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The multi-media project Kraftwerk was started in Düsseldorf, Germany 1970 by Ralf Hütter and Florian Schneider. They set up their electronic Kling Klang Studio where they conceived and produced all Kraftwerk albums.

Kraftwerk created the soundtrack for the digital age of the 21st century. AUTOBAHN 1974, RADIO-ACTIVITY 1975, TRANS EUROPE EXPRESS 1977, THE MAN-MACHINE 1978, COMPUTER WORLD 1981, TECHNO POP 1986, THE MIX 1991, TOUR DE FRANCE 2003. Their compositions, using innovative techniques, electronic sounds and synthetic voices combined with computerised rhythms, had a major musical influence on Electro, Hip Hop, Techno and Synth-Pop. 

In 2016 Patrick Doyle relocated from London to LA, midway through writing his new album – the follow up to his recent acclaimed release as Boys Forever. The self-titled Boys Forever album was Patrick’s debut as a solo artist after years of playing in well-loved indie bands including Veronica Falls, The Royal We and Sexy Kids.

On moving to LA he continued working on the songs for his next record – emailing them to Helen Skinner (who toured as a member of the Boys Forever three-piece live band, and now plays in Barry) who added a bass line to the songs and sent them back to Patrick. They continued to finish writing the record via email and in February 2017 Helen joined Patrick in LA to record Keeping Up Appearances. They recorded the album over four days in February 2017 at LA’s Golden Beat Studios – with Patrick once again teaming up with Andrew Schubert who produced Boys Forever.

Melody (vocals, synth), Casey (vocals, synth), Bill (bass), Scott (guitar) and Marcus (drums) united through a shared post-punk sensibility and began experimenting with some angular drum and guitar give-and-take, layered with duelling synth refrains.

Over this Melody and Casey worked-up their vocal harmonies through impulse, developing an interplay reminiscent of The Go Go's at both their most serene and severe. The pairs vocals drift through each track, punctuating the profound and guiding us through each song's uncanny terrain.After a busy year of local shows and bouts of instinct-first songwriting, Red Channel chose a number of their most resonant songs to record with Andrew Schubert at Golden Beat. These were subsequently mixed by Eric Carlson and then mastered by John Hannon for this debut 7' EP on Upset The Rhythm entitled 'Crazy Diamonds'.

The title track launches the listener through a stratosphere of cascading notes, swoonsome lyrical turns and tack-sharp pivots in rhythmic practice. 'Crazy Diamonds' is an exhilarating rush of a song, both wistful and defiant. Melody explains that it is 'about the forever fluctuating reality that weaves in and out of ecstasy, loneliness, yearning and destruction. It's about women being free from a superficial beauty, it's about the cessation of ideals and power worship.'  'Giver' is a similarly sprightly yet pointedly questioning track, 'alone in your room, alone with your thoughts, of sleepless shadows, but what do I get' sing Casey and Melody in spooked unison.

'Demons' swirls with minimalist pop moves, a trailing backing vocal and a tumbling bass motif, whilst a dream-like quality pervades the guitar and keyboard lines. Melody then peppers the song with references to extinguished lights, evil forces, bags of sugar, floods and heaven on earth, drawing us so close that we enter the vision too. 'Slowness', which brings this debut EP is a close, is another triumph of illusory lyrical association and punchy gesture. In fact the band sound 'caught in a fragment, non-corporeal' throughout all the four tracks. Opalescent passages freewheel into splintered eruptions, there's a duality constantly in play, 'somebody dies, somebody's born'.

The songs collected here are manifestly catchy, conjured in cyclical patterns that are distorted by a desire that tends towards stream of consciousness. It's this willingness to wake-up in the unreal and see each moment reflected in the mirror which really sets apart Red Channel's first record.

High Plains is the duo of Scott Morgan and Mark Bridges.

Morgan, based in the Canadian Pacific Northwest, is predominantly known for his drifting, textured soundscapes released under the pseudonym LOSCIL.

Bridges is an accomplished, classically-trained cellist residing in Madison, Wisconsin.

The two met in Banff, Alberta while they were simultaneously there on residencies at the Banff Centre for the Arts in 2014. They first collaborated when Bridges contributed cello parts to Morgan's generative music app ADRIFT, recorded in Seattle in 2015.

In early 2016, the duo embarked on a collaborative set of compositions in the oxygen thin air of Wyoming, spending two weeks holed up in a refurbished school house in the town of Saratoga, where this album was recorded.

Inspired by Schubert's Die Winterreiseand the rolling landscapes of
their surroundings, the collaboration culminated in a collection of recordings that evoke a shadowy, introspective and dizzying winter journey.

Cinderland takes cues from classical, electronic and cinematic
musical traditions but is mostly a product of the rugged, mythic landscape; vast and sprawling with a wild, uncertain edge.

The recording was made with a portable studio and all sounds were sourced on site, most notably from Bridges' cello, the resident Steinway D piano, and field recordings collected from the local soundscape.

The results are a site specific, wide scope view of thehigh valley terrain the duo worked in, a mix of analog and digital, neoclassical and modern electronic sounds, a complemental series of tracks to become absorbed in, a truly deep listening experience.

The cover art forCinderland was created by London-based artist, Peter Liversidge.