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It's 1989 in Glasgow, and three musicians walked out of a previous band and into a Portastudio with almost nothing except the certainty that they needed to make something real. No money, no label, no business plan. Just Norman Blake, Raymond McGinley, and Francis Macdonald with a four-track cassette recorder and the kind of desperation that either produces masterpieces or expensive silence. They were coming out of the Boy Hairdressers, which had been more theoretical than actual. Blake and McGinley had been writing songs, making rough demos, sitting in Raymond's flat with equipment that cost less than a decent amp, and they understood that the only way to force themselves into becoming a real band was to have something undeniable to show for their work.