seeing as public release is a san francisco label and sister to face, a long-running local party, you could say it was inevitable the label would put out a record that candidly celebrates its hometowns talent, color, character. 415-pr10, whose name is an ode to s.f.s first, emblematic area code, is exactly that: a frenetic survey of some of northern california’s finest producers— and a blueprint of sorts for more similarly-minded and themed eps in the future

the last of public releases single-digit records is the first from the british west midlands most famous dj and producer, mark e. this shouldnt come as a surprise. if anything, the fact it didnt happen earlier should, mark appeared as a remixer on jeffrey brodskys 2014 public release ep, which has earned him the status of esteemed member of the outfits inner circle and prime candidate for an extended play of his own.

jacques renault delivers two rare and fiery original tracks for his second release on esteemed us label public release, complete with remixes from velvet season & the hearts of gold plus a force of nature remix.

southern california producer jeffrey brodskys *i ll be strong* is the latest ep to appear on san francisco based label public release. its comprised of four tracks, with brodskys original joined by three wide ranging remixes, which complement its energetic feeling with deeper material aimed at late nights and early mornings.

san francisco label public release recordings steps boldly into 2013 with a new single from woolfy (a.k.a. simon james). juniors throwin craze is a slinky ode to the kind of red-eyed madness symptomatic of round the-clock hardcore partying. that is to say, its another late-night anthem rooted in the playful sound of west coast sleaze.

incl. eden burns remix

melodic house / techno

trippin electro breaks / house

detroit flavoured

abstract from house to techno

public release welcomes back canadian artist khotin

every so often public release takes a snapshot along their discography timeline, to pause and recognize the various artists that represent the past, present and future of where the label sits. the last such release was in 2016, and four years, twelve releases later it’s time for another marker. this ep pools together six exclusive tracks from their global family, some on the pr roster for the very first time. from the beautifully addictive melodies by tendts and metropolitan soul museum, brooding baselines and synths from richard sen and tim sweeney, to the ecstatic floor energy produced by fran-key and earth boys, the range presented here is impressive. equally enjoyable as an abbreviated album, or as singular tracks at your service.

incl gonno & mark e rmx

incl. huge soulwax remix

public release maintains its coast-switching lifestyle with what is perhaps its most ambitious project—and inarguably its longest - yet, earth boys’ debut full-length, the eboys lp, the logical conclusion to a chain of collaborations that began, a little over a year ago, with the release of their trail mix ep. the two-disc, twelve-track album represents a new high for the pair comprised of michael sherburn and julian c. duron both creatively and technically, ideas they’ve been stewing and simmering since their splash of a debut in 2015 are now presented fully baked here.

public release adds another entry to its 2018 chapter with a four-track ep that engineers the intersection of gentle warm-up house of the balearic genus and frosty chill-out. the 12inch is the latest from dylan khotin-foote, who goes by the mononym khotin, a producer and dj firmly planted at the epicenter of vancouver’s lively, colorful dance music scene.

in early 2017, public release dropped a four-tracker by brooklyns earth boys, a duo comprisedof julian duron and michael sherburn, and now its being followed by a collection of remixes by some formidable names from around the world.

time for something a little different from public release.
eye o is the convergence of a few bay area stalwarts—kevin woodruff, formerly of tussle, and jason schwartz - and “deux o & debut” is their first studio-recorded public offering. the five-track, fifty-minute- long lp is a weaving journey through a pastiche of styles that’re all nephews, cousins, brothers, sisters of one another. kraut-rooted motorik drums reconfigure into more complicated math-y patterns, razor-sharp dance-punk guitars stretch out and dissolve into dubby post-rock atmospherics, synth loops you’d more commonly find in house tracks get grafted onto fuzzy psychedelic breakdowns, hard rock licks lock into chunky industrial grooves.
less for dancefloor destruction and more for trippy weekenders, the instrumental record manages to both be a focused, cerebral, conceptual hunk of fat to chew on and a spaced-out, intuitive ride through the cosmos. for use during those off-kilter small hours of the night just as much as it is vision quests and introspective weekends. it’s rare that an outpouring of so much can feel so simple and sublime.

public release’s lucky thirteen and second release of 2017 is by another kindred spirit newcomer to the label, earth boys, a brooklyn-based duo that’s all dreamy keys, soft pads, peace frogs, throwback vibes, and deftly futuristic house rhythms, though not necessarily in that order. with trail mix, mike sherburn and julian duron have built four gloriously friendly, oddball house cuts— cheeky, choppy vocal samples juxtaposed against schmaltzy piano licks and punchy tribal rhythms rubbing against smooth bass figurations. their ironic sense of humor intersects with precisely crafted productions in a way that underscores both, making the ep a brilliant concoction of bouncy, energetic dance music that teases the genre as much as it revels in it. if that messes with your head, just shut down your left brain, drop the needle, take a big ol’ rip, and see where a microdose of earth boys will take you.

public releases hits the lab for some aural alchemy and to turn out its first release of 2017. a four-tracker from moscow’s phil gerus, scenes—or, in the producer’s native russian, &#1089,&#1094,&#1077,&#1085,&#1099,—manages to have a makeup that’s both peculiar and magnetic. the title’s a fitting one, every track feels like a vignette in a collection of short stories. separately, they’re self-contained, but a rich narrative arch is added when they’re sewn together. if there is a theme here, it’s of viewing the future through the dusty lens of the past, and each of the songs explores this in its own fashion. the kick-off, “ohashi sky garden,” starts as a hyped-up italo space epic, pumped full of swirling synth licks and sharp, tight drums, but it mutates into something completely its own when vocal samples (90s r&b?) and warm keys (prog rock rhodes?) enter. after the original’s brisk five minutes, the legendary richard sen—graffiti guy, breaks guy, house guy, disco guy, half-of-padded-cell guy—steps in to give it a trance-y tinge while doubling its runtime and adding a dancefloor-destroying hi-nrg coloration. the b begins with “naha swim,” a crunchy funk foot-stomper that might as well be an unreleased idjut boys or ray mang ditty dug up from the noid catacombs. fiery and furious, yet utterly cheeky. serving as a sort of coda to “naha” is “kiss of a kind,” a gerus take on 80s adult contemporary, replete with sleazy sax and sensual pads. a gentle nightcap to a zigzagging, antic 12-inch

landing straight after 415-pr10, public releases first in a loose series of san francisco-centric compilations, this three-track 12inch is a further exploration of the bay areas sounds and aesthetics, though here its explored via remixes produced by friends from abroad. the a-side is a complete overhaul, reimagining, and extension of anonstops seaside by thee loving hand, tim goldsworthys solo moniker of choice these days. the ex-dfa records co-founder and former member of unkle took the tunes balearic foundation and used it as a bed for what one might mistake as a lost arthur russell cut from the world of echo era. joel wells lent his airy, light, sweet vocals to the track, while darren morris added synth work to bolster tim’s usual production genius. it’s carefree and emotive, the aural equivalent of a big, toothy smile. the flip features a mix thats a whole helluva lot more intense and uptempo, though no less positive than its original. chidas remix of domination is squarer and housier than beziers piece, which was glitzy classic disco dunked in italo, but enough of it remains to be unmistakably a spinoff. fiery and propulsive in the way a gulfstream jet is, its a ball of thunder that will electrify any set, any dance floor.