Episode 44 - Anouk Rijnders, CCO Record Industry - The Women in Vinyl Podcast

Episode Transcript
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(00:03):
Welcome to the Women in Vinyl Podcastwith Jen Dugenio, founder of Women in
Vinyl and contributor Robin Raymond. Thispodcast facilitates conversations with those working in the
vinyl record industry to educate, demystify, and diversify the vinyl community. To

(00:37):
relieve readers. I'm the jobs,Fenders, I'm in the job Penance unless
it's a flying job. Cris unlessit's a flying jobs. Coen Stien Plassen.

(01:23):
Thank you for joining us on episodeforty four of the Women in Vinyl
Podcast. You just heard Princess offthe album of the same name, a
mix of shoegaz, crut rock andpunk rock by artist and musician Monica Demmler.
Find the album and order the recordat www dot doctor monicademmler dot com
slash store. Be sure to checkthe show notes for the link and the

(01:47):
correct spelling. On this episode,we get the chance to sit down with
the one and only role model andbadass a Nook Reiners. She's the COO
of one of the largest and mostrenowned European pressing plants record industry, as
well as Our Town Studio. Shehas helped produce the publication Passion for Vinyl,
which has a third part coming soon, and most recently is a founding

(02:09):
member of the Harlem Vinyl Festival,a celebration of vinyl culture in all of
its aspects, taking place at theend of the month in the Netherlands.
And Nook tells us how she jugglesit all, her path from sales manager
to COO, and how her passionfor vinyl remained strong after over twenty three
years in the industry. Enjoy wellin order to get started in AOK,

(02:32):
why don't you tell us a littlebit about record industry and how you found
your way to vinyl. Well,I've been working for record industries since twenty
three years now, so that's quitea long time. I'm already joking that
I've signed up to stay that tillmy pension. Why not, because I

(02:53):
really really like the company. Ilike the product, I like the people
we work with, and I likethat in Actually, my job is never
the same. Each year is different, and that's because I get the freedom
to do a lot of great things. I like the book, the festival
and everything. But I started withthe company in nineteen ninety, no two

(03:17):
thousand. He was before that,I was doing something totally different. But
before that I worked in a recordshop actually because I already was a huge
music lover. I started in hisCD shop, later in a vinyl record

(03:38):
shop. And then when Tom askedme in two thousand to come and join
the company because he just he neededa troubleshooter. He just took over the
factory two years before that from SonyMusic, and he had no idea what
he started with or in because hewas a computer programmer, but he had

(03:58):
he has had his own record label, and Sony and told him, well,
we're going to stop with the factory, so we need somebody to take
over. Are you interested? Andafter a while he just so, I
mean, they were looking for otherpeople to take over. But then one

(04:20):
day he thought, with his companionback then, why not, I mean,
we need our vinyl for the recordlabels they were running, so let's
just do this. So that's howhe became a record factory owner after being
a computer programmer for a long time. And I was already befriend befriended with

(04:45):
Ton because my boyfriend actually was oneof the producers he managed and for the
record labels. So Ton was pressingthe records for my boyfriend, so it
too. I was in between jobsand he asked me to help and help
him out, and I was likewhy not. I mean, I love

(05:06):
the product. I wasn't particularly charmedby the chant by the building because it
was totally not sexy, like thisconference building somewhere on a industrial site.
It was like what am I gettingmyself into it? And back then it

(05:27):
was still like it was a flashback. It was Mariah Carey, Destiny's Child.
It was all these sony women hangingall over the plant, you know,
and it was like the seventies eightiesvibes all over. So but I
mean, let's go for it.And once I started, I just got

(05:48):
hooked because of the many aspects that'sinvolved in making vinyl. That's awesome is
that is the record store that youstart it out still exists. Yes,
well, I started in a CDshop actually that was like a long time
ago when CD just became popular.But after that I worked at Concerto,

(06:14):
which is still one of the bestrecord shops there is in Netherlands. It
recently celebrated its sixtiest anniversary drive inthe city center of Amsterdam, and I
worked on the second hand department,And I mean that was like thirty years
ago, and of course it wasn'tlike it is now. I mean I

(06:38):
recently visited the shop and it's justlike ninety percent Yl, ten percent CD,
and when I worked there, itwas perhaps forty percent final, sixty
percent CIT. So that's really interestingto see. That's awesome. Wow.
Yeah, So what is a dayin the life like for you? I
know that your role has changed overthe years, So what does that look

(06:59):
like for you now? Yeah,Well, at the moment, like this
months, I'm next to the justthe job I have for the factory of
course, which is managing the orderpart, like where the orders come in
come in and making sure everything isplaced in the system, which is done

(07:24):
by my colleagues. I don't needto do that myself. The studio I
run, and just everyday problems whichoccur in a production how you say,
production area, like things with printwork, customers with a problem, you
know, the special things that happensa lot during the day. But I've

(07:48):
been really busy with Passion for Vinylbook, like making sure all interviews were
done in time and design and it'snow at the printers and of August it
will be done. But I've alsobeen really busy or still I'm really busy
with the Harlem Winer Festival, whichactually took a lot more time then I

(08:13):
thought when I said yes to bepart of that, So it's like juggling
a bit with my time. ButI like everything about it, which makes
it easy to put as many hoursin the day as possible. So it's
a bit of everything. Like forthe festival I'm involved in, I'm like

(08:37):
together with the three other people inthe board. But next to that,
it's like thinking of the subjects forthe conference during the day, approaching people,
just using your network to make itwork, Sponsors, I mean,

(08:58):
so many things. It's a onlyworld opening up for me involved in organizing
a festival I had no idea of. I mean, the book publishing was
something I had to learn, butthis is something totally new. So officially
it's it's not part of my job, but it became part of my job
and I'm really happy that I alsoget the space to do so. Although

(09:20):
I'm not sure if Tony Mik knowhow many hours I put in the festival.
That's why too late to say nono. Festivals are sneaky, especially
because it's a tight budget. Imean, you can't hire full time people

(09:41):
to take care of everything, soI had no idea, but I love
it. It's great. That's awesomefor those people that maybe don't follow a
record industry on Instagram, which youtotally should because they make amazing things.
You guys are a full service kindof soup to table thing. You do
everything. Yeah, yeah, weoffer the one stop shop to call it

(10:05):
to to to give it a goodname, to cover it all. So
since five years, we even havethe recording studio upstairs where we do director
disc recording, which I love.I mean, it's my baby. It's
it's so amazing to be able tooffer this, to have musicians over and

(10:26):
yeah, it's it beats a liveperformance, I mean, stress wise for
the for the musicians, it's it'seven like more intense. But the fact
that you're recording what they are makingstraight to vinyl or I should of course
they lack her or d m M. That's amazing. But after that,

(10:48):
the whole process we have it inhouse. So the Galvanix we have the
press shop. Of course, wehave our quality control, the print shop,
folding the sleeves and also packing andeverything, but also like special things
phone numbering and well from a tosay, we do it all in house.

(11:13):
That's great. Some really wicked printoptions too. That yeah, stained
glass disc that you guys did bluemy mind. Yeah, that was for
Seasons of MYSS. That was oneof the best, to be honest,
because stained glass just works. Andthe secret of course, I always say

(11:37):
it's the best of both worlds.You have an amazing picture on one side
with no groups and perfect audio onthe other side, so it's yeah,
it's the best support world. Soyou can only have audio on one side,
but it makes it so spectcular.So especially for a double album and
only three sides, audio really addsomething to record. I agree with that,

(12:01):
and indeed the same glass was yeah'samazing and we're getting more and more
regret requests for that. It's UVprinted, so we printed on the record
nice well, and that's that's that'slike, I mean, that's kind of
a weird specialty area that you guyshave kind of I not not cornered,
but like championed and like spearheaded.I guess because not a lot of people

(12:24):
were implementing or using a UV printerspecifically on records. So I mean that
innovation in itself is like commendable.But yeah, so cool, thank you.
Yeah, yeah, it's just well, it's one of the things I
get the freedom to look into becausewe kept getting requests for picture discs,

(12:46):
but we simply don't offer them becauseI mean, we have enough to do.
I also would love to do flexidiscs, for instance, from our marketing
point of view, that will bean awesome product to offer, but we
have enough work already with the workwe have, but picture is kept coming

(13:07):
back, and I mean the pictureis you buy now are in general,
quality wise, not what we wouldwant from a record because quality is always
number one for the records we make. But then I thought there must be
another option. I mean, ifyou we do laser this, lasered records,

(13:28):
you do things like that as well, right, or you do the
engraving. Yeah, yeah, yeah, exactly. Well we get like a
supplied like that as well, butnext to that we laser them. Like
how you send a window. That'salso how you can add a design on

(13:50):
a lacquer. And then I thoughtit can be a picture as well.
So let's let's let's look into whatwe can do. Do you use the
eavy printer or another print like it. Does it print on other things too?
Yes, well, actually the companywe're using is doing advertisements like big
screens and uh yeah, all kindsof marketing material. So it's it's a

(14:16):
special UV printer. And of coursewe tested it on and on and on
to to make sure it didn't influencethe audio. And he has a special
mold and yeah, we even showit online. So it's it's not a
secret. But you have to havea company nearby and they are just two
minutes away from where we are whocan do it for you. And it's

(14:37):
also they understand that they have tobe careful with the record. I mean
it's not like a class yeah yeah, yeah, different, yeah exactly,
yeah, no, I mean it'sstill a three t U record you're you're
printing on, so they take careof it well. And how many presses

(14:58):
do you you have there? Wehave now forty two presses and we're still
adding. How many people work withyou? I think we're now one hundred
and forty wowee, that's meat.Yeah, and we we work five days
a week, sixteen hours a day, so shifts, two shifts and about

(15:26):
well on a good day, fiftyto sixty thousand records. On a bad
day, it's a lot less,but that's how it goes. Yes,
we never know. What's your guysplant minimum? Like order wise? Yeah,
three hundred hundred? Okay cool?Since this year again, because during

(15:48):
the pandemic, when there was somuch demand, we increased it to five
hundred simply because three hundred it takesmore capacity. It was hard to explain,
but a smaller order takes up alot more time. But I'm really
happy we could go back to threehundred because many small labels just don't sell

(16:10):
five hundred records, So for me, it was always really important that we
could go back to the three hundredoption. What's your turntime right now?
It's fourteen to sixteen weeks, butwe're a bit short stuff now because of
the summer holidays, so I hopeit will be back to twelve weeks soon,

(16:30):
which is a perfect turn time becauseit's a lot. Actually make sure
that people go on vacation, yeah, like four weeks. Yeah, why
do we live here? Yeah?Yeah? What would you say? Or
some common misconceptions you come up withor come in contact with a lot when

(16:55):
it comes to manufacturing. What aresome things that people are always asking you,
Well, what I still find thatit's actually quite amusing that even people
have been in the business for quitea long time. But also, I
mean, some people have no ideathat record has only one groove, so

(17:18):
when you put the needle on therecord, it just starts till the end,
and you can't put the volume lowerfor track two or three. I
mean that's when the customer gets theirtesting and they're not quite satisfied about the
track two or track three, andthen they want something changed in between,

(17:41):
and they just have no idea orwhat our PM is and what it takes
to actually get the audio on therecord. So I always like it as
well to be able to inform peopleabout that. But it's so common for
us to know what it takes,but for many people it's just not so.

(18:06):
I yeah, even as I said, people have been in the business
for quite a long time, sometimesstill have no idea about the technique involved
the making the record. And that'salso at the same time the part that's
still like it can mesmerize me ifI walk through the production and I see

(18:30):
a record coming out of the press, it's like amazing. The technique involved
to get these tiny little groups andRobin can I mean from her a side
of the production, isn't it amazing? But yeah, at the same time,
it can just surprise me that peoplehave no idea that it's just one

(18:52):
groove. But once people do knowthat, they get so much more respect
for the product itself. And that'salso what I like when we have people
over. I mean, we getmore and more musicians actually coming over to
see the product being made and therespect they respect they get for the whole

(19:15):
production process. It's it's really greatbecause it's such a labor of love from
start to finish. Yeah, it'stotally true. Yeah, are you noticing
that you're getting a lot of similarrequests and things from the people that are
coming to the shop or giving givingorders in right now? Like is there

(19:37):
a certain color or like splatter orsomething that you're doing that people want.
Well, yeah, it's indeed moreand more color. It used to be
a lot less color, like moreblack and just a small part color,
but the colored vinyl is getting moreand more popular. We don't offer bladdered

(20:00):
yet, to be honest. Wehave now the Phoenix Alpha presses and they
are much more capable of doing funnythings. So we'll look into that soon,
as long as soon as we're upand running, because next to the
phoenixes, we're now working on ourown leaving machine, so we can't leave

(20:22):
the record straight in the inner sleeve. Most Phoenix press is just press on
the spindle, but we we preferto have them as leaved automatically. Yeah,
because your old machines used to dothat, right, Yeah, yes,
indeed they have a sleeving unit andwe now have developed our own sleeving

(20:44):
units as well for all the Phoenixpresses. As soon as we are done
with it, we can look intothe special things. So we could even
start investigating picture discs, but thenlike awesome audio with a great picture,
but that's the the last on thelist of things we want. Yeah,

(21:07):
but indeed colored vinyl is popular.Uh. Special print people are also interested
in special print, unique numbering,you know, things to make it more
collectible, and they're also willing tospend more budget on that. Yeah.
Yeah, we what what I alsofind interesting and I'm not sure where that's

(21:30):
that's going. Of course, peoplewant things ecological or environmental friendly, and
I always say never throw away yourrecord and yours environmental friendly as you can
be, and we we in ourproduction facility. We're actually taking care of

(21:52):
the environment for quite a long time, already recycling all the black vinyl into
our own production process, even thelesh. When we press the record,
you cut off the outer rim,and I think many press shops already do
that, but you take it intoback into production right away, for instance,
And the colored vinyl we dispose itand it's used for floor tiles,

(22:17):
you know, and the paper isreused. We even reuse the cooling water
from the press shop. So werecycle as much as possible. But customers
ask for what can we do more? I mean, our print our print
shop is FSC certified, we havebiodegradable inks, so there's a lot of

(22:40):
things happening. But people also wantto know about special boards. I mean,
we could print a sleeve on elephantgrass paper, which is a special
paper grown especially for well the environmentalside of things. But once customers here
that they need to pay like aeuro personleve extra, it's like okay,

(23:03):
no, never mind, all right, yeah, and that's the thing,
yeah, and that's and that's thething. People want it, but they
can't afford it still so yeah.Well, and how how involved or hands
off have the Netherlands government been,Like are they involved with regulations and things

(23:25):
like that? Are they supportive ofthings that you guys are doing and your
innovation that you know? I mean, we're just we We we're the the
one press shop in the Netherlands fora long time, so they couldn't be
bothered with the fact that we're avinyl pressing plant. Now we have two

(23:49):
in ela Ward there's a small pressshop groups four presses. Yeah, but
we have a lot of strong regulations. I mean, it's where like any
industry in the Netherlands is quite ofquite a lot of checks, you know,

(24:11):
I don't know the right word howto say, but there there a
lot of things we need to provelive up to. You know, we
just can't make any mistakes. Weneed to do things in the proper way,
which is good, even our PVC. I know in the States and
many other countries you can still pressrecords with PVC containing letter for instance,

(24:38):
but we can't. So if youbuy your PVC from Thailand, that's not
healthy I mean for the people whowork with it. But in Europe we
need to live up to the reachregulations which have been said many years ago
already and will there as how doyou say the heavy as can be No,

(25:03):
Like, it's it's a lot ofrules we need to live up to
and they're all set by a Europeangovernment, the EU, rather than Yeah,
yeah, exactly, And I meanit's kind of awesome though, because
that means that you're looking out foryour people, the environment, sing it

(25:23):
the right way, I mean,and it shows everywhere around the world that
it can be done these ways.You just for sure care a little bit
more or like you do better,yes, yeah, And of course you
have also a lot of things liketaking care of your people, having a
lot of well you need to takecare of them, and those are mostly

(25:45):
Dutch rules set by the Dutch governmentand that's fine too. I mean we
try to take good care of them. So yeah, in many ways,
it's it's already a healthy production chainwe have. Yeah, are your staff

(26:07):
kind of a mixed blend of gendersand identities and things like that? Because
I noticed when I was in theNetherlands that I was a pretty vibrant community.
Everybody was kind of able to dowhatever they wanted and fly whatever flag
that they wanted, and it wasreally really great and such an accepting kind
of place to be. So doesthat extend onto your production floor for sure?

(26:33):
Yes. If we would have aworld map, we would have you
know, these little maps with pinsyou can put in all the countries,
Well, we would flag a lotof them nothing. Yeah, so that's
cool. And even though in productionwhen I started working, I was one
of the few women. Actually therewere just two me and somebody in the

(26:56):
office. But now it's more andmore women in in production as well,
and I really like that. We'vegot some awesome press operators which really actually
press great records and you actually haveDolma An interviewed for the women in the

(27:18):
final she's now quality control, Sofrom from press operator she's now started to
quality control a few months ago.So I like that a lot. Like
she's really really involved in company aswell. She's got a great heart for
what she's doing. But I mean, do you be honest, Yeah,

(27:41):
that the gender it's all fine inour company, it's fine. So and
now we actually have quite a lotof people from Ukraine working with us as
well. We're really happy with themand happy they're they're part of our team
because they're the way they work.We could learn something from that, to

(28:02):
be honest. Yeah, there's somethingabout the Eastern Block, Yes, you
get it. Yeah, there thereis. I don't know if that's a
good English word, but their ethos, they're they're the way they they are
dedicated to the job. It's incredible. Yeah. Well, and it's like
that's part of your culture record industrytoo, because like I mean, you've

(28:26):
been there for twenty three years.Your pressops are moving from PRESSOF to QA,
so it seems like no nobody reallywants to leave the record industry,
is true. Yeah, we recentlycelebrated our twenty fifth anniversary and we had
I believe seven people. We actually, when you work with us for ten

(28:48):
years, you get a golden record, and for twenty five years, well
we had to come up with somethingnew. For ten years, it's a
seven inch, so we decided,well for twenty five years to get a
ten inch And we've had seven sevenpeople with the company for twenty five years
already. That's that's very that's soawesome. And yeah, there are many

(29:11):
many people have been there for quitea long time, so that's amazing and
that's part because it's a great productto work with, but also because we've
got like a family type of company. It's like a MoMA pop mom and
pop shop. Yeah, and howhas it been moving from your sales manager

(29:32):
kind of job all the way intolike one of the headiest tanchos of the
spot. You're that boss in chargenow kids. Yeah, I am.
I keep forgetting that. Sometimes Inever I never share my my position.
Sometimes it's even funny because then inthe studio I just love being the roadie.

(29:53):
Actually, in my next life,I want to be a roadie.
Whenever a band comes in for thestudio, I'm just there and I just
roll the flight cases and I doeverything. And then during the day they
asked me what are you doing actually, and I'm like, oh, well,
I'm the CEO, and they're like, oh my god, and no,

(30:14):
no, it's but yeah, that'sjust I like it. Or somebody
once asked me if I did thecatering. I was like, yeah,
I do that too, that's yeah. So I like to be hands on.
And that's actually also the mentality Tonand Mika have. Who are the
owners of the company or who whoinitiated the company? Their husband and wife

(30:40):
like Tony is the CEO and Mikis the CFO, and the three of
us were just like a great team. And yeah, one day I just
was thinking, I mean, I'vebeen sales manager for a long time,
but I found myself explaining when peopleask me what are you doing, Like,

(31:03):
Okay, I do this and thatand that, and officially I'm a
sales manager, but I do alsothese kind of things. And then I
just decided it does need to Imean, sometimes it can come convenient,
it can be convenient that your functiontitle actually covers it all. Yeah.

(31:23):
So I just made this mind mapof what I was actually doing, and
I just presented it to Tono Meekand I said, well, I think
it's time I get another position,another name for my job. And then
it became the Commercial Dicture, sohere I am. Yeah, that's great.

(31:45):
I think it's awesome too that youdid that and decided that you needed
to have that title change, becauseI think a lot of us don't stand
up for that and all of thework that we're doing. We just start
doing it and then it we're justlike this is the job now. Yeah.
Yeah, And sometimes you just doneed some like muscles, which is

(32:08):
given to you by the job youdo. And as I said in the
beginning, and I don't really veryoften use it, but sometimes it just
if you need to get something's doneor open a door or anything like that,
it can come in handy. Butin general, I don't have it

(32:29):
under my email, I don't haveit on my business card because uh,
yeah, I only mention it whenit's really really necessary. Yeah, yeah,
you've flexed when you need to.And I love it. I mean
yeah, I mean it's like it'sa it's a beautiful thing because it it

(32:49):
shows that you have a grasp onevery single level of what you're doing at
record industry. But it also likeit allows you to flex when you need
to. But it's not You're nota being dominance over everybody all the time.
So not at all. No,Yeah, but I also like,
I mean sometimes when we're doing overdoing extra work during the weekend, or

(33:12):
when when people need a hand,I'm there. I mean I love helping
out on the packing department or pickingup something on the floor because you know,
just giving the good example, that'sthat's just how it works. And
also because I like to be partof that. And also for instance,
during the holiday season. The endof the year, Mika and myself we

(33:37):
just packed the Christmas Christmas gifts forall the people ourselves and hand them over
because you want to say thank youto everybody. That's just how it is.
And it can be thirty people orone hundred and thirty people, it's
the same for us. Yeah,it's your team. Yeah, yeah,
exactly, And we all like toknow everybody by name, so like not

(34:02):
like who's that, No, youjust give somebody, you just introduce yourself.
Yeah, yeah, I mean,but that, I mean, that's
why you've got people that are therefor twenty five years. Yes, I
think so, yeah, always,that's the reason. No, but yeah,
I haven't done anything for twenty fiveyears other than walk around. How

(34:32):
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(34:55):
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dash store dot com. And nowback to the episode, how do you

(35:19):
feel about the all of the differentpressing plants that have opened recently? Do
you feel like the market is becomingoversaturated or do you think that this is
sustainable the way that it is?No, it's not at all. No,
there's the I mean, to behonest, even when breckort the industry,
I mean the presses we bought,that's done by a group, like

(35:45):
we're part of the our tone groupnow. And when they announced we were
going to get more presses, Iwas like, why that many? Because
during the pandemic the demand got sohigh. But I was quite sure the
pandemic would also pass away one day. And then the many little press shops

(36:12):
opening up, Like it takes somuch more than just putting two presses for
presses. Many of the little pressshops that opened up don't have their govendings
or cutting facilities, and that's ofcourse good for for instance, your worker.

(36:34):
I mean, but it takes somuch more, and I think many
of the companies might have underestimated that. And now the work is getting slow
because it simply is we have alot less records to press than we had
last year. And that's not onlyfor us, that's the whole pressing industry

(36:57):
or vinyl pressing final manufacturing industry.That's a lot less work. And the
first to notice that are of coursethe smaller shops, and they need to
make a lot more money to beable to continue working because they need to
buy all their work, like theyneed to pay for the governing development and

(37:20):
everything. And when something goes wrongin that chain, the customer comes to
them and they need to take careof it, and it's a lot more
difficult for them because there's a lotmore risk involved than it is for us
with everything under one roof. Andyou know what, I hope, and
it's already happening. I hope itwill not be a price war, you

(37:45):
know, like it used to beten fifteen years ago. I think it
was fifteen years ago. There wasn'tas much work as there was now.
And yeah, there was a lotof low price vinyl, which doesn't necessarily
mean you have a good record,but for the companies that want to live

(38:07):
up to a certain quality, it'squite hard to maintain to do. So
we didn't drop our prices because wewanted to compete with a low price pressing
plants. And I mean because ofthat, we're still there because it is
quality. You have quality print,quality audio. But for all these these

(38:30):
new companies, it will be difficultto keep on pressing vinyl. I think,
yeah, I think it's hard,you know, because a lot of
the consumers don't know the difference tooand what they're getting quotes for. So
they might reach out to you know, a check Republic plant or something and

(38:50):
ask for pricing and then ask mefor the same thing and not realize that
maybe that's being cut dmm and I'mcutting lacquer, or not realizing that it's
you know, one fortygram versue agram or whatever. And so then they
want you to lower prices and you'rejust you know, it is it's coming
up against that where everybody's like,well, this is a lower price.
Can you beat that? Yeah?Yeah, you just simply can't. And

(39:15):
I mean I always try to explain, but when you have your record pressed
record industry, you get a lotmore than just to go record. You
also get surface, you can getafter sales, You get the delivery date
we committ to. Yep, youknow they try. Other brokers do that,

(39:36):
of course, but also other pressingplans. They just say they could
do it in six or eight weeks, but very often they can't. Yeah,
yeah, so let's see. Imean, there's too much capacity at
the moment for sure, and whereit will lead to I don't know,

(40:00):
but I'm to be honest, quiteconfident that record industry, record industry will
will survive. It's not even likewe're surviving now, which is still pressing
a lot of records. So becausewe have become much more like a brand,

(40:21):
record industry is a brand. Andthat's what I worked for really hard
with the books we do. Wesponsor records to day. You know,
we do a lot of things onthe side which don't necessarily right away bring
more work for recket industry, butwe support the format vinyl, and in
the end that also helped us tobuild the brand record industry. And yeah,

(40:49):
I get a certain popularity for vinylin general. I mean, we
even worked on a school project lastyear to get vinyl into the the high
school to tell to teach children whata record is and how cool it is
and how the audio gets in thegroup and we had a pop quiz that

(41:09):
we made about vinyl and also CD. By the way, it wasn't only
finyl but just a physical carrier.Very cool. Well, you mentioned the
book and also the Vinyl Festival,So since we're getting close on time,
I would love for you to kindof tell everybody about those, where to

(41:30):
find them, how to attend everythingthe book or the festival. Let's start
with the book and then go intothe festival because you have so many things
going on. Yeah, it's funnythat I get into things like this quite
often, like why did they sayyes to everything? But it's amazing.

(41:52):
The book is like the crown ontwenty five years record industry with evennes are
more amazing people we interviewed from aGen to Robert Tchilio and we now also
have Liz Danster from Erica Records.We try to get more women in the

(42:15):
book for this edition. So thebook is just a celebration. It's called
Passion for Vinyl, and that's becauseit's so great to talk about vinyl and
when we now have about thirty peoplein this book, and it's interesting that
there's just one storyline which came upin each story this time, which was

(42:40):
that vinyl and music in general's passedalong generation. So many of the stories
have some content about what people grewup with or what they teach their children
and the records that changed their life, and that was somehow came a continuous

(43:01):
story through many of the interviews wehad, which is why we have a
subtitle Tales from the Groove, becauseit's just tales. And the book will
be released in end of September duringthe Harland Vinyl Festival, and it's part
three of our series of books,although I decided not to call it a

(43:24):
Part three because I was told thatPart two and three don't sell that well,
so it's just Sales from the Groove. So that's a tip for your
second book. P. Two Andit's the book has a really nice seven
inch again, so there's a seveninch added to the book with a track

(43:50):
from Monster Records in Madrid and LoveMonk also a label from Madrid. So
that's a nice added value. AndI'm really proud of this edition. And
then there's the Vinyl Festival, yes, the celebration of the format vinyl in
many ways, like we have theRecord Fair, We've got a lot of

(44:12):
live music and all the musicians performingmusic out on vinyl, because that was
one of the key things of course, or when it's a young talent they
have a seven inch or we helpthem to get a seven inch out,
So that's a sponsor thing we're doing. And the festival's a cooperation with many

(44:37):
yeah venues in Hailem Cafes Museum,so it's like a community thing and they
all take care of their own programand we tried to We just tried to
get everybody involved. So there's themusic part in the evening. There's the
record fair on Saturday Sunday, whichwe were really keen on having it free

(45:02):
of charge so everybody can go there. So it's outdoor because for us it
was important to get the young collectorinvolved as well. And if you already
have to pay like ten or fifteenyears admission, you might not come because
that's the budget you have to buyone or two records exactly. So that's

(45:25):
our door. And then on Saturdayand Sunday we also have a conference during
the day with topics just for vinyllovers music lovers in general. An example
is for instance, and I'm reallycurious for that, what's inside sleeve.
I mean record shop owners buy collectionsof people or dead people, or people

(45:50):
want to get rid of their vinyl. But what do you find in a
record sleeve? Sometimes so you probablyknow the stories like shop in notes or
love letters or things like that.So we have two people telling about what
they just find in the collections.We have some classic albums. We discussed

(46:15):
Colleen Murphy from the BBC as theclassic album Sunday. You may have heard,
she's a great one to interview,by the way, she's in the
Oh she's in the book. Yeah, Well Colin will come and she talks
about Alady Insane on Saturday and theWhite Album on Sunday with one of the

(46:35):
producers. I think I can.And we have some more classic albums like
musicians coming over to tell about howthey recorded it for a band telling about
the ten records that changed their lives, you know. So it's a really
diverse list of topics which will bepassing by. So yeah, I'm really

(47:00):
looking forward to that. And priorto the Harlan Vinyl Festival, we have
Making Vinyl which decided to yeah,join us for the festival, so the
music professionals will be in town aswell from Wednesday. It's going to be
really exciting. I hope we'll beable to make it. Yeah, that

(47:21):
would be amazing. Yeah, you'rea busy lady, Yeah, yes,
I am. Yeah, yeah,yeah, yeah, So let's see what
we'll Well, we'll continue with thefestival because we are quite motivated to keep
it a yearly, yearly festivity oryeah, because Harland can use something like

(47:46):
that. And vinyl, I meanwhen we started with the festival, everybody
was so enthusiastic about it because it'sso appealing or you both know that because
you're in the business. Vinyl justit's an emotional thing, so people really

(48:06):
like to be involved or do somethingwith it. Or once you start talking
about it, people get enthusiastic andthey get their fantasies about what they could
do with it. So we hopewe can continue with this for the next
years as well. Yeah, andwe'll absolutely shout out and tag everywhere that
people can find those things hopefully beable to attend. So with that problem,

(48:34):
would you like to ask our questionthis time? Yeah? Sure,
So, because you have been involvedin making records for so long, this
is gonna be a tough one foryah, But okay. Instead of the
Desert Island question, where we're like, what five albums did you take with
you too Desert Island, we posethe question if you could make any seven

(48:55):
inch record for your own collection thatanything on the side and anything on the
B side a custom that is onlyyours, what would that record be?
Oh my, so I choose twotracks. Yeah, It's like it can
be like a five minute I'm lookinglike, okay, we want oh well,

(49:29):
oh you know, can I where'smy phone? Because I have I
recently was that to make a listfor a record label, and and I
actually have an eternal thirteen on mySpotify list. That's the tracks people should

(49:50):
play on my funeral. They don'thave to say anything, just play these
three thirteen tracks. And I'm fine, let's just go through that. Yeah,
because because it's got and it isa momentum. I mean, in
a month it can be different.But I would like you do something to

(50:13):
me from Paul Weller MHM on oneside and on the other side, Massive
Attack, Unfinished Sympathy. But nextweek it can be different. Right now
so it's a bit slow, butit could next week it could be a
dance strike. I for instance,like Fred again a lot. I don't

(50:37):
know if you know him. Yeah, okay, well you should listen to
him. Yeah, but for now, it's a bit like more emotional tracks
in the fall season, which is, you know, when all the spooky
vibes start to happen, We're herefor it all. Yeah, I'm ready

(50:59):
the leaves of Yeah, not yet, not yet, I'm still I still
live for course for the Greek Islandnext week as a summer holiday. So
very nice, awesome, Thank youfor spending time with us today. Really,
yes, really, well meet youkind of yes, yeah, well

(51:19):
I didn't I mean I didn't reallyrealize you're recording it and it will probably
it will be online because it wasjust a really great conversation with two amazing
women. Thank you. That's verykind of you. Yeah, we really
appreciate. I'm glad we were ableto make it happen. Yes, yes,
and I hope to meet you inperson soon. Yes, fingers crossed,

(51:44):
all right, all right and knowcle. Thank you so much, Thanks
for your time. Yes, takecare, bye bye. Thanks for joining
us on the Women in Vinyl podcast. You can join our ever growing list
of sponsors their record labels, selectorCopple Design, Eargasm, Groove Washer,

(52:04):
Glowtronics, New Gen Audio, andVinyl Revolution Record Show and thanks for sponsoring
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or send us a note at mediaat Womenivinyl dot com clock us, send
us info if you have a question, Yo, we got the answer or

(52:25):
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(52:45):
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(53:07):
the demystification the infiltration of more womenand non binary identifying humans into the vinyl
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(53:29):
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Episode 44 - Anouk Rijnders, CCO Record Industry

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Episode 44 - Anouk Rijnders, CCO Record Industry