The Economist’s Prospero blog explains it’s millenials, not baby boomers, who are driving the boom in vinyl sales:

Many consider nostalgia the driving force behind this uptick. Turntables are cheap and easy to get hold of (a Crosley costs less than $100 on Amazon) and so furnish baby boomers with a good excuse to dust off what remains of their collection, and expand it further. But data show that this isn’t a sufficient explanation: nearly 50% of vinyl customers are 35 or younger, according to ICM. Indeed, it is 25-35 year-olds who are the most voracious demographic, taking home 33% (by comparison, 45-54 year-olds are responsible for only 18% of sales). Millennials might like to carry their favourite songs around with them and discover new artists via streaming apps, but they also want to collect that music in album form.

The key word to understand when it comes to records is experience.

We’re physical animals and we enjoy physical activities, particularly in a world getting more and more digital and virtual.

Jack White’s Nashville-based label Third Man Records will release the soundtrack to Quentin Tarantino’s blizzard-shrouded western The Hateful Eight on vinyl. The four-side, 28-song soundtrack includes new work from Italian composer Ennio Morricone, despite a spat in 2013 during which Morricone said he never wanted to work with Tarantino again. Tarantino has used Morricone’s music in several of his past films, but this is the first time Morricone has written compositions specifically for Tarantino.

—Jack White’s record label will release the Hateful Eight soundtrack on vinyl

Of course he’s releasing it on vinyl.

“The history of the album cover is so much richer and so superior to the history of the film poster,” Sagmeister told Dezeen. “The average film poster basically takes its strengths from being attached to some cultural phenomenon.”

“People like the Star Wars poster because they like the film,” he continued. “But the poster itself is ultimately a piece of shit. It’s a realistic illustration with some typeface on it related to what’s happening in the film.”

—Stefan Sagmeister talking to Dezeen