Craigie Knowes is a record label based in Perth, Scotland. It was founded in 2015 by Mitch Hunter and Max Spittal, who met while studying at the University of St Andrews. The label's name is a reference to the neighborhood where they both grew up.
Craigie Knowes releases a wide range of electronic music, from house and techno to ambient and experimental. The label has a reputation for releasing high-quality music from up-and-coming artists, and its releases have been praised by critics and DJs alike.
Some of the artists who have released music on Craigie Knowes include Chaos In The CBD, Bicep, Carl Finlow, and Cygnus. The label has also released a number of compilation albums, including "Craigie Knowes Presents: The Future Sound Of Scotland" and "Craigie Knowes Presents: The Scottish Techno Sound."
In addition to releasing music, Craigie Knowes also organizes events in Perth and Edinburgh. The label's parties are known for their eclectic lineups and friendly atmosphere.
Review: Jamie Leather and Christopher Ledger make an impactful Craigie Knowes debut with four mind-bending club jams. Their joint venture as CLJL takes the lead on "Non Terrestrial (Spaced Mix)", delivering a serious concoction of house, breaks, and electronics that pays homage to the golden age of techno and electro, while veering toward touches of trance in "Shadow Speak". Jamie Leather onwards goes solo with both "Thats Enough Now" and "Like This, Like That" adding some warm euphoria to the EP in former next to some classic piano acid and New York vibes in the latter. Break it down.
Review: Melbourne-based producer Fader Cap returns to Craigie Knowes with some deep, melodic and bassline house-electro crossovers. Dope stuff. Featuring four tracks that seamlessly blend club-centric vibes with expansive melodies, Echo Chamber delves deep into a diverse mix of beats tailored for every moment throughout the night. Its lead cut delivers a sweet and aqueous bassline with snares flailing left-right-and-centre, with "Kanizsa" ebbing a few fathoms deeper and bringing with it a subtle touch of '90s trance through its subdued vocal. "Thinker" pumps it up a somewhat with some solid warehouse grooves and flecks of acid-synth and bleep, with "Sad On The 16TH" going minimal in a way that you can see Ricardo Villalobos agreeing with. Doffed.
Review: Diving into the depths of the "Southern Seas EP" reveals an immersive exploration of DJ Life's musical finesse--an intricate fusion of advanced production techniques tailor-made for those eager to plunge the dancefloor beneath tempestuous waves. It goes beyond conventional club music; rather, it unfolds as a cerebral expedition. The EP's inaugural track, "Whomnp," embarks as an intricately paced progressive techno marvel, intricately interweaving screw synths and sci-fi motifs. The auditory journey kicks off with a mesmerizing mind-melter, beckoning listeners to traverse uncharted waters of sonic exploration. Subsequently, "Frayed" introduces a vibrant spectrum of psychedelic hues, contorting over filtered vocal fragments and supple drums--an enthralling tapestry of sound that meanders through the listener's consciousness. Drawing the sonic voyage to a close, "Transmission" unfolds with stomping drum funk illuminated by celestial melodies, providing a climactic resolution to the musical expedition. DJ Life's knack for blending intricate rhythms with cosmic elements shines through, leaving an enduring impact on the audience.
Review: Brian Kage, a prominent figure in Detroit's electronic music scene, has graced us with his latest offering, the "Analog Heart, Magnetic Soul" EP, released under the discerning Craigie Knowes label. The EP commences with the fittingly titled "Smooth Orbit Over The Detroit River." It's a mesmerizing journey through space and time, exuding the quintessential Motor City charm. This opening track sets the tone for what's to come, as it unfolds as a widescreen, cosmic groove cruise that seamlessly blends classic Detroit influences with a futuristic edge. "Planet Lumina" takes us even deeper into the celestial expanse, boasting ethereal synths and talk box vocals that intermingle with cyborg-friendly electro-funk elements. "The Keyz" continues the intergalactic odyssey with its energetic electro vibes and intricate soundscapes. The EP concludes with "Rouge Like," a track that sends us off with a bang. It features bold, bouncy drum patterns and a dreamy fusion of smeared, dubbed-out chords. The result is a mesmerizing dancefloor experience that encapsulates the essence of machine-made soul perfection.
Review: The Craigie Knowes crew has always been good at snapping up material from rising stars, so it's little surprise to see Italian duo Data Memory Access - whose recent, Mood Waves-released album 'Yearning For Cobalt' was undeniably special - pitch up on the popular Scottish imprint. Predictably, they're in fine form from the off, blending UK garage beats, trippy acid lines, early Warp style bleeps and booming bass on 'Woodwind', before leaping atop a pedestal and dancing like crazy on the chunky rave revivalism of 'Euphoria'. On 'Anthem', they doff a cap to the early days of Orbital (with a dash of dreamy deep house thrown in), while title track 'Hi-Tee' is an arpeggio-driven slab of dark, peak-time-ready dancefloor sleaze.
Review: Experience a close encounter of yet another kind as Jeku joins Craigie Knowes for a mindtrip with his label debut. The 'Surreality' EP features straight up club tracks for DJs looking to lift dancefloors, plus heady tackle to lead the crowd into the outer realms. From the acid-tinged sunrise breaks of "Astral Dream", to the higher state of consciousness you'll reach on the dancefloor bomb "Again", plus classic house motifs galore on the euphoric "Babylon" -
it's an outing of the spirit that rides the arc of the night.
Review: It's hard not to love any release that starts with a speak-and-spell computer voice. When it's fused with robotic tones and hip-hop scratches, it's even more desirable. All those elements are combined on "Earth", the opening track on Reflex Blue's debut Craigie Knowes release. He follows it in quick succession with "Cave Map", a bass-heavy stepper that resounds to insistent tones and, in the background, an insistent siren. "Low End Freqz" sees Reflex Blue focus on stripped-back electro funk, peppered with irresistibly tripped out tones. Turning his attention again to the dance floor, "Witch Medicine" is an acid-laced groove that will have across the board appeal.
Review: Moroccan DJ/producer Driss Bennis returns under the OCB alias, following releases on Warning, Casa Voyager and Rue De Plaisance with the 4-track Crocodile Tears EP on Perth's Craigie Knowes. Classic house motifs of the early '90s merge with hardcore UK beats on the title track, while hypnotic dub chords face off with the zeitgeist of early German trance on "Autoroute" and the dystopian sounds of Detroit electro represent on the slamming "Corporate Sound".
Review: Cromby has released on a range of respected labels, including Rekids, Phantasy Sound and Bicep's label. Now he steps up for Craigie Knowes with a great release that transcends electro and techno. "Fly Away" resounds to a rolling techno groove and is cloaked in ominous synth textures. The title track sees Cromby hone his vision to focus on the dance floor, with filtered synths and a rolling, steely rhythm creating the desired impact. "Schlamm" is a deeper track thanks to the use of chiming piano keys, but he doesn't lose sight of the dance floor and a tight tribal groove accompanies these musical elements. The release also features a Freaks on Speed rework of "Racer", with the resulting driving, linear workout sure to have the desired dance floor effect.
Review: Scottish label Craigie Knowes presents a new EP by Guy Contact, a bloke from a land down under that's released on homegrown labels like Butter Sessions, with the Ultraviolet Freqs EP. It features four 'consciousness expanding house tracks primed to tug your mind into the spirit realm' and that's certainly an apt description. It starts with the rolling and bass-driven groove of "Doors Of Perception", equally acid-laced is the low slung "Look Into The Mind" and the psychedelic tech house of "The First Anura Ever Known".
Review: Following releases on Gestalt and SITU, Boulderhead aka Henry James joins Craigie Knowes for this distinctive three-track EP. "Quantum Vector Missile" starts the release in dance floor-friendly form, with a pulsating bass aligned to a rickety, high-paced rhythm. Located somewhere between electro and techno, it makes for an unusual fusion. On "Polynomial Camoflague", James remains in similar territory: the rhythm is dense and overlaid with vocal samples, while the tempo is redolent of 90s techno records. On the title track, a more abstract take on this sound is audible, with James laying down shuffling drums and tripped out tones and blips.
Review: Big week for Melbourne artists, with a release by Zeitgeist Freedom Energy Exchange and now this new one by Salt Mines/Life Sciences Division label head Rudolf C: a young producer now based in Berlin who joins Craigie Knowes for their first dispatch of the year - the Gamma! EP. From the thumpin' 303 madness of "Acid Sandal" to the hypnotic heads down tackle of the title track and the Detroit inspired techno funk of "Shake Hold" - the Glasgow label has started 2021 in fine form.
Review: Earning his stripes through labels like M>O>S Recordings, Domina Trxxx and Chiwax, Russian producer and DJ Kovyazin D arrives on Craigie Knowes! A label that's on fire right now. Pushing a sound that heads towards EBM and fetish as much as it does electro and acid, Kovyazin D's Last August EP pushes into the red. With a more industrial sound cementing the tone of "Headache" through its hardcore '80s gothic vibe, "Rage" delivers a session of heavy dungeon acid and slamming drums next to a more minimal techno number "Minimum For Maximum" that goes large on its synths and post punk aesthetic. Russian fetish techno.
Review: In a collaboration that's come through Snuff Trax sub-label Snuff Cuts - the Larionov & St Theodore project presents the Russian duo's third release following some deep cuts on Rotterdam Electronix and Oliver Lieb's Maschine label before that. Welcomed into the much loved Craigie Knowes fold, the duo Larionov & St Theodore fire up their SH-101s, TR-808s and 909s for this Thunderstrike EP to turn in some EBM powered electro in "Destruction Wave" alongside the murky synths of a Detroit-flavoured "Infinity Abyss". Independently, Larionov looks to '80s synth and sub-electro-pop in "Never Forever" while St Theodore's "Cursed Dreams" looks to '90s techno inspirations alongside some heavy acid trance. Strike like lightning crash like thunder.
Review: Having recently contributed to the label's War Child compilation series, Eluize returns to Craigie Knowes for her second album. "Ennui" kick starts the release in dreamy mode, before she focuses on a darker sound with the pummelling kicks and wild acid spirals of "Relinquish". On "Wasn't Ready", she keeps her focus on acid influences, this time with hushed vocals underpinned by a throbbing acid line, while "Hideaway" showcases Eluize's ability to craft techno torch songs as dreamy vocals are fused with a mysterious, downtempo arrangement. Meanwhile, on "Supposed", she reaches a midway point between the dreamy and the dance floor-based with an acidic stepper.
Review: With most altruistic projects focused on supporting Covid-related causes, it's heartening to see that the Craigie Knowes label continues to support the War Child charity. This fourth instalment is an exemplary volume, and features expansive, wide-eyed ambient pieces from Night Tide's Eluize and The Burrell Connection sitting alongside the twitchy, acid-infused breaks of Rudolf C's "Crystalliser". Scene veteran Warlock also contributes, with the busy, noisy electro of "Shock Headed" - which is similar in style to "Real Seeker", Stellar Om Source's contribution - while on "Transitions", Innershades steers the compilation back towards a more melodic direction. While these tracks all stand out in their own right, the fact that they are supporting a good cause makes them even more precious.
Review: The latest addition to the Craigie Knowes roster is A Sagittariun. Known for releases on his Elastic Dreams label and other well-known outlets like Idle Hands, the project's strength lies in its ability to reinterpret 90s rave and techno for modern dance floors. On "Heart Sutra", this trademark style comes into focus as breezy synths are fused with a snappy rhythm and a pulsating groove. The atmospheric melodies and high-paced rhythm of "Interzone" inhabit a similar territory, but the UK producer also pays tribute to Craigie Knowes' label sound on the rumbling bass and metallic 808s of "The Soft Machine".
Review: Delivering the best in electro beats this side of the cosmos is the super sonic Craigie Knowes label outta Glasgow. Following an epic 2019 that saw releases from the likes of Textasy, Maelstrom, Jensen Interceptor and the always reliant John Daly, Craigie Knowes follows up its first 2020 release by Cygnas with the deeply cool Descent EP from Carl Finlow. Full of some fine snap, crackle and deep electro pop - word to the Craigie Knowes mastering engineer of choice over the years - this EP maintains the quality of standard we've come to know from the label. The hit here is "Undertones" with its glistening production values that finds its sister track (or slight dub version) in "Descent". For something gnarlier check the riffing basslines of "Cascade" or the spacious and percussive minimalism of "Displaced". Bonafide quality.
Review: Having toiled away for years, Cygnus is now joining that other Texan electro producer, ERP / Convextion and finally gaining a global audience for his work - with key releases on Barba, CPU and Craigie Knowes. Like Gerard Hanson's ERP project, both the title track on this release and "My Secret Data" resound to dramatic bass patterns and woozily atmospheric synths. However, it would be wrong to assume that Cygnus is following Hanson's path too closely; "Metroid C64" is a stripped back, electro funk affair, while "Votoms" sees him dive deep underwater to deliver a free-flowing workout that is redolent of Drexciya at their most esoteric.
Review: Under the SJ Tequilla alias, Naota Matsuda has a track record for creating dreamy, otherworldly deep house that sounds like it could have been made by a bunch of loved-up Italians in 1989. He's at it again on his latest EP, where opener "Sanya" offers a near perfect fusion of hazy, machine-driven grooves, humid sounds, tropical melodies and chords so rich and delicious that might make you hallucinate. Matsuda also offers up his interpretation of turn of the 90s ambient house on the impeccable "Deolta", mixes clanking acid house and swirling electronics on "Sweat Salts 2" and takes us on a trip into the farthest reaches of the solar system on drowsy electronic number "The Day After". It all adds up to another inspired EP from the fast-rising producer.
Review: Vin Sol debuts on Craigie Knowes with an EP directed squarely at the dance floor. It starts in deep mode with "Tribal Delusions", which is reminiscent of early 90s US deep house thanks to its looped vocal sample and jazzy keys. "Spraypaint on a Werewolf" also mines a classic sound, but on this occasion, Vin Sol has chosen the squelching 303s of Chicago acid tracks for inspiration. Another influence from the same city is audible on "Alien Adjustment". with the US producer dropping acid lines over a slamming ghetto track, while on "Hyper Tension" he reverts to a similar approach as "Spraypaint..", albeit with a more reduced drum track at its centre.
Review: It's time to take the acid-breaks fusion to a whole new level here as DAWL lands on Craigie Knowes for four tracks of electronic mastery, kicking off with the moogy arpeggios and crunchy breakbeat drumwork of 'Let's Go'. Following this we then move into the more nostalgic padwork and rolling percussive switchups of 'Drop It', before we head down a super old-school road on the bubbling bass tones of 'Heavyweight'. Finally we finish this one up with a dash of additional spice as 'Overdub' wades into view, slowing the tempo into a more timedancey episode, driven by it's unusual percussive expanses and acidic synth patterns.
Review: Irish deep house hero John Daly (Feel Music) makes his debut on Scottish imprint Craigie Knowes with four quality grooves, following up some great ones on the label by Jensen Interceptor, Posthuman and Carl Finlow. The Safe EP features the dusty, crunchy old school emotions of "What If" with its chunky Juno bassline that's reminiscent classic Mr Fingers. The retro flavoured antics continue on the euphoric acid house vibe of the tile track, the sombre dub techno of "Moving On" and finally "For The Sake" goes for a faster tempo on this powerful piece that takes its cues from the hi-tech soul aesthetic of classic Detroit.
Review: No Moon aka Fred Shepherd follows last year's Infinite Dreamz EP on Craigie Knowes with this fine electro release. "Breakpoints" resounds to steely, clipped drums and a pulsating bass, with Shepherd layering atmospheric sound-scapes over the top. On "Aoe Advancing", he opts for a somewhat more esoteric approach; spindly break beats unravel and provide the basis for melodies that strike a fine balance between dreamy and tropical, as Shepherd deploys the well-known Sueno Latino bird sample. "Where Do We Go From Here?" is a similarly inclined piece, with a combination of spacey sounds and acidic spirals unfolding over tight break beats.
Review: On the back of a handful of heady EPs released over the last five years, Night Tide label founder Eluize has been tipped as a future star. This well judged and expertly produced debut album - which also happens to be Craigie Knowes first foray into the full-length format - provides further supporting evidence of the Berlin-based artist's ascending status. Check, for example, the fluid, spacey, soft-touch brilliance of intricate opener "Home", the off-kilter deep house headiness of "Say" - in which she sings appealingly over skittish beats and intergalactic electronics - and the Motor City techno shuffle of "Distance". There's much to admire elsewhere across the LP, too, from the deep acid-jack of mind-altering club cut "Disconnect" and the retro-futurist ambient techno throb of inspired closing cut "Still".
Review: Following a series of impressive releases for CPU and Cultivated Electronics, Jensen Interceptor debuts on the brilliant Craigie Knowes. "Aqua Lung" gets the release off to a high-paced start with a frenetic electro-techno workout that draws on dreamy Detroit sounds and buzz saw acid lines in equal measure. "Wave Slave" sees the Australian artist refocus on pure electro with a visceral 808 workout, while a similar approach applies on "ELEKTRO". Speak-and-spell vocals inspired by Kraftwerk unravel over a great shuffling rhythm and atmospheric synths. Rounding off this fantastic release is the eerie, Dopplereffekt-style funk of "Biometric".
Review: It's been quite a year for Posthuman: apart from releasing a series of EPs on labels like Shipwrec and Balkan Vinyl, they also put out an excellent long player, Mutant City Acid. Rounding off their year is The Snake Bites Twice, their debut on Scottish imprint Craigie Knowes. While "Cobra Structure" and "Polywater Acid" deliver more of the same low-slung acid that they are synonymous with, the EP also throws up some surprises. The primal jacking "Down 2 Jakk" features psychedelic rave riffs, while on the aptly named "Steal the Show", they take inspiration from bleep techno and hardcore - check those piano stabs - to deliver a wonderfully moody, evocative cut.
Review: France based Liverpudlian Carl Finlow requires no introduction. He presented five tracks of his idiosyncratic electro style for Scottish imprint Craigie Knowes back in 2016 on the Boolean EP - which now receives a much needed digital reissue. From the deep electro funk of "Chronos", dystopian sci-fi bodyrock of "Marauders" to the utterly majestic "Exile" nailing that same aesthetic of the Detroit innovators. Following up some great music on AC, Electrix and Lone Romantic in recent times, Finlow is still a force to be reckoned with.
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