Sales of vinyl records have increased; In this way have reactivated several production plants with new machines that promise greater efficiency when pressing music in this format.
Sony Music will revive its factory in Japan, after three decades without vinyl production because of Sony’s focus on the CD. According to the Recording Industry Association of Japan, vinyl sales have increased from 105,000 to 799,000 between 2010 and 2016 respectively. The sale of CDs on the other hand has decreased, when that of LPs seems to be projected to high scales millionaires. Since 2014 there was talk of a significant sales growth in this format, with USA reaching almost 8 million record sales.
It is expected that in the first quarter of 2018, production will start at the factory.
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A few years ago, a new sub-genre bubbled up from the innovative depths of house music. Dubbed by many in the scene as G-House, or “gangsta house,” it’s an umbrella term characterized by the layering of rap/hip-hop hooks or vocal samples over a bassline and groove. (Think tech house with a laidback gangsta-lean.) These rhythms were first associated with the genre back in the summer of 2012, much in part to the French duo Amine Edge & DANCE’s release of “Going to Heaven with the Goodie-Goodies,” which looped a Notorious B.I.G. vocal sample from the ’90s. Even prior to “Goodie-Goodies,” a slew of other artists like Sharam Jey and Soul Clap also churned out tracks, but with funkier, less bass-driven rhythms and with more emphasis on the melodies. Producers like LA-based Destructo (aka Hard Events CEO and founder Gary Richards, shown above) and Sirus Hood, on the other hand, showcase more of a “West Coast” vibe in their dance repertoire. A number of record labels have been serving up some delectable treats including CUFF, Amine Edge & Dance’s label, that’s one of the more widely recognized labels in the G scene, but other labels like Sleazy G and Bunny Tiger have yielded stellar productions as well, with Bunny Tiger featuring a more melodic side of G-House along with disco. Read the whole piece writen by Beatport‘s Airee Kim here.
Skream is undoubtedly the most engaging personality to be propelled forth from the bloom and burst of dubstep culture. THUMP sat down with the always raw and often controversial Ollie Jones to pick his brains on the musical progression he’s undertaken– Alternately titled “Come With Me (or Fuck Off),” our new documentary follows Skream from the nascent days of UK dubstep, through the worldwide rinsing of crunchy tearout sounds, to his current house-driven incarnation.
Also discussed are that Boiler Room gig, footage from throughout his career, and a direct response to those who accuse him of bangwaggonery.