Where many of our beloved British record stores bit the dust during the Noughties, one successfully launched and, in turn, thrived - London’s Phonica Records. 10 years later it’s in arguably its best shape ever, as Defected’s Ben Lovett finds out.
The Soho-based Phonica first opened for business in September 2003, independent music and arts enterprise The Vinyl Factory recruiting the senior team at former, infamous store Kubla to work its magic with its new venture. Hence, Simon Rigg, Heidi Vanden Amstel (she of Jackathon fame) and Tom Relleen took immediate charge in terms of creating a unique space offering innovative electronic music across all genres and backgrounds, and with the staff knowledge, service and accessibility to back it up. Phonica hasn’t looked back.
“I remember when it opened; there was such an excitement and buzz in dance music circles. I’d finished university and wanted to be involved somehow” opens Vangelis, Phonica’s Assistant Manager and second longest-serving store member (behind Rigg; he joined in 2005). “It was the only shop I knew that stocked exactly what I liked...which was a broad range of stuff. I knew some people linked to it and the rest is history.”
Vangelis has witnessed a radical re-shaping of the UK music retail landscape during his time behind the Phonica counter. Digital download culture has kicked in, tearing massive strips off of the once all-encompassing vinyl and CD markets. Coinciding with long-term economic stagnation (and, for a time, recession), this has had a significant effect on the numbers of independent stores still operating – they have fallen sharply. Why, then, does Vangelis think Phonica has survived? And not just survived, but grown and expanded?
“I think one of the strongest points was that we never ever said we were a shop selling techno, or house, or a specific genre or idea” he reflects. “Unlike some stores we have always adapted...our tastes have always changed. That might come from us, or from our customers, or from somewhere else even. When we started out, it was electro-house. We moved through that, picked out the bits and bobs of music that we liked and suddenly we had techno, and in turn other sounds. Some people catch-up with trends, some don’t. We’ve always allowed ourselves freedom to evolve. Ultimately they’re all dance music records. That’s what we sell.”
CDs are, Vangelis confirms, on their way out as more and more consumers switch to streaming and download services. And yet Phonica still stocks the format, thoughtfully so, and thus benefits. Vinyl remains at the store’s heart; a range of merchandise including clothing (namely T-shirts), artwork, books and headphones completes the inventory. “We’ve had a couple of small dips over the years” Vangelis confirms. “There was a dip when Beatport first arrived and people tried digital. But, really, we’ve been steady throughout and have actually seen an increase in our business. There’s been quite a dramatic demographic shift, an increasingly younger customer walking through the door in recent years. We’re finding less interest in what you could possibly label – badly – ‘dad house’ as the younger kids swarm in looking for cool new sounds.”
An impressive 10 this year, Phonica has decided to release an epic three-disc album commemorating, and wildly celebrating its achievement. Ten Years Of Phonica – available as triple-vinyl, CD and download – is a pulsating reflection of the store’s forward-thinking credentials, and its ability to anticipate clubland trends and habits. The album’s first two ‘collections’ coral everything from sophisti-house by ‘Joe’ Claussell and Henrik Schwarz to sinister tech via Discodromo (murky delight Boi) via bass (Lo Shea and Red Rack’em & Medlar), leftfield (Roman Flugel), and cinemascape (Juju & Jordash, Panoram and Psychemagik). Further artists including DJ Kaos, Mr G, Trevor Jackson, John Morales and Legowelt brilliantly fill the gaps. Beyond all that, the album’s final session relives tracks from Phonica’s eponymous imprint (and sub-labels) including unique, incisive productions by Midland, Kassem Mosse and Four Tet (the latter remixing Bob Holroyd’s psychedelic Eighties classic African Drug with an astounding 12-minute interweave of frantic percussion, kalimba and synths.
How much of a challenge was it for the team to condense a decade of inspired, non-stop hustle ‘n’ bustle into just 33 tracks? “We had the idea for an album about a year ago but getting from A to Z wasn’t at all straightforward,” Vangelis says. “Phonica has a team of 20 people these days, all equally passionate about the music, and as you can imagine that made for a long-running series of tense meetings in our back office trying to decide what to include. That was even before the inevitable issues of licensing and copyrights.”
Indeed, Ten Years Of Phonica was originally due in 2013 before said licensing considerations delayed release. Rigg and co. could have rushed something out with less problematic content but, in line with the ethos of the Phonica brand, wanted to pursue their sonic ideals as purely as possible. “The whole process was extremely thorough” Vangelis concurs. “We asked our industry contacts, our customers, DJs and artists we’re friends with and, of course, the team itself for ideas. We got a lot of positive responses saying ‘we will help you’ but there was quite a drop from that to the actual number of people who sent us tracks or other support – everyone was so busy! In the end we got down to a core list of track selections which we were more than happy to release. There was...there is some really, really good stuff that reflects the quality and diversity we stock, and the community we’re part of. We had a few out of control moments but the records here now and it says what we want it to say. It’s a celebration and a major statement of intent about our future – Phonica is all about moving forwards.”
Typically, the brand – for it is fast becoming that, as opposed to remaining simply a cult Soho den – launched its own record label in 2008; this, because of the creative, extra-curricular exploits of its personnel. “A number of staff were releasing some really great stuff, and getting great feedback, so the idea of a label made perfect sense” Vangelis explains. “Three of the first four Phonica releases were by staff members. That was the beginning of a different phase for the business; it wasn’t just a shop anymore but an organic creative hub, communicating different ideas by different mediums. The sub-labels [Phonica White and Special Editions] followed because Phonica was getting all this random, but excellent material sent in by producers all over the place. Iori was first and it was relatively easy for us to do a quick white label run, test the water with him, and then expand on our plans. The whole label thing has been a real success so far.”
Phonica has also moved increasingly into parties, hosting regular events in London and Berlin with talent such as Virgo, Loco Dice, Four Tet and Henrik Schwarz. Next month, it launches its new album (released via the Phonica imprint) at Fire in Vauxhall with Schwarz again in attendance, alongside Midland, Kassem Mosse, Appleblim and Krankbrother. “We enjoy throwing the parties because they’re a natural extension of the other things we do” Vangelis says. “In this day and age you have to do more as a business. You need to be more flexible...thinking outside of the box. Otherwise things can become really difficult.”
Vangelis would argue there is no magic business plan behind Phonica’s rise and rise. Rather, success stems simply from listening to customers and team members alike, rolling with the conversations and seeing where they lead. “We do have weekly meetings here to discuss strategy, and have our regular distributors who send us over lists of new records to pore over; there is some routine, sure” he indicates. “But there has to be give and go in any situation. Customers give us just as many tips in terms of what to sell, and our team is always passionate and vocal for the same reason. There’s a lot of club research, we’re all out and about, and experiencing new things. Who knows where some of those nights can lead?!”
Just be mindful of asking too many questions over the counter on Monday mornings. “Some of us may have hangovers” Vangelis laughs; “there might be an ‘off’ hour or so!” In truth, however, Phonica’s reputation for awesome customer service is splashed all over the internet. It is a time-honoured retailing basic, in stark contrast to Phonica’s future-facing ideas on stock and label releases, that helps drive the whole machine triumphantly forward. “Again there’s no specific formula,” Vangelis stresses. “We just do our best every day to give people what they want. We’ve gone to some pretty major lengths to unite customers with the records they’re after; sometimes they’ve had to hum the tune and we’ve worked it out from there. We’re keen to share this amazing music with people and, as I say, learn from our customers, so the right standard of service usually follows. Word of mouth is a powerful thing. There’s still a buzz around what we’re doing, I think.”
Whilst co-founders Vanden Amstel (international DJ, Radio 1 presenter, Jackathon queen) and Relleen (bassist for psychedelic outfit The Oscillation, All Time Low promoter, established booking agent) have moved away from Phonica’s day-to-day they remain influential ambassadors; the former continuing to play Phonica-staged parties where schedules allow. Anyhow, under the steady direction of Rigg (a dance buyer for Virgin, prior to Kubla) the brand’s momentum has continued to intensify. In the coming months, Phonica will launch a brand new website to better serve its needs, and release several new EPs within its smart family of imprints.
“We’re looking forward to 2014. If it’s anything like last year then it’s going to be amazing...lots of surprises and exciting twists,” Vangelis concludes. “Take Breaker 1 2’s Breakin’ EP on Forbidden Planet – that record sold out in minutes of us having stock last year. We hadn’t even heard of it before and then suddenly everyone’s going mad for it and snapping up any new stock that comes in. The variety of DJs who have come in and bought a copy of that record is unbelievable. We all love being on the edge of universal moments like that.”
Ten Year Of Phonica is released by Phonica Records (UK) on February 17. The launch party takes place at Fire, Vauxhall, London on February 15. For more info on the store and its labels hit www.phonicarecords.com .
