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“When punk finally arrived in 1976 as a media phenomenon, Scotland appeared not to ignite. There was no Scottish equivalent of the Sex Pistols, The Clash or the Buzzcocks at a national level.
The Rezillos came closest to embodying the kinetic energy but the explosion itself seemed to happen elsewhere. From the outside, Scotland looked like an absence in punk's foundational narrative.
But the reasons for this were not aesthetic. They were structural. By the mid-1970s, Scotland faced a profound deficit in cultural infrastructure. There were few rehersal spaces, almost no independent recording studios capable of servicing new bands, negligible independent label presence (beyond the excellent and influential Zoom Records), minimal specialist press and, most crucially, a catastrophic lack of local radio provision.”
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The Rezillos came closest to embodying the kinetic energy but the explosion itself seemed to happen elsewhere. From the outside, Scotland looked like an absence in punk's foundational narrative.
But the reasons for this were not aesthetic. They were structural. By the mid-1970s, Scotland faced a profound deficit in cultural infrastructure. There were few rehersal spaces, almost no independent recording studios capable of servicing new bands, negligible independent label presence (beyond the excellent and influential Zoom Records), minimal specialist press and, most crucially, a catastrophic lack of local radio provision.”
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