Friday, 20 April 2012


Tomorrow sees the Make Believe Tank Tour roll into Glasgow, where we've got something special lined up to celebrate for our last stop.  We're going to be playing a special session at Love Music Glasgow at 2.30pm as part of Record Store Day, along with the likes of Admiral Fallow, Woodenbox with a Fistful of Fivers and French Wives to name a few. Here's a link to all the info:

 Just for a change we've decided to amp things up as opposed to stripping things down by arranging a few of songs electronically.  Here's a wee taster of the version we've done of our single 7:38, hope you like it.

We'll also be playing Captain's Rest in the evening in classic White Heath style, so make sure you head down to see Alan McKim and Gerry Cinnamon. Doors are 7.30pm and it's a 5er in.

Let's electronic-rock!

Friday, 23 March 2012

In A Glasshouse

Good afternoon, comrades

It's a big day for us.  Last night, exactly fourteen months to the day after making it's first preliminary demo tape, we received the finished master of our single 'In A Glasshouse'.  It's an ambitious new direction that marks the beginning of an exciting project, and we're all immensely proud of how it's turned out.

Dive in - it's free to download and explore over at

Tonight is the launch party and the start of the mighty Make Believe Tank Tour, so it's gonna be a pretty special night.  We'll be showing Emily's artwork, and you'll be able to buy exclusive prints of some of the images.  Here's the Facebook link - starts about half seven.

I'm not going to go off on one this time with some unreadable annal regarding it's creation, but would still very much like to mention the folk that were involved in the process of making the website, if only because we can't actually pay the poor bastards and they deserve some sort of recompense for those long and awful hours spent in communication with people like ourselves.

Emily Hair helped us develop the idea and brought it to life in a much more vivid and original way than we had initially imagined.  Despite the massive workload we saddled her with, she insisted on doing them in what seems like a pretty labor intensive way by etching into lino before painting over the top.  She's got a really exceptional and individual style, and these works only scratch the surface of her overall project.  Make sure you take time to properly investigate her blog, where she's always posting the things she's working on.

Alex McGivern is one of mine and Sean's oldest friends; a couple of years above us in school, he introduced us to dark ale, tabletop RPG's and nihilism.  We've been wanting to work with him ever since playing 'Countdown to Extinction', a game in which….well, head over to his website and you'll see for yourself.  He's a part of a group called The Reality Council who are experimenting with gaming in new and exciting ways, an influence you can really feel in the 'World' of In a Glasshouse.

Finally, Matt Byrne and Chris Parker (the aforementioned crunkle who is the photographer behind the war photos) played Johnny Harris and Jimmy Shoes on 'Hard Radio', and helped to create a lot of it's content.  A pair of very talented jokers, you can check out some of their weird and wonderful skits over at Chris's vimeo.

The track itself, as I've already gushed, sounds fucking awesome.  We'd worked with the producer, Graeme Steel, back on Take No Thought For Tomorrow, which was a pretty intense experience and meant that we knew each other really well from the outset; it was as fun an experience as going into a studio can be, and we couldn't imagine the track sounding any more perfect or close to what we'd wanted.  

Right.  Arselicking done, I'm off to drink some Pale Cream to celebrate the wrap.  Will you see you tonight for some messy rock and roll.

Al x

Tuesday, 7 February 2012

GIG ALERT: Limbo at the Voodoo Rooms, Saturday 11th February

Our first Edinburgh show of the year is upon us.  Glasgow has been and gone on the wettest of burns nights in the largest of empty clubs.  Missed out?  Read the review here.  As to our hometown, we'll be playing the excellent Limbo night at the Voodoo Rooms this Saturday with some fine support and would be most pleased to have your company whilst we do so.  The Facebook page is over here and you can buy tickets through here

Still unsure?  Troubled with doubt?  Allow me to ruin the suprise with some videos of our last appearance.  There are small differences, like Sean having a beard, but really Saturday is going to be much of that proverbial muchness.

Well no, that's not quite true.  We've got another new song and have re-worked some old faveourites so you'll have plenty to keep yourself occupied should you choose to come party.

Newswise, we've been bustling away in the studio down at Jewel and Esk these past few weeks recording a brand new single which we're going to release in a combination of fashion item and trendy new technology....but more on this later.  Not sworn to secrecy or anything, it's just that we have yet to 1) come up with a song name and 2) come up with the cash.  


Saturday, 5 November 2011

GIG ALERT: Cabaret Voltaire, 26th of November

Two months since we descended into our secret underground lair, our plotting and scheming has finally returned it’s harvest: rock and roll in Edinburgh on the 26th.  Check out this totally awesome poster we have cooked up for it:

Business: here’s the link for the facebook event.  We’d be so very grateful if you’d paste it around your social media to make us look famous. 

Pleasure: though we’ve been quiet on the outside world, our subterraneous cavern has provided us a whole range of opportunities outside the usual activities of Bruce Springsteen and Peggle.

 1. We have a van.
 2. We have three new totally awesome songs.

And the newest one, never before heard, we will hopefully be premiering at this here gig.  To our dismay, it’s just passed the ten-minute mark and I am increasingly worried we are going to turn into some kind of ridiculous fannybaws prog act.  But alarm yourselves not, squares, I’m sure you will still have a high old time with the rock and roll. 

Right, so we'll see you on the 26th for a hoot and a half.

Till then!

Sunday, 28 August 2011

Dress Up with The Crunkle; War; New Songs

So we’ve been photographing ourselves.  It’s apparently a necessity, and the attempts in the past have been so disastrous we decided to take the matter into our own hands.  Kind photographers have made heroic efforts at trying to not make us look like a bunch of dorks….to no avail.  See exhibits a b and c

(Hmmm I can't work out how to embed exhibit b, but it's pretty hilarious - it's in the photo part of this review of limbo, go have yourself a wee chuckle at my dreadful hair and our bizarre expressions...)

I assure you we’re some hot ass in real life, we just aint that photogenic. To circumvent this problem – well - we did what all ugly and uncool people have done throughout history: dressed up as soldiers and fannyed around.  Check it out!

So much fun.  Haven't played dress up in a long long time and we all regressed to a playground mentality.  That's why we're in that there skip.  Sure, they kind of look like we play too much Warhammer, but we're all dead chuffed with how it turned out.  

They were taken by our good friend The Crunkle, a strange and lank figure who refuses to bend his spine.  Quite talented, though – if you follow him on the old twitter (@elwinkingman) you can find out what he’s up to.  He’s just directed a series of films about dresses based on horrific diseases, an event he’s celebrated by ordering a big pack of business cards.

And we got new songs for the album up, just up there – download them for free, play them at parties, have a wee cry etc etc.

Al xxx

Thursday, 30 June 2011

News, with Guitar Solos

Every band has to always be asking itself the question: are they as good as AC/DC?  The point isn't that you'll ever be AS good, but it's a great little technique to help you grow some balls.  Seems like we've grow a little lax with this vital thought experiment, and when some nutter got in touch with us on the internet with that very question we were fairly taken aback.

One thing they have which we don't?  Face-melting mother-fucking four-by-four piece-of-cedar ass-whooping metal-on-metal heavy-ass guitar solos.  Well not anymore folks.  Not anymore.  We've done a wee number that's got one which will drive you INSANE with the full force rocking.  I lie awake at night asking myself the question how we let ourselves get by without one for so long.  Perhaps this is the reason people have always been calling us a folk band. 

In other important news, we're playing the Scottish Parliament on friday around half four to celebrate it's opening, and then on saturday we'll be kicking wir jams at the Pyramid Stage of Kelburn Garden Party in the later part of the evening.

To celebrate these wonderful events why not have a listen to some tasty-fine noodling from the greats.  

1) The Boss and Morello

OF COURSE you work for him.  You just don't know it yet.

2) Prince

Watch him at the end send the guitar back up to heaven, it's work on earth now being done.

3) Metallica

A great example of a guitar playing a man, rather than the traditional method of it being the other way around.

3) David Gilmour

Basically, Waters - fuck off.

4) And finally...Slayer

The annihilation of the earth itself?  The sound of the triumph of the hordes of hell?  No!  A guitar solo!


Monday, 27 June 2011

Take Some Thought For The Artwork

With our debut album 'Take No Thought For Tomorrow' well and truly released, I thought it'd be cool to say a word or two about the artwork which accompanies it, which as it goes we're all incredibly proud of.  Firstly, it might be useful to look at what album artwork is (woah) as an ever evolving medium, the importance of which, I think, has steadily diminished since the move away from vinyl LPs.  I'm not one to harp on about how vinyl 'just sounds better' – it doesn't - but aesthetically I sympathise with those who yearn for those poster sized panels to accompany their laps.  For me, it's always been something to gaze at and puzzle over, while diving into the music - all part of the ritual of getting hold of your favourite band's new CD.  In this sense it was partly the scale of the LP cover which contributed to the success of the vinyl's iconic place within pop culture.  For decades, more than any other recorded medium, vinyl sleeves were the lenses through which popular music was perceived.  Album artwork was the non-musical medium by which musicians mass communicated with their fans and in the global marketplace.  Billboards almost, they were made to stand out while being riffled through and picking over by fans eager to learn about Bowie or The Beatles' latest aesthetic, musical and conceptual identity.  Even before you heard the music, you were left with an impression about the album you'd just bought, hulked under your arm on the bus home, be it the busy collage of Sergeant Pepper or the blank, unassuming 'White Album',  The LP sleeve offered artists a platform for their mission statement.  

With the rise of MTV and the music video, this entirely changed.  Michael Jackson now had 20 minutes of cinema time to play with, as advertising and artwork began to merge ever more deceptively in the mainstream eye, subsuming the album artwork as the visual medium.  The CD of the 90s diminished the role of artwork even further: no longer could you stick album artwork on your wall, you needed a magnifying glass to figure out what you were looking at.  And finally, with the development of the mp3, artwork is left as an optional part of a download, rendering it an essentially unnecessary part of the modern listening experience.  As a young mosher though, in the glory days of the late 90s/early 00s, I remember artwork playing a pivotal role in my relationship to the music I consumed.  Call it vain, but I was definitely more turned on by bands who seemed to pay attention to their public image to an extent.  Before Kerrang TV, a lot of the bands I listened to weren't on MTV, so again artwork became an important part of conveying an aesthetic message within the confines of the 'alternative and metal' section in HMV.  Because of this there seemed to be a new attempt to fill this void.  Tool built 3D glasses into their packaging for example.  Radiohead offered large special edition CDs within hardback books which expanded visually on the lyrical themes.  More than this, these bands went further, and presented something which I think, could stand alone as 'art' as well as packaging.  Of course the USB drive is still the future, but an awareness and attention to detail was displayed by these bands which helped emphasise an artistic vision and totality which I (perhaps shallowly) responded to.  I found this exciting, immersive and indicative of a certain commitment to making great music.   Looking back, it's no surprise that I and so many others were obsessed with Slipknot but weren't too bothered about Stone Sour – one of them is awesome and one of them sucks, on many many levels.  

That ridiculous preamble leads me on to talk about our new album, and the artwork which goes with it, and why we wanted to identify with a certain type of album artwork, as opposed to another.  

We started with a few conceptual ideas based on lyrical interpretations and themes within the album, in line how we see the role of album artwork.  We wanted something bold and beautiful and most importantly something which might be considered 'art' in itself.  We decided to aim high and got in touch with Graham Bowers.  Graham Bowers is an artist, composer, sculptor, engineer, designer and many other things besides.  I've known him since a young age because of his collaborations with my Dad.  About the time Al and I started playing music together my family took a trip to visit Graham at his home/studio in Anglesey, North Wales.  It was a holiday which left a definite impression on me.  As well as telling me the scariest ghost story I've ever heard, Graham gave me my first recording experience, taping me jamming on an old fender on the spur of the moment.  It didn't seem to matter that I was far from an accomplished guitarist, it was a thrilling experience, at least for my 12 year self.  A few years later my Dad must have played him some of the tracks Al and I had been working on, and he got in touch to say how much he liked them.  A few years hence we decided to release an album of this material, which we developed under the name Blank Comrade, as it was so far removed from White Heaths' sound of 2010.  With Graham's extensive help we got this album together and out. Check it:

When we got in touch with Graham initially about the project he was understandably weary about what he might be letting himself in for, but quickly threw his hat in when we presented a few of our conceptual ideas.  Based on some of the lyrical themes we decided that a cool visual metaphor would be an interpretion of the Hellenistic statue 'Laecoon and His Sons', which is based on a story from the Aeneid.  

In the tale a suspicious Laecoon warns of the Trojan Horse which is indeed sent to ambush the Spartans.  A malicious God spies Laecoon's insightfulness and orders a sea serpent to ensnare Laecoon and his sons and drag them into the sea.  In the Hellenistic statue we were struck by the expression of Laecoon's face, he is utterly terrified, yet he is resigned to his death as he knows resistance is useless.  Dancing in his eyes is the spirit of the ultimate will to live, to 'take no thought for tomorrow' in the face of the unassailable end.   The sea, and unstoppable natural and emotional forces are also reoccurring lyrical metaphors on the album and so Laocoon became our mascot.  We asked Graham if he could come up with a modern take on this theme, possibly incorporating the existing image of Laocoon  He promptly responded with a set of images, many of which went into making the final cut.  All of us were instantly struck by the image which is now the front cover, which remains unchanged from Graham's original version which he presented to us. 

  There's something effecting in the contrasts at play in the image - old and new, free and heavy, fluid and solid – on a purely aesthetic level we thought it was a stunning piece.  The cover also seemed to achieved our aims in terms of being 'art' on its own terms, while expressing something about the music, and our vision.  One of the great things about working with Electric Honey is that they were happy to sign over creativity and design entirely to us, some of which conflict with commercial conventions.  One such way in which they came good, was to allow us to leave out the name of the band or the album title on the front cover of the packaging as we felt this would compromise and distract from Graham's brilliant work.  This became the central image which we worked around when designing the rest of the layout and when thinking about the name the album would go under.  The title 'Take No Thought For Tomorrow' comes from a line in The Bible, and as such, a dominant ideology of Western society in the last half of the previous millennia.  We don't intend necessarily to endorse this statement (something which has confused several people already) rather its meant as a window into zeitgeisty ideas about what drives peoples lives and actions, which forces are controllable and which aren't.  The statement combines Dionysian abandon, irresponsibility, servitude, freedom, alienation and oblivion, all concepts which are at play in the lyrical and musical themes of the album.  These dichotomies are bluntly explored in the central pages of the album booklet, where quotes from the bible are intertwined with Homeric ones, pitting two monoliths of Western ethical, 'spiritual' literature together, centred around the most modern piece Graham contributed to the artwork.

They touch on how we have defined ourselves in the past, as well as the future, faced as we are with impending natural disaster and potential extinction.  It's ambitious, but we think it works.  And it looks beautiful.  Thanks to Graham for putting up with our pretentious, precocious selves, and for all the fine work you contributed, we're immensely proud to have worked on this with you.  Graham's fantastic new musical project titled 'Unresolved Issues' is available to download NOW as is 'Take No Thought For Tomorrow' by White Heath and 'If There Is Hope...' by Blank Comrade. Also check out his website for some of his other artwork, music and videos.