to. That’s all you need for that kind of training. It’s about really listening.

Getting into vinyl mastering is a particularly hard thing to aim for. Vinyl mastering is already a niche within a niche. But I would say learn as much as you can. Find the older editions of books that have the vinyl mastering sections, and then just be open to the opportunities that come up. If you happen to live near a pressing plant, you can try and get involved there. Think about ‘What opportunities are in front of me right now?’ And: ‘What is going to get me a little bit closer to the direction I want to go in’. That’s the bit that you can control.

This conversation has been condensed and edited for clarity.

Have a vinyl industry story to share? We’d love to hear it! Email us at cueburn@vinylalliance.org and let’s start the conversation.

Discogs Launches ‘Dis/connect’: A Day to Unplug and Spin Records

On Saturday, October 18 Vinyl Alliance member Discogs is encouraging music lovers around the world to skip streaming, stop scrolling, and take a day out to enjoy the ritual of listening to vinyl.

The new initiative called Dis/connect is about slowing down, connecting to music, and discovering the joy of records without distractions.

To take part in the new initiative simply put your phone away and step away from anything digital for the day – even if that means logging out of your beloved Discogs for a couple of hours.

And if you’d like to take it to the next level, Discogs encourages you to host a record listening party with friends, or even organise an event with your local record store.

To download a Dis/connect flyer or postcard click here.

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New tariffs issued by executive orders in the United States have caused confusion in the industry around how vinyl records will be impacted. The executive order going into effect on August 29, 2025, removes a long-standing “de minimis” tariff exemption for most goods valued under USD $800. However, according to Discogs this change does not apply to “informational materials” like vinyl records, which are still exempt from tariffs under US law 50 USC 1702(b)(3). In effect vinyl records, along with CDs, cassettes, and other recorded media should be exempt from any tariffs. The complexity of new taxes and duties, however, means that many national postal services have already announced that they are pausing all shipments to the US to give themselves time to prepare for the changes. Meanwhile, commercial carriers such as UPS, FedEx, and DHL Express are continuing to move shipments into the US at this time, but these options may come at a higher price than usual.

Our Take: Despite vinyl being exempt from the new tariff, it is important that those looking to import or export records take extra care to provide clear descriptions and correct HS codes. This includes using the term "Informational Materials: phonograph (vinyl) record" to stay in line with the legal terminology that exempts records from the new executive order. See Discogs’ full guide for more details.

Tiny Vinyl Launches a New 4-Inch Playable Record Format

This August Tiny Vinyl launched a new 4” vinyl record format that holds four minutes of audio per side. The new format, pressed on 100% bio-attributed vinyl, is now available at national retailers like Target and directly through exclusive artist partnerships. Billboard reports the startup partnered with Nashville Record Pressing (a subsidiary of vinyl manufacturing giant GZ Media) to develop the format, with initial releases including singles from Chappell Roan, Frank Sinatra, and Britney Spears among various artists across decades and genres. “We created Tiny Vinyl to reward fans with an adorable, collectible, and playable miniature vinyl record,” say founders Neil Kohler and Jesse Mann. The duo set out to create a pocket-sized collectible after observing the growing trend for miniature items and the vinyl resurgence during the COVID-19 pandemic. “Hit songs are getting shorter,” they add. “So we knew we needed our vinyl format to play the overwhelming majority of popular music, which has been trending to less than four minutes per song.”

Our Take: With Gen Z vinyl fans increasingly drawn to limited-edition pressings, it’s likely that Tiny Vinyl will attract an enthusiastic audience. The cost-effective production and distribution of 4” records also presents an opportunity for labels to experiment with unique, one-off releases. Tiny vinyl’s novelty, eco-message, and ‘pocketable gift’ concept could make it highly appealing during the holiday gifting season, especially to customers who might have previously been hesitant to purchase vinyl at a higher price point. This sets up the format as a new competitor to the 7” which holds approximately 4 to 6 minutes of music on each side at 45 RPM and has long been considered the short-form vinyl keepsake. The big question will be, can the 4” add value to the vinyl ecosystem, or does it risk fragmenting the singles market?

Miniot Releases a Turntable That Uses Light to Read Vinyl Records

Dutch audio company Miniot has launched The Wheel 3, a slim, sideways-mounted turntable that uses an optical stylus system rather than traditional magnets and coils to read vinyl records. Instead of measuring magnetic field changes, the optical pickup uses light to track stylus movement. A diamond needle rides in the groove like any turntable, but a small plate attached to the cantilever modulates light hitting optical sensors. According to Hi Consumption, this results in a better low-frequency response, as optical systems can detect position changes down to 0 Hz, whereas magnetic pickups only capture acceleration changes. Though optical pickups have been used before, Miniot’s innovation is to use the technology to ensure perfect groove contact, regardless of whether the turntable is mounted upright, flat, or on a wall. The five optical sensors in the control system continuously monitor performance and learn each record's quirks within a single revolution, allowing The Wheel 3 to predict and compensate for issues such as warped records, off-center pressings, and unbalanced vinyl, all before you hear any pitch variations.

Our Take: The Wheel 3's use of an optical stylus system, offering superior sound quality down to 0 Hz and the ability to compensate for warped and off-center records, makes it an appealing prospect for collectors of vintage and second-hand records who often face setbacks with these issues. Its true target, however, with a pre-order price point of $3,355, is likely the design-conscious customer who will highly value its ability to be mounted upright or on a wall, offering a fresh aesthetic solution for those looking to integrate turntables into their home décor.

CUE BURN POLL: WHAT’S YOUR TAKE?

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Q&A: How fRUITYSHOP Is Shaping China's Vinyl Culture

fRUITYSHOP is an independently run Chinese record store with a branch in Beijing specialising in secondhand vinyl records, and a branch in Shanghai that stocks newer releases and electronic music. Founder Yaho Wang grew up in the 90s collecting records that were considered ‘rubbish’ (or 打口, dǎkǒu): unsold stock or rejected pressings that companies offloaded cheaply to China. Stores like fRUITY, first opening in 2012, helped build a fan base of collectors who valued digging and discovering hidden gems among these once-disposed-of records. Since opening the store has built its reputation with a Technics vinyl DJ mix series, and listening party for Pulp’s latest album release. Now, fRUITY has also founded its own indie and electronic record labels representing Chinese artists, helping them press, distribute, and showcase their first vinyl releases. We sat down with Yaho to better understand the legacy of vinyl record culture in China and fRUITYSHOP’s role in it.

What does the vinyl market look like in China now versus 2012 when you started?

Yaho: Ten years ago it was very hard to buy records. There wasn’t any streaming, and it was difficult for Chinese people to get music from abroad. The community was small, but collectors were serious and paid a lot for records. As digital came in, things became easier. At first our shop sold whatever we could get. Now we choose what we sell and focus on what we like. After more than 10 years, we’ve grown into a more diverse space. We also sell clothes, books and host events connected to records.

Is there a certain type of customer you have at fRUITY?

Yaho: We have a Beijing store and a Shanghai store. Beijing is more for collectors, with second-hand and OG records. Shanghai has more events, so younger people come, DJs come, and beginners dig for new music. There we sell more new records across genres.

What do you think drives your customers' interest in records?

Yaho: Good question. (At this point Yaho asks a customer at fRUITYSHOP what they think.)

Customer: I like to support underground artists. I know streaming platforms don’t support them financially that much, so buying records is a way to support them.

Yaho: Personally I just like having the real thing. As a collector, if I get one album, I want them all. Some customers know exactly what they want; others discover artists by digging in-store. It's also cool that people have this conscientious point of view and want to support artists directly.

In the US and UK, a big reason for the boom in vinyl record sales is teenagers who want to buy records from Pop stars like Billie Eilish, Taylor Swift, or Chappell Roan. Is it a similar force driving an interest in vinyl records here in China?

Yaho: It's the same here in that a lot of younger people love their idols and buy whatever the idols want to sell. There are Chinese idols who never had a record released before so they will release like 10 albums from years ago on vinyl. These records are usually very expensive, but our stores don’t really stock these kinds of records so we don’t see these kinds of waves of people coming into our stores.

You’ve also started two labels: fRUITYSHOP RECORDS for indie, and E-fruity for electronic. Can you tell us more?

Yaho: We just launched E-fruity two weeks ago with a staff member passionate about electronic music. fRUITYSHOP RECORDS started as a way to promote Chinese indie artists. We also work with indie stores outside China to support Chinese records internationally. For example, Pu Poo Platter is a 4-member band that mixes jazz, psychedelic and hip hop that we released a record for.

With your labels, is it easy pressing vinyl records in China? Are there any counterfeit issues?

Yaho: Pressing is fine once you find a trusted publisher. Piracy exists, but fake records aren’t made in China. Pressing plants here are tightly regulated. So you might see fake clothing, but not records.

Are there any Chinese music trends our readers should check out?

Yaho: I think people are rediscovering 70s Asian groups, like Chinese rare groove records from mainland, Hong Kong and Taiwan. The covers are beautiful, with oriental aesthetics, while the music connects to Western funk. It’s an interesting mix.

I also saw you do listening parties, like the new Pulp album release with Beggars Group. Are these events popular?

Yaho: That one was special. Pulp already had fans in China 30 years ago, so when a new album dropped people were excited. For other artists it’s hard to say if there would be enough interest to do a listening party. So this was a very special occasion. But when there is a record label we are interested in, and we want to push, we also do listening party events to present their records and concept.

How important is it for Chinese customers to come to the store versus buying online?

Yaho: It's very important because in China online shopping is just part of daily life, but records are different. When you come to our store you dig, discover, and talk to people there’s a human connection. Each store curates differently so if you go to different record stores, you also dig what the store presents and then you learn a lot of different things from what you see very directly in front of you. That triggers a very strong and quick reaction. Online, you usually just buy one specific record.

You’re collaborating with Technics. How did that happen?

Yaho: Technics wanted to explore the China market for its newest DJ turntables (the Technics SL1200 and 1210-MK7) and came to us since we’re one of the few record stores with an active DJ culture. It’s a cool collaboration because Technics is legendary. Once a month we host DJs who play vinyl on the decks, record their sets, and put them online.

Do customers care about audio quality or brand when buying playback equipment?

Yaho: We have a few selected record players and speakers to sell in the stores, like Technics SL-1200 MK7 and SL-1500. Other than that, we don’t actually sell much equipment, but we do advise customers on turntables and speakers. They all come thinking they want good sound quality, but we all have a different definition for good. Some people want a turntable for DJing and some people just want it for listening. DJs usually know what they want, while beginners who just started to listen to records have a lot of questions. We used to build custom systems, but it took a lot of energy, so now we might recommend high quality Chinese brands like Stack Stone that we use in-store, or for some they see established brands like Marshall speakers and they think: ‘this is what I want’.

Do people care about a purely analogue listening experience in China, or are they open to bluetooth connections and technological integrations with vinyl?

Yaho: The customers who come to our store are more on the analogue side of things, but there is a small segment who prefer to have it both ways. If people are making Bluetooth devices for record players, then it must make sense that there is a market for them. In September I will go to Japan to attend the Technics annual conference, and I believe there will be new Technics turntables that are bluetooth enabled, so I imagine there is also a market for them.

Lastly, what’s next for fRUITY SHOP?

Yaho: We would love to do more stores with different styles. Maybe one for electronic, one for jazz. We want to build a sustainable culture, not just a short trend. Many people in China still don’t know about records, so by tailoring stores to different lifestyles, we hope records become a part of their everyday life.

This conversation has been condensed and edited for clarity.

Have a vinyl industry story to share? We’d love to hear it! Email us at cueburn@vinylalliance.org and let’s start the conversation.

Haarlem: A Week of Vinyl Industry and Culture

The Vinyl Alliance will be taking part in both the Making Vinyl conference (24th-26th) and the Haarlem Vinyl Festival (26th-28th) this September.

You are invited to join us for the Vinyl Alliance’s presentation of our Wax Works Berlin initiative on Thursday, September 25, at Making Vinyl at 12:00 (CEST).

Plus, keep a look out on our social channels for an exclusive meet-and-greet for prospective members on the same evening.

A number of Vinyl Alliance members will also be speaking on panels and participating in the festivals programming throughout the week. For the full Making Vinyl schedule, click here, and for the Haarlem Vinyl Festival, click here.

Haarlem is the perfect opportunity for anyone passionate about vinyl, from artists to collectors to manufacturers, to connect and participate in the culture. We hope to see you in Haarlem!

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SoundCloud, a global streaming service with over 130M registered users, is offering its Artist Pro subscribers the opportunity to join a waitlist for a print-on-demand vinyl service with no upfront cost and no minimum order requirement. Variety reports the service has been made possible thanks to a partnership with elasticStage, a London-based operation, which promises to ship records in ‘weeks not months’, with distribution guaranteed to over 90 countries. "Vinyl sales have surged over 300% since 2016, yet most independent artists have been excluded from this growth due to high manufacturing costs and logistical limitations,” says Eliah Seton, CEO, SoundCloud. “At SoundCloud, we're committed to helping artists thrive by providing new opportunities for connection and monetisation.”

Our Take: Most musicians dream about releasing music on vinyl. Soundcloud's innovative partnership shows there is a new opportunity for pressing plants, distributors, and technology partners to collaborate with digital platforms to offer on-demand vinyl and global distribution as a service.

Official Charts Confirms the Best-Selling UK Vinyl Albums and Singles of 2025 So Far

Sam Fender has claimed the number one spot in the UK as the artist with the best selling vinyl album of 2025 so far, with 53,00 copies of ‘People Watching’ sold since February according to Official Charts. The British organisation which officially tracks and ranks music sales and streaming, also announced the album by Fender will be the fastest-selling vinyl album of the century by a British artist after shifting 43,000 copies on vinyl in its first seven days on sale. Included in the top 40 best-selling vinyl albums and singles of 2025 were also Taylor Swift’s fourth live album, ‘Lover (Live from Paris)’ selling over 46,800 vinyl copies in just one week in 2025, and Sabrina Carpenter with ‘Short n’ Sweet’, which sold 20,200 vinyl units this year.

Our Take: While there’s been a huge focus on reissuing classics on vinyl, the latest Official Charts data shows that the vinyl album is now a major format for new releases, especially with younger Gen Z audiences. See our Gen Z & Vinyl report for more on why this generation highly value the immersive experience of enjoying a full album on record. For more on the power of the vinyl album as an art form, see our interview with music strategist Keith Jopling.

North America and Western Europe Drive 87% of Global Vinyl Spending

A new 2025 report by Futuresource Consulting has found that North America accounts for 56% of global vinyl spending, followed by Western Europe at 31%. The report published jointly with Making Vinyl and the VRMA shows this success is largely due to an established ecosystem, with loyal fans who regularly buy vinyl helping transform what was once considered a ‘vinyl revival’ into a stable developed market. Eastern Europe and MENA (Middle East and North Africa) account for only 4% of global share on vinyl spend. Meanwhile Latin America commands the lowest share with 0.6%, which is attributed to the dominance of mobile and digital first streaming, and a lack of history with physical formats and hi-fi equipment in the region. APAC (Asia-Pacific) takes an 8% share, however, demand for vinyl is growing, especially in Australia and Korea. Japan leads the way by far, though, thanks to its strong historic ties with the format, high number of hi-fi enthusiasts and increased vinyl releases from JPop artists.

Our Take: While North American and European have matured into stable, developed vinyl markets, growth opportunities remain in the APAC region. However, as Futuresource Consulting notes the high cost of vinyl records, need for compatible hardware and current low consumer confidence in the global economy create challenges for establishing widespread adoption in emerging markets.

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Q&A: KICKBACK founder London Jackson on the success of its innovative DEKO record player

KICKBACK is a New York based company co-founded by siblings London Jackson and Abella Glorfield that has become a pioneer in bringing design-driven analogue playback systems to a new audience of Millennial and Gen Z women. Key to Kickback’s success has been tapping into its audiences’ desire for a listening experience unadulterated by screens, using terms ‘liberation devices™ for the notification-traumatised’ as a tongue-in-cheek way to relate to the growing trend for digital detoxing, as explored in our Gen Z & Vinyl Report. The DEKO player goes beyond just that, however, delivering both exceptional sound quality and aesthetics at a reasonable price point, plus a cheeky Bluetooth connection as high-fidelity RCA inputs so fans can choose how they relax and unwind to their latest record purchases.

I love the idea that KICKBACK designs 'liberation devices' for the 'notification traumatised'. Can you talk more about that?

London Jackson: As Gen Z ourselves, all our friends were actively searching for ways to unplug. We decided to make beautiful, cool objects that tap into nostalgia and make unplugging easy. That's the brand's core thesis. When technology and culture move heavily in one direction, there's always a counter-punch. We felt existing counter-punches were either super expensive and cool, or cheap and bland. We aim to be the creative, designer brand that's not super expensive, like a cultural counter-punch to the mainstream.

What were some of the design references for the DEKO player?

London Jackson: We're inspired by Swedish modernism and the Memphis group. Honestly, with our products, it's just personal taste. We don't take it too seriously. My guiding North Star is that if I love something, others will too. I'm not unique in my taste. The best thing a design-focused brand can do is make stuff they truly love and trust that others will feel the same. We don't do a lot of market research for product decisions. Ultimately, we're creating a brand we love and trust our taste isn't too dissimilar from others.

Was there a conscious choice to tap into Gen Z ‘nostalgia’ around playback devices?

London Jackson: I don't enjoy overly gimmicky retro stuff. Directly pulling from the past feels a bit lazy. While our RETRADISC CD player has 90s elements like clear, transparent plastics, it's also a modern, Bluetooth-enabled device with modern design components. Our record player isn't trying to be authentically retro at all. We want to pull from the simplicity and fun we romanticise about the 90s, but we're not trying to recreate it. We're doing our own thing, drawing inspiration rather than replicating.

How do you deliver an affordable product without compromising on audio quality?

London Jackson: First, we incorporate smart materials like plexiglass on the record player. It looks great but is also very affordable to produce. Second, we utilise existing technologies wherever we can. We're not reinventing the wheel internally, which saves a lot on R&D. Third, our products sound much better than cheaper alternatives, but we're not trying to compete with $2,000 devices. If you're a true audiophile, don't buy our product. It sounds good, but not audiophile-perfect. We're honest about that; it's not our target customer base.

Was the decision to include Bluetooth connectivity a non-negotiable for user experience?

London Jackson: There were two red lines: we would never sound like a suitcase record player, and we wouldn't compromise on design. We had a clear vision. The question was making the materials work. This record player could have cost $800 to produce, but our material choices, which I think ultimately improved the design, constrained us to make specific decisions that kept prices under control. Nicholas Pital (an industrial designer KICKBACK collaborates with) is a purist, but I want to meet our customers where they are. I want the experience to be pure joy and frictionless. I don't want a customer to buy additional things just to use a player. Most customers buy for design, nostalgia, and the core vision of unplugging. We want them to enjoy it however they choose.

Could you say more about who your target market is?

London Jackson: We're selling a lot more units to a totally different group of people. We're not trying to sell to audiophiles; we're trying to open the door to people who were buying $90 Crosleys or were locked out of a more premium experience. We want to be that middle ground, inviting them into this world with cool designs. We recognise our customers are mostly Gen Z women who enjoy collecting vinyl. We call them ‘Lana Del Rey girls’, though we also see 50-year-old guys buying our products. In electronics, women often aren't the focus since ‘dudes and bros’ typically decide things. We love that our customer base is women because they're oddly not given the attention they should be. Generally, women our age care more about their space and how a record player looks. We love designing cool stuff, so that's a nice meeting point.

What is your advice for the vinyl record industry?

London Jackson: I think the audiophile world is often rude to Gen Z kids who are just getting into vinyl for fun. Some older audiophile guys think Gen Z needs to be more educated. No, maybe you should listen to Gen Z more. My perspective is, I don't care how someone listens to their music, be it on Bluetooth or a high-quality preamp. If someone wants to enjoy vinyl, excellent, let's support it. I'm not anti-quality audio; I just think it doesn't matter how someone listens to their music. The only people who criticise our brand are audiophiles, complaining about Bluetooth. The biggest thing is making it accessible, whether you're a brand, designer, or collector. We're all trying to have fun and enjoy great music. Pushing that message above all else and inviting people in is cool.

This conversation has been condensed and edited for clarity.

Have a vinyl industry story to share? We’d love to hear it! Email us at cueburn@vinylalliance.org and let’s start the conversation.

Record Store Day Summer Camp 2025

This year the Vinyl Alliance will attend Record Store Day Summer Camp, an annual gathering of the independent record store community in New Orleans. Taking place from July 28th to August 1st, it's a chance for record store owners, distributors, labels, and other industry professionals to connect, learn, and plan for the future of physical music. The Vinyl Alliance will take part in conversation with Indie Earth Record Store Founder Aleah Tucker exploring findings from our Gen Z & Vinyl report. Be sure to stop by and say hello if you are attending. We’re excited to connect with you there!

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Vinyl Me, Please faced mounting customer complaints over unfulfilled orders last year, with the original founders leaving the company, and new operators overseeing a service headed for bankruptcy, according to Variety. Now VNYL Inc, which also acquired Bandbox and VinylBox, is looking to revive the service by restoring trust with customers in the short term. Key to VNYL Inc’s long-term strategy will be using data from Spotify, Apple Music and Discogs to better predict demand, reduce waste, and improve curation. The company is also segmenting its offerings: targeting VMP toward premium audiophile collectors, VinylBox toward Millennials seeking aesthetic collections, and VNYL toward Gen Z and Alpha audiences discovering curated vinyl at entry-level price points.

Our take: VNYL Inc is right to focus on a culture reset that prioritises rebuilding trust and human connection with vinyl collectors.

Your take: What lessons can the vinyl industry take from VMP’s operational issues to strengthen customer experiences going forward?

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Urban Outfitters Launches New Pride Vinyl Collection

Rolling Stone reports the retailer is celebrating Pride Month with an 18-LP limited-edition line featuring influential LGBTQIA+ artists including Kesha’s ‘Rainbow’ LP, RuPaul’s ‘Supermodel’ LP and Tove Lo & SG Lewis ‘Heat’ EP. "At UO, we're always listening to our customers and music is one of the most powerful ways they connect, express, and celebrate who they are," says Jena Tracey, Executive Director of Home and Lifestyle Buying at Urban Outfitters. "This collection brings their favorite artists to the forefront during a time that matters deeply. It's about more than vinyl, it's about being part of the moments that shape identity, joy, and connection."

Our take: While some brands reduce or retreat from Pride activations in today’s polarized climate, Urban Outfitters continues to invest long-term in its LGBTQIA+ customers. The brand shows a deep understanding of how Gen Z experiences vinyl as part of their identity-driven culture, building trust while strengthening long-term brand credibility.

Your take: What long-term actions could your brand take to deepen trust and relevance with the next generation of vinyl lovers?

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Paris Record Store and Label Yoyaku Goes '100 Percent' Vinyl

Yoyaku, the Paris-based collective known for its deep and minimal techno output has gone 100% vinyl. The multi-dimensional organisation, which spans a record label group, physical store, distribution arm, artist agency, and event series, has deleted its online shop and pulled its catalog from nearly all streaming platforms. According to Resident Advisor, the move follows Yoyaku’s strongest vinyl year to date, with a 30% increase in sales reported for 2024. “We’re seeing a genuine shift back to more meaningful listening,” the team said in a statement, also citing recent controversies around streaming platforms and how their ethos "often conflicts with ours”.

Our take: Yoyaku recognises its store fronts not just as points of discovery for its audience, but also as a key way to understand its customers. As highlighted in our VA Gen Z Report, third spaces like record stores are becoming increasingly important for building community and deepening connection around record collecting culture.

Your take: What would happen if your brand made a bold move like going 100% vinyl? Would it be possible, or are digital platforms too critical to abandon?

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Q&A: Indie Earth Record Store Founder Aleah Tucker on Building a Community Space

Indie Earth is an LGBTQ+ friendly record store that opened in Buffalo, Minnesota, in 2022. It offers a unique selection of indie pop and alternative rock records, houseplants, and crystals, appealing especially to local Gen Z, who love to attend listening parties celebrating new releases from queer artists. Founder Aleah Tucker puts it best: “Queerness and music history have always gone hand-in-hand. Our greatest artists have often been queer or broken societal norms.” Opening a queer-friendly space and a record store therefore clearly made sense.

What motivated you to create Indie Earth?
Aleah Tucker: The closest record store was about an hour away, and there were no accepting community spaces for queer people. As a bisexual woman, having a queer-friendly space was important to me. We opened in a small town, aiming to be open and welcoming. The lack of such a place frustrated us, so we made one.

Do you notice differences in taste between Gen Z and other generations?
Aleah Tucker: Yes, Gen Z often collects vinyl more like merch. Many say they don’t even own a record player; they just love showing they’re a fan. Vinyl is like a band tee to them. That said, I’ve seen a resurgence in younger people actually listening to records. What matters most is connecting with fans at listening parties, hearing their favourite artist in-store. In a digital society, there aren’t many places where you can just bond with a stranger over Taylor Swift.

How are you celebrating Pride Month at Indie Earth this year?
Aleah Tucker: While we celebrate Pride all year long, we’re especially excited about what’s happening this June. We’re hosting listening parties from some true queer icons, including an advanced listening event for Lorde’s Virgin. And of course, the shop is fully decked out in rainbows. There are also so many incredible queer artists releasing music this month. A few I’m especially excited about are HAIM’s I Quit, Daisy the Great’s Rubber Teeth Talk, and the vinyl release of Olive Klug’s Lost Dog.

What else do you do to make Gen Z feel welcome?
Aleah Tucker: Our motto is: "Just because it's not my thing doesn't mean it can't be your thing." We live by that. I used to feel judged in record stores for being a big Taylor Swift or Noah Kahan fan. Gen Z feels that too, especially post-COVID, when it’s harder to connect in person. So we aim to make things less intimidating. It’s about creating a low-pressure, non-judgmental space. They’re learning and excited. We’re excited with them.

How do you connect with Gen Z online?
Aleah Tucker: TikTok is where we do most of our livestreams. Post-COVID, younger Gen Z finds it easier to connect online, and that helps them feel comfortable walking into the store. They’ve seen us, joined our streams, and know our staff. Some have driven five hours just because they connected with us online. Record stores can feel intimidating, like the staff know everything. But when they see us online, they realise we’re just as obsessed and weird about our favourite artists as they are. That makes the experience feel more human, even before they walk in.

This conversation has been condensed and edited for clarity.

Have a vinyl industry story to share? We’d love to hear it! Email us at cueburn@vinylalliance.org and let’s start the conversation.

Three Key Insights from the Vinyl Alliance Members Meeting

This month’s Vinyl Alliance member meeting, held on June 5th & 6th at Warner Music Group’s offices in New York, tackled a range of timely and interconnected topics affecting the industry. From tariffs to consumer behaviour to marketplace trends, this is where the industry met to discuss challenges and collaborate around keeping the vinyl format thriving. While full insights are reserved for Vinyl Alliance members, here’s a peek at what was discussed:

1. Tariffs & Trade Pressures

As international shipping and manufacturing costs remain volatile, members received an in-depth update on how pending tariffs could impact vinyl production and distribution. Various strategies to mitigate these impacts were discussed, including re-evaluating product classifications, exploring nearshoring or onshoring production, adjusting Incoterms with suppliers, and utilising Foreign Trade Zones (FTZs) or bonded warehouses to defer, reduce, or eliminate duties. However, these measures require careful planning and compliance oversight to avoid unintended consequences.

2. Discogs Deep Dive: Marketplace Trends

Discogs shared data revealing a 24% increase in average vinyl prices over the past five years, with new LPs now commonly priced between $37–$40. This has contributed to more selective consumer behaviour, with collectors increasingly opting for used records. Still, there is strong demand for high-quality, emotionally resonant, and aesthetically distinctive releases, indicating a shift toward vinyl as a premium, collectible format.

3. Independent Retail Powers US Vinyl Sales

Billy Fields, vice president of retail and commercial services at Warner Music Group, shared that 45% of all US vinyl sales come from indie retail. This further highlights how independent record stores are not only a crucial point of sale, but a culture touchpoint that provides education, curation, and community. “Without independent retail, the physical business is down 11%” (comparing January to May YoY), reported Fields. “With independent retail, it’s only down 4.9%. Independent retailers are outperforming the rest of the market, and I don’t believe this is different in other territories.”

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Luminate reports that at this year's RSD over 1 million vinyl albums were sold in independent U.S. records stores. The young artists who top the list of most purchased titles on RSD include Taylor Swift, Post Malone and Charli XCX – reflecting the increasing importance of younger vinyl consumers in the current record marketplace. In particular more than 553,000 RSD exclusive albums were purchased during RSD week at independent record stores, as well as 120,000 vinyl RSD exclusive singles. The combined 673,000 sales represent more than 75% of all units manufactured exclusively for RSD. However, overall sales on RSD (1.19m) are down compared to 2024 (1.24m) and 2023 (1.67m).

Our Take: Our research into Gen Z shows that visually striking, limited-edition vinyl records resonate strongly with this generation, not only as a way to support their favourite artists, but also as meaningful, tangible expressions of identity and fandom. Records perceived as thoughtfully designed or collectible investment pieces can also hold more lasting value for them.

Your Take: What does the rising influence of Gen Z collectors mean for how we design, press, and market vinyl today? Are we doing enough to meet their expectations?

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GZ Publishes Industry’s First Life Cycle Assessment of a Vinyl Record

The global Czech Republic based manufacturer has collaborated with external company LCA Studio to evaluate the environmental impact of a standard 140g black vinyl record with a paper inner sleeve, a standard cardboard outer sleeve, and shrink-wrap. It found that from raw material extraction to the point when vinyl records leave the pressing plant a standard 140g PVC record, if produced solely from fossil-based resources and with 10% production waste, has a CO₂ footprint of 0.99 kg CO₂e. GZ calculated several scenarios for reducing environmental impact, such as minimising waste, switching to renewable energy sources, and using bio-attributed compounds. More information can be found on GZ’s newly redesigned website.

Our Take: Understanding the environmental impact of a vinyl record is a complex process that requires calculating numerous environmental impacts from the consumption of resources during galvanics and pressing to the transport of materials. At the upcoming Vinyl Alliance members meeting in New York, taking place on June 5th and 6th, we will discuss how the vinyl record industry can work together on reducing its environmental footprint. If you would like to join us in New York, inquire about VA membership.

Your Take: What steps are you taking, or considering, to reduce your carbon footprint when it comes to vinyl record production, packaging, or distribution?

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Vinyl Alliance Teams Up With Audio-Technica and optimal media to Record and Press a Vinyl Record in 24 Hours

Wax Works Berlin, organised by the Vinyl Alliance, brought together a team of over 20 people, including renowned engineer Russell Elevado and musician Franka Fairy, to create a new vinyl record – from recording, mastering and cutting the acetate to pressing and packaging. Five jazz-influenced tracks were recorded at the Analogue Foundation’s Brewery Studios with an end-to-end analogue recording session, cut to a lacquer that day using a restored Neumann cutting lathe imported by Audio-Technica from Japan, before 200 bespoke records were pressed at optimal media the following day. Dive into the full story on Crack Magazine and watch the short film created with Audio-Technica.

Our take: Events like Wax Works are one of the best opportunities to showcase what goes into making a vinyl record. As we’ve seen, it’s a vast multi-step process with a ton of craft, expertise, knowledge, and care. As a central voice for the format, we want to spotlight that and the details and efforts that go into it.

Your Take: What can be done to keep vinyl records and analogue culture thriving in the streaming era, and to promote the enjoyment of vinyl to new and long-time enthusiasts alike?

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Q&A: John Wardle on Steps the Vinyl Industry Can Take Now to Avoid Tariff Disruption

With uncertainty over the impact of potential U.S. tariffs on the vinyl record industry, we spoke with John Wardle, Technical Sales Manager at PlastChem – one of Europe’s leading suppliers of vinyl compounds – about how his team is using the current 90-day pause on EU counter-tariffs (set to expire July 8, 2025) to keep costs lower for U.S. customers over the next six to 12 months. In this challenging moment, John offers advice for pressing plants and labels on how collaboration and communication can reduce uncertainty and tackle one of the vinyl sector’s most urgent issues.

Firstly, could you explain a little about PlastChem’s work with vinyl records?

John Wardle: We’re one of the biggest producers of vinyl record PVC material globally. We've got three dedicated lines for vinyl record compounds, and a bio-vinyl product. When bio-vinyl first came out it was very expensive and only available in black. Now we offer a better price for our customers and 46 colour options.

What impact have tariffs had on PlastChem’s business and operations?

John Wardle: In terms of tariffs we've taken action quickly. When the U.S. introduced tariffs at the start of April, it was all panic stations here because we're a European supplier. It would have been a 26% rather than 6.5% percent tariff raise for the UK. We don’t make much profit on these products, so we’d have had to pass that cost across. Thankfully, for now, there is no change or impact from the tariffs for the UK or for Asia.

How is PlastChem meeting the challenge of the tariff situation?

John Wardle: We're shipping as much material as we can to our warehouse in Tennessee, U.S.. Before the tariff news we were shipping 5–10 containers a month. Now we are shipping 15–20. The idea is to stockpile now so our customers don’t feel the impact and don’t need to raise prices. All duties are paid and it’s cleared with the IRS.

What do you predict over the next six to 12 months?

John Wardle: Honestly, we don’t know. If nothing’s decided by the end of the 90 days, tariffs could jump to 26%, and it might be another six months before a deal is reached. We might have short-term pain. The thing about the US is that outside of a big group that has their own compound facility, there is no other producer for this material. You've also got one guy in Asia but then there is the potential of a 37% tariff on materials coming from Asia into the US.

What advice would you give to the vinyl record industry?

John Wardle: Buy raw materials now, during this 90-day window. That's not me trying to be a sales guy. No one can predict what’s coming right now. If you’re a major label planning a release in November, and you know ‘Artist X’ wants ‘Colour X’, get it into the supply chain now. We don’t need to know the artist's name. Just give us the specs and we can make it and hold it in stock. That reduces lead times. Otherwise, plants might get only four weeks to press, and three of those could be waiting for material. Shipping to the U.S. takes 35 days, so that’s already four and a half weeks gone. Forecasting is everything. If you want to beat the tariffs, put stock in place now.

This conversation has been condensed and edited for clarity.

Have a vinyl industry story to share? We’d love to hear it! Email us at cueburn@vinylalliance.org and let’s start the conversation.

Vinyl Futures S1:E6 - Does Vinyl Have an Education Problem?

In this latest episode of Vinyl Futures, host Dan Cole interrogates the learning curve facing new vinyl fans when it comes to setting up their gear. Joined by three voices from across the vinyl landscape — John Kunz of Austin’s iconic Waterloo Records, Amelia Spragg of Audio-Technica, and social media influencer Tyler Melton (aka @Tyler.ForTheRecord) — the conversation dives into the challenges of educating new buyers, the rise of Bluetooth turntables, and why “plug and play” isn’t always so simple.

Listen here: Vinyl Futures S1:E6 - Does Vinyl Have an Education Problem?

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In this episode of Vinyl Futures, host Dan Cole interrogates the learning curve facing new vinyl fans when it comes to setting up their gear. Joined by three voices from across the vinyl landscape—John Kunz of Austin’s iconic Waterloo Records, Amelia Spragg of Audio-Technica, and social media influencer Tyler Melton (aka @Tyler.ForTheRecord)—the conversation dives into the challenges of educating new buyers, the rise of Bluetooth turntables, and why “plug and play” isn’t always so simple.

Their discussion spans everything from Audio-Technica’s bestselling turntables to the rise of lifestyle vinyl content on TikTok and Instagram. Combining insights from retail, manufacturing, and online influence, this episode highlights the importance of meeting new listeners where they are—digitally, accessibly, and without judgment.

Whether you’re a seasoned collector or just unboxing your first turntable, this episode tackles the big question: Does vinyl have an education problem?

Vinyl Futures is produced by the Vinyl Alliance, a global non-profit organization formed to support the vinyl format within the wider music industry and culture at large. 

Read more about our mission and work at vinylalliance.org. 

Follow us on Instagram & LinkedIn. 

Billboard reports the looming U.S. tariffs cast a shadow of uncertainty over the vinyl industry, with potential ripple effects ranging from higher production costs and retail prices to strained supply chains and shifting consumer behaviour. Independent labels and retailers could face the toughest challenges, while international trade dynamics may shift as buyers look for alternatives outside the U.S. market. For now, the specifics remain unclear, but the stakes are high as the industry braces for potential disruption.

Our Take: We’re in active conversation with pressing plants, labels, and logistics partners to assess the impact. Stay tuned to our social channels for timely updates as we break down what these developments mean for vinyl’s future.

Your Take: If new US tariffs drive up production and retail costs for vinyl records, how do you plan to adapt your business strategy?

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Vinyl Records Cost 24% More Than Five Years Ago

New analysis by Discogs Marketplace has found that both inflation and the industry’s desire for higher profit-driven pricing strategies has caused the increase in the average price of a vinyl record. ‘Mint’ condition records have risen in price from $29.82 in 2020 to $37.22 in 2025; meanwhile ‘Very Good’ records have increased from $11.35 to $14.11 from 2020 to 2025. Additionally, Discogs surveyed collectors who purchased frequently in its marketplace in 2024, finding more than half of Millennial and Gen X respondents admit that they bought fewer records than they would have liked to in the past year.

Our Take: It's time for the industry to prioritise high-quality vinyl releases that create deeper, long-term connections between artists and fans. As prices rise, so should the value of a record to collectors, whether through compelling limited-edition designs or meaningful extras like sleeve notes and bonus tracks that can’t be acquired elsewhere.

Your Take: Do you think rising vinyl prices are a fair reflection of market conditions?

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Key Production Group Rolls-Out Full Recycling Programme

According to Key Production Group’s recycling facilities, in the last year, over 30,000 vinyl records and nearly 80,000 CDs were sent out for destruction. Its new programme provides a responsible and sustainable recycling option for vinyl and CDs that are no longer playable. Record stores including Rough Trade and Sister Ray have come on board to trial the service, seeking the most sustainable option for their unplayable stock of physical music. All types of vinyl records, CDs and their packaging will be accepted, regardless of size or conditions, and will be recycled responsibly.

Our Take: Rather than burdening consumers with added costs, sustainability in vinyl production and greater ethical accountability should be a priority for the industry itself. See our Vinyl Alliance Carbon Footprinting report for more on sustainability in the record industry.

Your Take: What other innovations can the music industry take advantage of to further reduce its environmental impact?

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Alliance Entertainment Will Ship 8.3% More Vinyl for Record Store Day This Year

The distributor will ship 650,000 exclusive Record Store Day units to 1,500+ independent US retailers for April 12, 2025. "Independent record stores are a critical part of our business, and we’re excited to see growth continue year over year,” says Ken Glaser, Senior VP of Sales at Alliance Entertainment. “More retailers are expanding vinyl offerings, and more record stores are opening nationwide.” MusicWeek also reports vinyl saw an increase in consumption of 15.4% to 1,702,360 units in Q1 of 2025 with – an improvement on the 11.5% growth for the format in the first quarter of 2024.

Our Take: Our research into Gen Z cohorts shows they especially value authentic human connections at independent record stores, from staff sharing favourite vinyl picks to guiding them on turntable setups.

Your Take: What more can be done to support independent record stores and keep the excitement around vinyl going all year-round?

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Q&A: Keith Jopling on The Art of the Vinyl Album

In this interview, we sit down with Keith Jopling (@songsommelier), an influential music strategist and creator of the podcast The Art of Longevity. Keith has worked with major labels like Sony Music, Spotify, and EMI, and his new documentary episode Artists On Vinyl explores the deep connection musicians have with vinyl records. With his upcoming book Body of Work, Keith discusses the importance of the album format in today’s music culture, as well as the enduring significance of vinyl.

You bought a turntable at 50 for the first time. What took you so long, and how did it change your life?

Keith Jopling: I had a collection, but when CDs took over, I replaced everything. Then digital arrived, and I didn’t want to start over again. I also worried records would just end up sitting on the shelf, so I held off.

Then I gave it a try and never looked back. I love taking the record out, appreciating the cover, listening to the sound of the record filling out the room. With vinyl, I engage with music more than I ever did on streaming. You form a relationship with the album. That’s where the joy is.

Why has the vinyl album retained its special place despite streaming and CDs?

Keith Jopling: Tech companies like Spotify were ready to see vinyl die out. In the early 2000s, many bands, like Smashing Pumpkins and Ash, shifted to releasing only singles. But that era produced no truly memorable songs, people got bored quickly. If you release a song a month, by the third month, nobody cares.

Great songs emerge from writing batches of songs. Every artist I speak to, new or legendary, values making a body of work. Many appreciate the theme, the art, and the storytelling as much as the music, like structuring Side A and Side B around different characters or moods.

You talk about sleeve design making a comeback. What do you think is driving that?

Keith Jopling: Many musicians are also visual artists, and artwork gives the album another dimension.

The 70s/80s design agency Hipgnosis, famous for Pink Floyd and Roxy Music sleeves, has influenced a new wave of artists like Chappelle Roan and Taylor Swift, drawn to that era’s romance and nostalgia. Conceptual photography and pop art are returning, with many artists licensing vintage artwork to enhance their albums.

There’s also a strong link between vinyl and Instagram, as you pointed out in your Gen Z & Vinyl Report. Vinyl influencers are thriving because records have such a striking aesthetic.

As a strategist, what advice would you give the vinyl industry to sustain its growth?

Keith Jopling: We need to help people experience and enjoy vinyl for what it is. There’s a growing shift toward intentional music listening, hence the return of listening parties. Every major album release now launches with one, and you see events like Pitch Black Playback, which plays albums in high-end sound studios or cinemas, immersing listeners in the music in total darkness.

My key advice? Work closely with artists, listen to them and use them as ambassadors. Record Store Day thrives because artists believe in the format and speak passionately about it. Their voices are crucial in keeping vinyl alive as a creative art form.

This conversation has been condensed and edited for clarity.

Have a vinyl industry story to share? We’d love to hear it! Email us at cueburn@vinylalliance.org and let’s start the conversation.

Vinyl Futures S1:E5 - Can Record Stores Still Just Be Record Stores?

On the latest episode of Vinyl Futures we explore how record stores across the globe are creating unique spaces for music lovers, beyond just selling vinyl.

We speak with three stores each offering an entirely unique experience, from the pop-infused plant haven of Indie Earth in Minnesota, where listening parties spark friendships, to HHV in Berlin, where hip-hop, electronic, and jazz fans converge around a zeitgeisty mix of music and streetwear culture. We then step into London's Raven Records, a heavy metal hub that cultivates community alongside its alcohol-free bar, creating a safe space for everyone.

Join us as we celebrate the diverse ways record stores are keeping the spirit of music fandom alive ahead of Record Store Day 2025.

Vinyl Futures S1:E5 - Can Record Stores Still Just Be Record Stores?

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Join The Vinyl Alliance

Gain full access to reports, market data, and knowledge exchange workshops with our membership.

Find more information about membership at vinylalliance.org/membership or contact us at info@vinylalliance.org

On this episode, Vinyl Futures explores how stores across the globe are creating unique spaces for music lovers, beyond just selling records. We speak with three stores each offering an entirely unique experience, from the pop-infused plant haven of Indie Earth in Minnesota, where listening parties spark friendships, to HHV in Berlin, where hip-hop, electronic, and jazz fans converge around a zeitgeisty mix of music and streetwear culture. We then step into London's Raven Records, a heavy metal hub that cultivates community alongside its alcohol-free bar, creating a safe space for everyone.

Each store reveals how they curate their collections, host events, and create environments that resonate with their communities. We explore how these stores exist for more than just retail - they're vital gathering spaces where fans connect, discover new artists, and share their passion. Discover how these stores, each with their own genre focus, are building thriving communities around vinyl. Ahead of Record Store Day 2025, we celebrate the diverse ways record stores are keeping the spirit of music fandom alive.

Vinyl Futures is produced by the Vinyl Alliance, a global non-profit organization formed to support the vinyl format within the wider music industry and culture at large. 

Read more about our mission and work at vinylalliance.org. 

Follow us on Instagram & LinkedIn. 

On this episode of Vinyl Futures, we explore this phenomenon, digging into what drives Gen Z's love for vinyl. Guided by findings from the brand new Vinyl Alliance Gen Z Report, host Dan Cole speaks directly with members of Gen Z, discussing the thrill of collecting, the connection to artists and community, and the influence of factors like price and limited editions. Are they drawn to the physical artifact, the artwork, or the unique listening experience? We unpack it all.

Our guests are Brady Jager, Jayda Hurtado, and Sophie Eye from the Warner Music U team offering firsthand insights into the Gen Z mindset, along with WMU program head Kathi Ramsey to help us interpret the findings.

Join us for a fascinating look at the future of vinyl through the eyes of the generation that's leading the charge.

Sign up here to receive a free summary copy of the Vinyl Alliance Gen Z Report!

Vinyl Futures is produced by the Vinyl Alliance, a global non-profit organization formed to support the vinyl format within the wider music industry and culture at large. 

Read more about our mission and work at vinylalliance.org. 

Follow us on Instagram & LinkedIn. 

¹According to data from Luminate's US Music 360 Survey