Archive for March, 2017

If New York kids aren’t cool then who is ?

Edinburgh Evening News Thursday 12th January 2017

A while ago I told a story on my blog about a father and son from New York buying T-shirts. It was prompted by the imminent closure of Other Music in NYC possibly the best and coolest record shop in the world. I was then reminded of it again very recently when The Cake Shop in the Lower East Side closed on New Year’s Eve. The Cake Shop was a cafe, bar and venue run by the Bodor brothers and had always been very supportive of Scottish bands, helped no doubt by the fact Nick Bodor’s wife is from Inverness. There was no cooler venue for small bands to play in NYC.

My concern at the time of the father and son visit was that if New York kids weren’t cool then youth culture was doomed. The father had come in with his son and spent a while browsing and buying a good mix of “cool” indie stuff. When he had finished he said to his son that he would buy him a few T-shirts and what did he want. At the time we had a good selection all hanging up along the back wall. Lots of local and Scottish band shirts and unusually some metal and punk shirts I’d bought as a job lot.

First pick was a Green Day shirt and immediately his dad winced. “Son” he said. “We are in Scotland. There are lots of cool shirts here you won’t find anywhere in New York, why not buy them?” It was the turn of his son, who must have been 14 or 15, to wince. An awkward silence ensued so his dad tried to compromise. He said his son should pick an Avalanche T-shirt, a local Scottish band shirt and another more mainstream shirt. After some discussion they settled on a local band Penguins Kill Polar Bears shirt imaginatively featuring a cartoon of a penguin stabbing a polar bear ! “No other kid in New York will have this,” he told his son. His son then decided to stay with the Scottish theme and picked a Biffy Clyro shirt to add to a classic black Avalanche shirt.

Don’t get me wrong – being lazily cool has always been a thing. That was what coffee table books were for and later on why people had so many DVDs that were never opened.

However, we have now reached a point where the kids who can be bothered to worry about being cool – and they themselves are a dying breed – simply do so without ever leaving home.

Why go to a gig when you can simply mark you are going on Facebook? Why buy cool stuff when you can just retweet and like it instead ? I do wonder as us 50-somethings regularly wallow in the nostalgia of the good old days on social media if youngsters today when they reach that age will long for the days they liked a gig on their iPhone and then binge watched Game of Thrones instead.

The repercussions are of course many but in particular as Edinburgh struggles to keep its venues open, and as I’ve said before “the kids” don’t want to go to “cool” gigs in the back of pubs, do we just give up on them or do we try to come up with something that will get them away from their screens ?


We could have our Cake and eat it if we tried

I Was sad to see The Cake Shop close its doors and sent them a message of support on their last day looking forward to their next venture.

As I mentioned, Nick’s wife is from Inverness and we’d met when they were over in Scotland for a family wedding. We’d spoken about possibly doing something in Edinburgh together but the NYC Cake Shop had always kept him too busy.

There was a fantastic synergy in having such a well known and respected New York bar and venue in Edinburgh and I did enquire whether there was any chance of them being lured to the Grassmarket but Edinburgh doesn’t really seem to have incentives in place like other cities to encourage this sort of opportunity.

Nick replied the next day “Thanks @avalanche_edin would do @CakeshopEdinburgh in a heartbeat if an investor wanted to back us”. I’m just throwing it out there. At a time Edinburgh is in desperate need of venues an incredibly well connected NYC institution would open “in a heartbeat” with the right support. I’ll leave that with you! Kevin Buckle is the owner of Avalanche Records and can be contacted at

Now HMV has gone will Avalanche return ?

Edinburgh Evening News Thursday 5th January 2017

Surprisingly I have been asked this a lot. While I was happy to help out at the Offbeat Gallery before Christmas especially as it meant folk could come in to discuss the History of Scottish Music Centre the centre really now has to be my focus. More importantly HMV was really only a small part of the problem. The HMV-owned FOPP is still able to carry stock without any need for payment until sold and while there was a time Avalanche was the only indie selling “indie” vinyl now everybody is at it so as I’ve said before that particular cake may have got bigger but now everybody wants a piece!

Selling local bands’ music really was our thing and that dropped off dramatically not long after we invested in moving to the Grassmarket, which was unfortunate. Given the opportunity we could still sell hundreds of a big local artist, as happened with the second Withered Hand album but too often you could buy a release earlier, cheaper and with extra stuff directly from the label or band. If selling local bands is simply a bonus then of course you don’t care and take any extra sales you can get. Similarly if it is more of a hobby and not your main source of income then it isn’t so important. For Avalanche, though, it was different.

The PledgeMusic model has now taken things one step further and while leaving shops with little or no sales it has also often deprived the artists of an outlet long after the pledge campaign has finished.

There really is no point getting into an argument about it now as it has all gone too far down the line to be reversed. Similarly to promote anything an artist does on social media is normally to direct people to a link saying “don’t buy from a shop buy this better thing from us”. Of course the problem for bands starting is that they need the shops to help reach people but there is no reason for the shop to do so now. All in all, I hope folk can see why I see no future for Avalanche as a straightforward shop.

In the long run things will change. Sales are ridiculously low as streaming now means people feel no need to buy new and local bands’ music at all. One Scottish artist whose album was released last month had great press coverage and is on an established label with distribution but has registered four sales. One LP, one CD and two downloads. Now the particular label doesn’t register its own sales so they will have sold some directly but that is an album featured in some end-of-year best-of charts that is available to all the HMVs, Amazon and the indie shops and sold four. Two oddly not in Scotland!

Believe me this is not that unusual an occurrence. One Scottish Album of the Year Awards nominee that was download-only and had had a few sales in the past sold NONE the week it was featured. The irony of setting up the History of Scottish Music Centre while saying we shouldn’t wallow in nostalgia is not lost on me but that is exactly what is needed. We need to celebrate the past but look to the future.

Kevin Buckle is the owner of Avalanche Records


The name’s a mouthful but we must get the ball rock ‘n’ rolling on music centre

The History of Scottish Contemporary Pop and Rock Music Centre. Don’t worry I’ll have a better name by the time it opens. Currently it has been shortened to the History of Scottish Music Centre but of course that opens a can of worms as to what genres will be included.

The idea to have something celebrating over 50 years of Scottish music and culture first arose over two years ago. When the idea was also mooted at the first Live Music Matters meeting it was clear it was an idea that had support. However it then also became clear where popular music stood in the pecking order of the arts.

Very quickly it was obvious that music was considered less worthy certainly of funding and possibly even as one of the arts. In particular the visual arts needed millions of pounds so galleries could be free and work could be properly displayed while popular music, what with it being popular, should pay its own way. Less popular music genres needed funding, if not on the scale of the visual arts, it turned out because, well, they weren’t popular !

Now of course we have reached the point that Edinburgh is losing venues at an alarming rate while art galleries are almost immune and when one is threatened with closure all hell lets loose.

I am sure the History of Scottish Music Centre will find a home and hope to have news very soon. A huge amount of work has been done already without any funding and the centre already has a good following on twitter and facebook 

So a Scottish Contemporary Pop Rock Music Centre (only with a far better name obviously) celebrating Scottish artists and labels both old and new as well as providing background on venues and clubs that have come and gone over the years. A place you will be able to buy the latest releases as well as older titles. Scottish music has had a worldwide influence that should be celebrated and this would seem the perfect way to do it.There might even be enough space to feature a few old record shops!

You can donate at You can find us on Twitter @HistoryofSMC and on Facebook at Alternatively, email


Don’t believe the vinyl hype

It is a pity vinyl has got caught up in such hype. CDs sold almost as many copies in the week before Christmas as vinyl sold all year but that of course is not as good a story. In fact it is because CDs make such good presents that the format will last for many years to come.

The vinyl revival will undoubtedly come to a halt in the next year or two and it just has to be hoped that there is enough support after that happens for vinyl to remain a viable format for the foreseeable future.

Filling in a form is not very rock ‘n’ roll

Edinburgh Evening News Thursday 29th December 2016

Never has it been easier to get the information you need online whether that be wanting to start up a business or make music and yet never has there been more hands-on help available either thanks to lottery money. In a world with infinite funding that would be fine but as we all know new extra funding is now closer to infinitesimal than infinite these days and maybe it is time for some of the current funding to be redirected.

I suggested a drop-in centre several years ago to Creative Scotland and they agreed that it would great for bands to have somewhere they could go to for advice but they didn’t have the extra funds needed. Not that long ago I suggested the same thing so somebody was on hand to help with all the form filling. Again I got the same response about lack of funds.

As with my comment last week about professionals trying to fit job-related tweets into a Monday to Friday 9-5 schedule, the same is true with the help for the arts. I understand the need for forms and checks as a lot of the funds come from the lottery and grants need to be justified but the whole system is now so regimented that it is not geared towards the creative but more to the well organised and persistent. Worthy traits these may be but not always top of the list for rock ‘n’ roll bands. Think of a few of your favourite bands and then imagine them being asked to fill out forms, attend meetings and network !

Others though, be they simply younger folk or “creatives”, can find it all a bit off-putting. Especially with young people I think to be honest it is good to give them all the information they need and then let them get on with it, with the proviso they can return for advice as and when they need it.

Creative Scotland and all these business help organisations insist all this current “help” is necessary but struggle once you remind them that it wasn’t that long ago businesses and bands started up with little to no help at all. There is an overwhelming feeling that the needs of those being helped are not the first concern.

At least with businesses there is focus on actually reaching the public with your product or service. Nowadays making music is easy and the difficulty is getting anybody to listen. However all the focus and money is spent on the relatively easy part of making music and putting on a few gigs for those that have taken part.

In the early days of the internet young folk were told by older folk who knew no better that making physical product and getting it into shops was not the be all and end all that it used to be because now you could now put your music on the internet and the whole world could hear it. “Could” was the key word, of course. In reality the whole world would ignore it, when at least in a shop it would be on the shelf and yes it could be ignored too but at least it had a chance.

Nowadays I would say shops are not really the answer either but can still play a part in a wider scheme to reach people with music that is still tangible. As for drop-in centres for advice I suspect they will not happen until current funding is redirected.


We must get the nostalgia balance right

Nostalgia is rife on social media and never more so than at Christmas. I’m as guilty as most and of course there is nothing wrong at all with looking back to happy and some would say simpler times. Also to a large extent, unless you buy the T-shirt, it is free. You can spend all day watching old Top of the Pops, classic TV and reminiscing about old football matches and not spend a penny.

However I do try to get a balance and we must still look forward too. Most of all I think this applies to music as it seems to have suffered more than most from the nostalgia boom. I say music but really what I mean is new artists. Nostalgia has kicked in, nowhere more than in the vinyl revival, but it also extends to the music being bought. This year more old music was bought than new music, and this applies even more to vinyl than any other format.

Sadly, young people cannot be relied on to support new young bands in the numbers that are needed – and by support I mean spend hard cash. On the other hand young bands are often not giving people something worth buying. My hope for 2017 is that new artists produce something worth people spending their money on and then young and not so young alike support them.

Music remains the poor man of the arts

Edinburgh Evening News Thursday 15th December 2016

I found it extremely odd that news of the Electric Circus closing, albeit not for a while yet, was simply mentioned as part of the much more important story that the Fruitmarket Gallery was to expand. I had been sure I must have missed this momentous news and quickly Googled to find out more, only to see that the story I had read was the first mention of it.

Given all that has been said about the lack of venues in Edinburgh I was expecting uproar from the arts community and while this was indeed the case from “the man in the street” the arts intelligentsia took a more sanguine approach that what was bad news for music was at least good news for the gallery and exhibitions could be given the space they needed.

Now I have at this point to declare an interest here. I have been working on a History of Scottish Music Centre now for over two years and Edinburgh Council have a policy of supporting music, making sure it is not priced out of the city centre, much as I’m told is the case in places like New York and Sydney. Unfortunately, whereas the aforementioned cities hand over entire buildings Edinburgh Council thought they might be able to spare “some space” in an existing building.

After mentioning this on my blog both staff and artists involved in the City Art Centre got in touch to say that the space on the ground floor of the centre was underused to put it mildly and would be a fantastic location for my idea especially as it would be a great attraction – something the current mostly empty space was not. I did get a meeting and the idea was discussed but considered “logistically difficult”.
Another space again mentioned by artists was the Fruitmarket Gallery. The city council own the building but don’t run the gallery so it wasn’t a simple choice. The suggestion came from the fact that the gallery often dedicates large spaces, any one space enough to house all my ideas, to a couple of large paintings or a video installation. What, it was argued, served a better purpose. A large space dedicated to the exhibition and promotion of Scottish music or a couple of paintings that were of limited interest? I was glad these were the thoughts of, in some cases, quite established artists so I wouldn’t look a complete philistine should I have to repeat them.
So as you can imagine when I read a music venue was to be closed down to make more large spaces for some “proper art” it certainly put a definite perspective on things. Now I know the venue have offered and nobody is being “forced” to close but instead of seeing what could be done to keep live music in the building it was clearly a done deal that those who knew better would support the Fruitmarket Gallery’s extension.

Then I saw the money involved. An £11 million revamp. The Heritage Lottery Fund to invite an application for £2m to £5m. I can’t even imagine what could be done if this sort of money was dedicated to music in Edinburgh. Yes there has been news of some fancy venue being built to rival The Usher Hall on St Andrew Square and I’m told the owners of The Odeon have not ruled out gigs in the future once it is refurbished but neither is an answer to the need for small venues like The Electric Circus.

Most of my best gigs were in the back rooms of pubs, dives or at best completely inappropriate venues but these days I’m told something more “pleasant” is needed to entice young folk from their smart phones and binge-watching of TV series.

A purpose built venue that can cater for under-18s is needed. I’ll do it for £1m and throw in the History of Scottish Music Centre too. Surely a bargain!


It’s songs that matter, in the vinyl analysis

Much was made recently of the fact that the weekly value of vinyl sales had exceeded those of downloads. There was then a second wave of articles pointing out that this was more to do with the demise of downloads than the rise of vinyl. There had indeed been a perfect storm in favour of vinyl that week as folk started to buy presents (you can’t wrap a download) and the bestselling vinyl album was the Kate Bush (pictured) live album retailing at over £50. Downloads in fact outsold vinyl by considerably more than two to one but of course cost a lot less.

CDs are declining too but at nowhere near the rate predicted and with good reason. The average person only buys two or three albums a year and there is a good chance it will be by a major artist like Adele or Ed Sheeran. Again it is often for a present but even if not it will almost certainly be on CD. For smaller artists, though, CD sales have indeed plummeted and vinyl has in no way replaced the lost revenue. Selling directly to fans has made up for this to some extent but that itself has its drawbacks in terms of then reaching a wider audience as without distribution to shops and online sellers artists and labels become more and more niche.

As vinyl sales inevitably start to slow, CD sales fall even if only gradually and downloads start to compete with cassettes for superiority only streaming will thrive and that is not good for any artist hoping to make a living from music.

When I’m asked if I sell vinyl I always say I sell music, some of which comes on vinyl. Lovely as vinyl is it can never be more important than the music and yet that is close to becoming the case – and it is new artists and smaller labels that will suffer most.


Home for the Holidays at Summerhall

Summerhall hosts a Christmas songbook launch party for Shelter Scotland this Friday and Saturday with a who’s who of great local bands playing including Ballboy, Withered Hand, Meursault, Broken Records, eagleowl, Kid Canaveral, Pictish Trail (pictured), The Spook School and more.

“The album will be released as a limited edition songbook, featuring lyrics, chords and illustrations for each track – with the original recordings presented as an exclusive download.”

All the details you will need are on the website.

BBC’s chosen acts fail to strike a chord here

 Edinburgh Evening News Thursday 8th December 2016

There was consternation if little surprise when the BBC Sound of 2017 artists were announced last week and no Scottish artists were listed. Two were from the US, there was a token Manchester band and all the rest were from London and the Home Counties. The list showed not just a geographical bias but also a genre bias as urban acts made up over half the list and indie bands almost nowhere to be seen.

Immediately there were questions raised by those in the Scottish music industry who oddly in my view then put forward their own urban acts for inclusion.

Now what Scotland does best, what Scotland is best known for and what others love about Scottish music is the indie bands it has produced over the years. Belle and Sebastian, Biffy Clyro, Frightened Rabbit, Mogwai, Franz Ferdinand, The Twilight Sad, King Creosote and Teenage Fanclub is just the start of a very long list and before them The Shop Assistants, The Pastels, The Jesus and Mary Chain, Primal Scream, The Cocteau Twins, Orange Juice, Josef K, The Skids and The Scars head an even longer list. Of course before “indie” existed there were bands from The Sensational Alex Harvey Band to the Bay City Rollers.

 Unfortunately many in the Scottish music industry including those who were part of this rich heritage now want to convince the world that Scotland is a bit leftfield, a bit quirky and very multinational. Nowhere is this more evident than in the Scottish Album of the Year Awards but the problem is endemic.
 All these genres have a place in the Scottish music scene of course but whether it is the powerful folk lobby or simply the few managers in Scotland relentlessly putting forward their artists for every opportunity, generally the contemporary rock and pop artists, as Edinburgh City Council and Creative Scotland call them, are left trailing far behind.

Part of the problem is that so much money is poured into youth initiatives and the easiest way to “prove” these are working is to give the artists involved as many chances as possible. Some young bunch of lads with no desire to network and go to workshops stand little chance of success when in the old days they would be the core demographic for a great band.

 While bands like The Twilight Sad go from strength to strength currently coming to the end of a world tour with The Cure it is hard to see how new bands can follow in their wake.

The really hard thing these days is to reach people with your music and engage with them enough to make them want to buy. You can go to a seminar or a workshop or be given advice by someone who hasn’t actually been at the music industry coalface for years but unless you are unaware of the absolute basics there is little point.

What would certainly help would be if the Scottish music industry powers that be accepted the marvellous tradition Scotland has for guitar bands and great songwriters and gave more chances to genuinely new young bands.

It isn’t that bands don’t feature at all in the scheme of things but if they do they are more often than not either made up from the ashes of another more established band who already have the contacts or have gone through the youth initiative system.

There are also more established artists, some that have been helped before, ready to go to the next level and would fulfil the expectations of the wider audience for Scottish acts. Withered Hand and Meursault head that list, while of course Avalanche favourites There Will Be Fireworks have sold thousands of albums worldwide despite lack of distribution or management simply by being so good people feel the need to tell their friends who tell their friends. Sometimes the old ways are still the best! The London music industry works very hard to make sure those in the provinces get as few chances as possible and if the same then happens in the microcosm that is Scotland then it is understandable that some small unconnected indie band feels the situation is hopeless. Maybe it is time to give them hope!


Bands that get to the art of the matter

I had a rare night out on Saturday at the Filthy Tongues gig at The Liquid Room with the artist Gerry Gapinski whose artwork adorns their new album and it reminded me that I like my bands to look like a band and albums to have proper artwork.

It was something I always said about Saint Jude’s Infirmary who as part of my rare nights out double-header I had seen the week before. You could go into a pub full of people and just know they were the band without them trying too hard. Their last album cover was a self-portrait by Jack Vettriano ,who is a fan along with Ian Rankin. Martin Metcalfe is maybe even a little easier to spot these days but young bands should take note that it does no harm to make an effort !

Can’t beat a good gatefold sleeve

Edinburgh Evening News Thursday 1st December 2016

There is no doubting that vinyl does sound better than other formats, but for me the biggest gap lies in the artwork, or in the case of downloads and streaming, the lack of artwork.

A well-designed sleeve will give a good idea of what the artist is about before you’ve even heard the music and of course it can be a gatefold, have a booklet and much more. It is therefore disappointing that most of the focus these days seems to be on the colour of the vinyl.

It won’t be long now before the wheels start to come off the vinyl bandwagon and the opportunity to have done much more during the vinyl revival will have been lost.

Bad news, good news and more good news in the future !

After more than two years off and on of speaking to The City Art Centre it has been decided it would not be “appropriate” to host the History of Scottish Music Centre there even as a pop-up. It is sad they they would rather see the place empty, as it was when I popped in just yesterday, rather than utilise the space in-between exhibitions never mind the spaces that seem to be permanently unused.

city-art-centre-exteriorAfter the CAC I went up to the National Museum of Scotland and even though you might expect it to be busy on a Saturday it really was heaving with a wide range of folk from tourist groups to local families. I then quickly visited the Tron market to see how the stall holders there were getting on and again it was full to bursting though it is still difficult these days to get folk to part with their money. Gradually making my way down to the Fruitmarket Gallery for the Mark Wallinger preview which was starting at 6.30pm and perfectly timed and placed for my train an hour later I arrived slightly early bur the place was already buzzing after the earlier talk and the contrast could not have been greater with my earlier visit to the CAC.

Walking into the City Art Centre I’d immediately been stopped in my path by two large information posters and if I had fought my way passed them I would have found the escalators cordoned off as there are no exhibitions currently except in the basement. The cafe was busy but that operates completely separately and the gift shop was deserted. Unfortunately this will be the CAC’s fate until the Science Festival in April.

avalanche-logo-use NMELuckily others see great value in the History of Scottish Music Centre and so we get to the good news. I do hope to announce our first pop-up very soon indeed and I’m also looking at a more permanent location. I had originally planned to have something in place by March to at least show what could be done but people were so enthused with the City Art Centre idea I really had to give that my full attention until we had resolution one way or another. 

I did actually hear some other very good news after Christmas for Scottish music and the HoSMC but clearly there is just too much good news already so I’m afraid the powers that be say I’m not allowed to tell you ! So there we are. Some very disappointing news, some very good news and some excellent news to look forward to.