Vinyl records have made a remarkable comeback amidst the immediacy and convenience of the digital age. In Colombia, Medellín holds a special place in the country’s musical legacy. Major international record labels like Discos Fuentes, Codiscos, and Sonolux operated out of the City of Eternal Spring, serving as key players in shaping the soundtrack of Colombian youth for decades. Apart from radio, vinyl records were the primary medium for listening to music. With the largest vinyl manufacturing facility in the country, Discos Fuentes could press and distribute records both nationally and internationally, thus entering the homes of many Colombians and, eventually, the world. This golden era lasted until the 1990s, when piracy and the internet began to take over.
Today, a passionate community of vinyl enthusiasts is thriving, cherishing the tactile experience and the rich sound of records while rescuing memoires and building new ones. However, the future of vinyl is a subject of debate among some of Medellin’s record store owners—and naturally, Billie Eillish. In this blog, we explore the meaning behind record sales and the contrasting views on vinyl’s destiny.
The Cultural Significance of Vinyl Stores
Vinyl stores offer a sense of community. Regular customers often become friends, sharing recommendations and bonding over shared musical taste. In Medellin, vinyl stores are more than just a place to buy music; they are cultural hubs that offer a nostalgic journey back to an era when music was physically purchased and represented a significant economic driver for the city. A few blocks east of Plaza Botero in downtown Medellin, you’ll find a few vinyl store owners passionately describing the city’s golden age of records.
At a panel on the importance of Record Store Day at the 2024 BIME conference in Bogotá, La Roma Record executive César Sánchez Olín described vinyl stores as indispensable as libraries. He claimed that they are corporate bombs, spreading art and culture, and that their absence would be a strike against artistic expression.
Since the pandemic, there has been a spike in the opening of record stores. It was a time saturated with online connections like Zoom meetings with colleagues, family, and friends, social media interactions that provided a semblance of #humanconnection, and a boom in online shopping. Among the new online retailers were vinyl stores on Instagram and Facebook, which continue to thrive today. Even brick-and-mortar stores have established an online presence; it’s indispensable now. However, walking into a store and being guided by knowledgeable staff, discovering new music, analyzing the cover art, reading the credits, and inspecting the actual vinyl is irreplaceable.
The Collector: Passion and Purpose
For millennials, Gen Z, and the generation that starts the alphabet again—Generation Alpha—the resurgence of interest in vinyl is part of a broader interest in analog culture. People seek authentic, high quality experience that digital formats sometimes lack. But for those who have been collecting records since their adolescence or even childhood, the appeal goes far beyond nostalgia.
At another panel I attended at the BIME conference, Jaime Andrés Monsalve, explained that his motive for collecting records is his desire to have the complete repertoire of artists he enjoys. When CDs replaced vinyl, labels began producing anthologies or greatest hits collections. It’s difficult to find complete CD albums from artists like Lucho Bermudez or Pacho Galan; instead, you find compilations or greatest hits.
Dennis Murcia, Global Marketing Consultant, Business Development, and A&R at Codiscos, said, “Digital is convenience, vinyl is experience”. There is something more democratic and transparent about vinyls. They generally included detailed credits that list all the individuals who contributed to the music, such as musicians, producers, engineers, and graphic designers. Most include liner notes and inserts that often provide additional context, such as the story behind the album, lyrics, dates, and recording locations. By ensuring recognition for all contributors, the listening experience fosters a deeper connection between the audience, the music, and the people involved in creating the art. Something digital music doesn’t allow for.
Navigating Challenges, Finding Inspiration
In speaking with William Martínez, owner of El Jibarito, a salsa bar and LP store in downtown Medellín, we discussed the drive behind collectionists. He described a profile that he has seen over his trajectory as a vinyl salesperson. He said that some collectors are driven by competitive rather than genuine passion for music. According to Martínez, the desire to own rare or exclusive items lead collectors to prioritize acquisition over appreciation, often driven by an extrinsic factor—showing off. He suggests that the true appreciation of music lies between the listener and the music itself and not in a race to own the most coveted items.
There are environmental considerations that must not be ignored. In a recent interview centered around environmental activism for Billboard, Billie Eillish called out the “wasteful” ways the “biggest artists in the world” sell an overwhelming amount of vinyl variants to secure top spots in charts. Despite her critique, Eillish doesn’t exclude herself from these exploitative practices, but she has taken steps to mitigate her impact by pressing her new album Hit Me Hard and Soft on recycled or eco-vinyl, with packaging made from recycled materials.
The production of vinyl records involves PVC (polyvinyl chloride), which is not environmentally friendly, releasing harmful chemicals during manufacturing and contributing to long-term environmental damage. Additionally, the extensive packaging including plastic wrap and cardboard, adds to the waste generated by vinyl sales.
As a community driven by our passion for music, we must not forget the environmental footprint our hobbies may leave behind. While the tactile and nostalgic appeal of vinyl is undeniable, it’s important to consider sustainable practices in both production and consumption. This includes supporting eco-friendly vinyl options, minimizing packaging waste, and purchasing used vinyls.
Cultivating Growth: Stories from the Medellín Vinyl Community
Jorge Ivan De La Hoz runs El Sindicato del Vinilo, a cozy vinyl store located within a cultural house in Boston, right in the heart of downtown Medellín. He doesn’t just see vinyl as a business; he sees it through a cultural lens. Through his and his partner’s initiative, Casa 3951, he hosts lively discussion panels and vinyl parties, creating a space where music lovers can come together and connect through the vinyl scene.
Beyond his storefront, he’s a fixture at the Lost and Found festival, a traveling event that he joins several times a year. Here, he sets up his stall, offering a diverse selection of records to offer music fans that stop by.
In our chat, he exudes confidence in the ongoing growth of the vinyl industry. He shares a heartwarming storey about a 16-year old customer who’s incredibly passionate about music. Accompanied by his mom, this young enthusiast frequents the store to add classic rock vinyls front he 60s and 70s to his collection, diligently saving up for each new addition.
Conclusion: Embracing the Harmony of Vinyl
Vinyl records, once the cornerstone of Colombia’s musical landscape, have reclaimed their space in the hearts of music enthusiasts worldwide. Despite facing challenges that are brought upon the digital age, record stores have evolved into cultural hubs, preserving memories and forging new connections.
As we look ahead, the vinyl community remains ripe for optimism and growth all while ensuring that we continue leaving a positive legacy for future generations.
