‘The most important part of the word ‘fanzine’ is ‘fan’,” says London-based zine-maker Jon Marsh. Existing outside mainstream media, free from the demands of release cycles and search engine optimisation, music fanzines are obsessions turned into tangible objects; self-published primarily for the maker’s own enjoyment, but with the potential of forging connections with like-minded people.
In the 1970s, punk zines such as Sniffin’ Glue, Alternative Ulster and Ripped & Torn allowed fans to share news and enthusiasm quickly and cheaply. Half a century on, music fanzines are enjoying a resurgence as a form of resistance to algorithm fatigue and the hyper-capitalist music industry. “Digital attention span is at an all-time low,” says hip-hop musician ExP, creator of the West Yorkshire Hip-Hop zine. “You’re almost definitely going to spend more time looking at a zine than anything you see scrolling. It’s more interesting and more real.” In the words of Stephen McRobbie, from indie-pop icons and fanzine regulars the Pastels: “It’s the long way round compared to other media, but the scenery is always better.”
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