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Pop - Released January 1, 2008 | Deutsche Grammophon (DG)

Distinctions The Qobuz Ideal Discography

Electro - Released March 25, 1996 | !K7 Records

Distinctions The Qobuz Ideal Discography
Unlike the typically live (or at least live-sounding) mix albums in the DJ-Kicks series, Carl Craig did much post-production work on his volume. The result is a collection of complex, reworked techno from Craig's own Planet E label (by Clark, Designer Music, and the 4th Wave) as well as other crucial techno producers such as Claude Young, Kosmic Messenger, Octagon Man, and Gemini. The addition of a special Carl Craig track -- composed entirely with the use of samples from originals included elsewhere on the collection -- is a nice touch to what proves to be an admirable collection. ~ John Bush

Classical - Released January 1, 2008 | Deutsche Grammophon (DG)


Techno - Released May 12, 2017 | InFiné

Hi-Res Booklet
An untouchable. The status of Carl Craig , pioneer of Detroit Techno, is such that without him, countless electro tinkers would still be fooling around with their Playmobil to this day... the album that he offers here is a project all in its own right. Versus is in effect a kind of work in progress which subscribes to the philosophy of InFiné, an expert in stylistic hybridisation, and Planet E, the stable founded by Craig en 1991. It is also a kind of epilogue to a concert that the American played in 2008, at the Cité de la Musique, at which he was accompanied by the Les Siècles orchestra directed by François-Xavier Roth, Berlin electro producer Moritz Von Oswald and classical pianist (and electro musician) Francesco Tristano Schlimé. On the bill, City Life by Steve Reich, Streets by Bruno Mantovani and six pieces by Craig… Almost a decade later, Versus takes its inspiration from a this meeting of the genres. Here we find electronic miniatures plunged into the grandeur of symphonic music. Twelve of the fourteen pieces on the record are by Craig (mostly his great classics), with Tristano looking after the arrangements. The latter is also the writer of the other two pieces. Versus offers, above all, welcome and intelligently-composed and arranged performances which avoid the clichés that the marketing label " techno meets classical " could easily conjure up.. Inspiring and inspired. © MD/Qobuz

Techno - Released April 13, 2017 | InFiné

Techno - Released March 17, 2017 | InFiné


Electro - Released July 7, 2009 | Planet E Communications

Electro - Released February 26, 2008 | !K7 Records

Compiling each Carl Craig remix would be a several-disc box set undertaking. The pool from which to draw is wide and deep, from Nexus 21's 1989 track "(Still) Life Keeps Moving" through Junior Boys' Grammy-nominated "Like a Child." Hopefully just the first way of addressing this large stockpile of varied tracks, Sessions is a two-disc set mixed by Craig that focuses primarily on his remixes (of tracks by others as well as himself) while interspersing a few original mixes of his productions. Though the set reaches back to 1992 for Chez Damier's synthetic-handclap-happy "Help Myself," there's a clear emphasis on Craig's more recent activities, with well over half of the tracks dating from 2004 or later. While he hadn't quite pulled a disappearing act during the late '90s and very early 2000s -- 2002's The Workout being one of the most improperly slept-on house/techno mixes of the last several years -- he underwent something of a rebirth around 2003, releasing a string of unpredictable and high-quality productions while developing into one of the hottest remixers on the planet. Most of the big reworkings are here in original or "exclusive," meaning slightly different, form: the low-key hiss-and-ping of Junior Boys' "Like a Child," Faze Action's searing/surging "In the Trees," Delia Gonzalez & Gavin Russom's spiraling "Relevee." In most cases -- Theo Parrish's "Falling Up" being the one major exception -- Craig's versions outstrip the originals not just by making them more palatable to moving bodies but also by teasing out elements and supplementing them with new wrinkles to make headphone listening as stimulating as dancefloor play. Remaining vital in any field for 20 years is an achievement, but doing so while forecasting and riding the rapid developments in dance music is something else entirely. This release goes some distance -- about as far as possible in two and a half hours -- to acknowledge that notion. ~ Andy Kellman

Electro - Released February 26, 2008 | !K7 Records

Electro - Released March 14, 2007 | Planet E Communications

Electro - Released March 14, 2007 | Planet E Communications

Electro - Released January 22, 2007 | Rush Hour

Met with a muddled chorus of hisses and hurrahs, Carl Craig's 2005 overhaul of 1995's Landcruising is, for a lot of Detroit techno and IDM heads, a divisive issue and a possibly baffling way to look back at a touchstone. No matter how much you've bonded with each twist and turn of the album, ten years have not been kind to each one of them -- a few components dated rapidly while others have continued to sound just like progress. Rest assured, Craig knew exactly what wrongs to right. After comparing each original version to these adjusted updates, it becomes apparent that this is a sharper, bolder, more immediate, and more durable Landcruising. "Science Fiction" leaves the greatest impression, with every single element made more incisive and pliable. Craig also knows where to hold back, as he does with "A Wonderful Life" -- its changes are minor, while the sound is vastly improved. In addition to a couple decent remixes tacked at the end, there's a new track: if Lil' Louis' "French Kiss" is an illicit one-night rendezvous, the appropriately titled "Sparkle" is a bliss-smacked first kiss. Earlier in 2005, Craig released a promising 12" of new material, so it was disappointing that his long-on-hold follow-up to More Songs About Food and Revolutionary Art remained on hold for yet another revisitation like this (Planet E's reissue schedule had long been more busy than its new release schedule), but one scan through the results here should wipe out most grievances. Craig's actions have made permanent the classic status of an album that was sounding a little less classic as the years wore on. The true debate raised by this release is whether or not the original has been rendered obsolete. It hasn't, but those who never owned the original needn't seek it out as long as this remains easier to obtain. [Planet E issued this on triple vinyl, while Amsterdam's Rush Hour handled the CD version and used different artwork.] ~ Andy Kellman