Review: There's a lot to be said for club music that aims to both soothe the senses and move the feet. We can think of few better examples than "Some Song Teachers", the title track from this Public Possession collaboration between Cos/Mes member 5ive and label-hopping Swede Samo DJ. While underpinned by a sturdy, tactile rhythm track, it's the blissful electronics and undulating, rising and falling synthesizer melodies - new age influenced, but also intensely positive and mood-enhancing - that make the track so addictive. Flipside "Dilemma" is similarly smile inducing, offering a tasty twist on melodious, dusty deep house. It's nowhere near as striking as its' predecessor, but it's still a very fine track indeed.
Review: Australian producer Andrew Wilson (House of Dad / Wilson Tanner) dons the Andras Fox alias once again for his latest outing for Munich's Public Possession crew, who describe the Boom Boom EP as a 'reprogramming of world music influenced dance music .. subtle and unwired'. From the Afro house influenced bounce of "Jingo" or "Rubber", moving from said aesthetics in to classic house on the upbeat "Conch" or the quite euphoric trance reduction of "Ipx 7" - this record is bound to be a major festival hit this season and guaranteed to sound good on any listening device you choose!
Review: Munich nu-balearic crew Public Possession broaden their horizons beyond said sensibilities, but instead venture further into oddball groove territory; in this case it's Sweden. First up Born Free main man Samo DJ delivers the low slung funk groove of "Triad Board Meeting" (sounding like some creepy, old midi file.. yet not altogether unpleasant) while Baba Stilz delivers some of the weirdest deep house you'll hear this year on on "Pacific Times" and "Beirut" respectively. But they save the best for last on the explosive collaboration between Samo and Cititrax troublemaker Tzusing on "Hollabackboi", a smashing, pop-inflected curveball that'll flip your mind.
Review: Munich's Public Possession maintain the heat of their first two releases from Tambien and Matthew Brown, turning to another lesser known talent in Bell Towers for the excellent Lightrail 12". Those vinyl buyers out there with photographic memories will recognize the name Bell Towers from releases on Internasjonal and Hole In The Sky and the young Melbournite comes through with his most epic work to date for Public Possession. In original form "Lightrail" takes the shape of a strident house cut that builds with a sense of glistening euphoria over some eleven minutes; it's complemented by a wholly more rugged remix from Protect U that at times feels like an EBM cover version of Yello's "Oh Yeah". Killer cover art from Perks and Mini's Misha Hollenbach too!
Review: Back in 2014 Bell Towers cemented his growing bromance with the Public Possession crew by delivering a fine collection of quirky reworks entitled Buro-Hahn Edits. In the four years since, the Australian exile has become one of the label's most prolific artists. Here he finally delivers a follow-up, expertly rearranging more obscure, left-of-centre gems. Typically, opener "Call Me (Please)" is a dreamy chunk of chugging, Italo-inspired '80s synth-pop, while "No, I'm Not An Easy Girl" is a slightly delay-laden chunk of jaunty Balearic-minded electrofunk whose chorus and saucer-eyed chords will stick in your cranium. Turn to the flip for a dash of sparse drum machine magic ("Sexy, Sexy, Sexy, Sex"), a sax-laden, poodle perm sporting Italo sleaze-job ("You Got Me Running"), and some jangling, soft focus Balearica ("The Cat").
Review: Munich record store turned label Public Possession return with a fourth 12" offering and a second release from Australian producer Bell Towers. If you were lucky enough to grip Lightrail, Rohan Bruce Bell-Towers PP debut of last year, you'll no doubt have been impressed by the progression in sound and ideas from his earlier material for Internasjonal and Hole In The Sky. Listening to the five tracks that make up Territory, the now London-based producer's new EP, it's clear the Bell Towers sound has matured even more. There's thick analogue techno, classic Chicago house and Italo disco influences at play here, but it's all finished off with those little production nuances that set Bell Towers apart. The mind bending slow burner "Jungle Of My Mind" is a stand out track.
Review: Bell Towers has become Public Possession's go-to man, releasing a trio of singles on the Munich imprint throughout 2014. The Hyper-Realised EP continues this productive partnership, delivering two more slices of kaleidoscopic, melodious house to heighten the senses. "Hyper-Realised Self" sets the tone, delivering the kind of enveloping, melodious, cheery deep house jam that sounds like Pender Street Steppers after fistfuls of prescription anti-depressants. "Jumpin' Off Into The Sea Of Your Love" is similarly happy, with the Aussie producer layering chiming melodies over dreamy chords and a tactile groove and sensual synth-bass. Both tracks are wonderfully chipper, and sound tailor-made for sun-soaked outdoor parties.
Review: This one is for those that snooze out there. Public Possession address the clamour for a re-edition of the excellent Buro Hahn Edits 12" from London-based Australian producer Bell-Towers. Originally released back in 2014 as part of the Munich label's ongoing Under The Influence series, this 12" offered Rohan Bell-Towers the chance to show off some of his weapons-grade dancefloor edits which demonstrated the producer's distinct sense of fun bleeds through everything he touches. Lead cut "My Love" sees Bell-Towers tweak out a mid-'80s synth pop curio from the West Country, whilst the grumbling "Bump This" sounds like it was plundered from a similar era. "Deep Forest" is on some new age breakbeat house tip, whilst "Love Theme" slows it right down for an end of night contender. If you slept in 2014 when this originally dropped, don't make that same mistake again!
Review: Hailing from Australia but based in East London, Rohan Bell-Towers has become one of the artists most readily-associated with Marvin and Valentino's Public Possession label. I'm Coming Up is the seventh PP release bearing the Bell-Towers name and the title cut sees him whipping up some forthright club tackle. There are plenty of sliced up soul-enriching samples licking about the jam, but the focus is on straight up house rhythms that scream out for peak time play. There's a more esoteric lilt at work on B-side cut "I'm Always Down For You", which slows things down a touch and works in some choice vocal choppery and a bassline to die for and is complemented by a remix from rising talent Kris Baha.
Review: Melbournian DJ/producer Bell Towers is one of Public Possession's most prolific artists. This 12" is his seventh for the Munich-based stable in just under four years. It's something of a celebratory, peak-time affair, with A-side "All Aboard" offering a near perfect balance of flanged, ear-catching disco guitars, elastic live bass, DJ-friendly special effects, and a house sensibility. "Night Train To Nowhere" is a more druggy and trippy affair, with Bell Towers channeling the spirit of kraut greats Kraftwerk and Tangerine Dream on a cut that sits somewhere between Italo-disco, kosmiche, and quirky, left-of-centre house. In other words, it's another rock solid EP.
Review: Melbournian eccentric Bell Towers is back on Public Possession for the first time in 2018, carrying with him all the tools to turn your common-or-garden flat-pack bookcase into a portal to another dimension. In its EP opening "Dance Mix" form, "IKEA Hack" pits a druggy, chugging analogue machine groove against chiming melody lines, glossy synth-pop chords and twinkling piano lines that inspire the same kind of euphoria that most feel after leaving a branch of the well-known Swedish furniture chain. It's accompanied on the A-side by the rather delicious, slow motion Chill Out Mix, while side B is taken up by a long, lo-fi, eccentric and crackling Baba Stiltz remix that helpfully features vocal samples explaining how to turn some off-the-shelf consumer product into something entirely different.
Review: The debut release from Munich label Public Possession (borne out of the record shop of the same name) knocked us for six when it dropped last month, with the Tambien trio of label founders Marvin & Valentino and their compatriot Bartellow bringing forth a robust pair of techno cuts dipped in analogue fuzz but still powered by a desire to make people move. The label makes a swift and equally worthy return with this three track transmission from Matthew Brown, a producer who allegedly hails from the Great Western area of Tasmania. Whilst some might spend their time frantically googling the factual accuracy of this information (you'll be greeted with a wizardly looking Brown if your skills are strong) you are much better served sinking your senses into this self titled EP, with two rasping cuts steeped in the mysticism of Detroit electro complemented by a more pensive final track.
Review: Munich's Public Possession keep on with their new wave Balearic aesthetic ever so nicely. This time by getting some Aussie larrikins on board. First up is Carpentaria aka Sydney's Tamas Jones and Paul Harmon. "Gadget Messiah" with its infectious bassline, creepy but catchy operatic vocals equally startling synth horns that somehow grow on you, a lot! Next is "Der Inder" with its epic analogue synth arpeggio and lush strings sounding rather reminiscent of an eighties film score. On the flip there's Hysteric, getting all Italo on us with its dark vibes and that gritty EBM style bassline on "Arabian 1" with as the title suggests: some exotic instrumentation floating on top of it all. The seductive vocals of "Arabian 2" and its intense strings workout is pretty killer too..
Review: On the face of it, putting out a 12" called Collected Works Part 1 from a producer who has previously released just one EP may seem a bit strange. Munich-based Henry Gilles, though, has been producing for some time; last year's debut 12" on Rawax featured tracks recorded in 2011 and 2012. This 12" for Public Possession - the first in a series of what the label says will be wildly eclectic in outlook - features tracks recorded over the last three years. There's much to admire, from the sleepy, ultra-deep house chug of "Exploring O S 102 O" and bittersweet "Gone But Not Forgotten" (an exercise in deep pads, hushed vocal samples and spitting drum machine percussion), to the disco-inspired dancefloor warmth of "Trance Atlantic".
Review: If this smart re-edit 12" is anything to go by, Bordello A Parigi and Public Possession man Hysteric owns some killer records. Released as part of the Under The Influence series, Mappamondo boasts a quartet of intriguing reworks of little-known gems. He begins with the whistling synthesizer lines, modem bleeps and rubbery disco groove of "Computer Wars", before taking a trip to Persia on the unfeasibly exotic "Belly Dance Disco". Flip for the Balearic-goes-camp, shirts-off-in-Rimini flex of dreamy Italo-disco rework "My Man", and the strutting, Magueritas-style cheeriness of jaunty Italo-disco dancer "Propellerdisco". All four reworks are subtle and spot-on, making this one of the most essential re-edit singles of recent times.
Review: One of the most intriguing actions undertaken by Munich's excellent Public Possession label last year was the introduction of some solo work from Anton Klint, a Swedish artist know best for his work as part of TieDye. The two track Spritzer 12" was wonderfully oddball and Klint is back with more cuts for PP that really demand your attention! How best to describe lead track "Drunch"? What about a sprawling epic? That seems about right as it takes Klint's mastery of synths and applies this skill to a searing dancefloor production that will cause many a serotonin rush. "Dessert" is the odd brother, a clipped bit of disco strangeness that would probably appeal to Lena Willikens.
Review: Leonid Lipelis aka TMO/Beard In Dust (L.I.E.S./Bahnsteig 23) is back on Public Possession with "Bordeaux Lovin" described by the label themselves as an 'epic, emotional rave tune, building up for ecstasy' and we couldn't have said it any better ourselves. More classic house reminiscent of the U.K.'s second summer of love is catered for on the flip with "What Is It?" with its big time piano chord progression, jacking vocals and cracking old school rhythms that are gonna make you want to celebrate like it's '88 all over again.
Review: For their latest outing, Munich's Public Posession has looked close to home for inspiration. Gulf Area marks the 12" debut of young Munich producer Mechatok, AKA producer Timur Tokdemir, whose recently decamped to Berlin. As first efforts go, it's rather impressive, with the deep, spacey title track - all fizzing drum machine beats, stretched-out chords and chiming, moonlit melodies - immaculately setting the tone. He finishes side A with the lilting, harp-laden downtempo melancholia of "UDG", before subtly breaking up the beats on the bass-heavy, off-kilter deepness of "Aeroco". Finally, he subtly mines those post-dubstep influences further on EP closer "Loss", whose sweet musicality, heartfelt pianos and classical flourishes are little less than beguiling.
Review: Following fine appearances on No Bad Edits and Blind Jack's Journey, rising star Mozaika heads to Public Possession with his most expansive release to date. As with previous releases, he does a great job in combining the kind of starry, relaxed synthesizer sounds more frequently found on new age ambient releases with rhythm tracks that will have you surging towards the dancefloor with your arms aloft. We're particularly enjoying whistle-heavy opener "Taba Taba" and the sparkling, saucer-eyed jauntiness of "Voyager", where jangling piano riffs, carnival whistles, and dream house chords ride a thrusting, jack track style groove. That said, the undulating Balearic house hit of closer "Whistler" is almost as good.
Review: Junkyard Connections and Karlovac co-founder Mr Tophat has forged a career out of collaborations. Here, though, he flies solo, delivering a first EP for Munich's Public Possession. Both tracks are deliciously woozy and quietly positive, with fluid synth lines and bubbly electronics being fused with sparse, off-kilter percussion tracks. A-side "Kiss of Sandro" is peculiarly jazzy and sleepy, with robotic vocals spreading out over spacey synths, chiming melodies and cheap-sounding machine drums. Flipside "KitKat Maze" is, if anything, even more out there, and boasts a mixture of creepy music box melodies, curious xylophone lines and metronomic deep house percussion.
Review: There's been an pleasantly eccentricity underpinning the Public Possession label since it was inaugurated by the Robusto 12" from Tambien (aka founders Marvin & Valentino and fellow Munchner Bartellow) last year and it's become ever more apparent with each release. Public Possession's fifth release introduces a new player in the shape of Obalski and sees their weird streak explored explicitly and the results are nothing less than superb. Described by the label as a "long term shareholder of the Public Possession Organisation," Obalski's musical CV apparently includes art gallery sound installations and scores for local Munich theatrical productions. This background in the avant-garde is very much evident on Introducing Obalski which largely eschews club based rhythms in favour of six tracks of kosmische experimentation.
Review: Obalski's 2014 debut for Public Possession, Introducing Obalski, was something of an under-the-radar gem - an imaginative collection of vaguely Balearic, slightly experimental nuggets that refused to settle on one dancefloor-minded style. This follow-up is similarly inclined. The A-side, for example, inhabits that same audio space as Jan Schulte's various projects - think starry chords and gentle melodies, fused with quirky, soft-touch bongo rhythms - while the first track on the B skillfully melds spacey, Detroit-influenced chords and twinkling tunefulness with a locked-in deep house groove. Arguably best of all, though, is the dub house-meets-future Balearica flex of the oh-so-sweet second B-side cut.
Review: Thanks to two previous EPs for Public Possession, we should all now know what to expect from ambient/electronica fusionist Obalski. "Wind-S" is somewhat typical of his work, with sweet, attractive synthesizer lines and spacey electronics fluttering around a gentle, spaced-out rhythm pattern. Beautiful and brilliant as it is, the track is not at all dancefloor focused. Those that want to dance - or shuffle, at least - are well catered for, though. Berlin-based house type Nick Hoppner does a brilliant job turning the track into a sweaty, humid, tropical techno treat on the flip, while the Mascaras Gentle Breeze Dub re-casts "Wind-S" as a throbbing, dub disco-influenced Balearic chugger.
Review: The latest installment of Public Possession's Under The Influence series is an all-star affair, featuring off-radar re-edits of various obscure, left-of-centre dancefloor gems. Perhaps the most talked-about track comes from Samo DJ's, who's deliciously wide-eyed "Flyer Edit" breathes new life into a cheesy AOR tearjerker, turning it into a Balearic gem. There are a couple of excellent Italo-related reworks - Bell Towers' deep, evocative "I'm Obsessed With You", and Hey Convict man Tamas Jones' rousing version of Italo classic "The Heat of the Moment" - but its Tambien who steal the show. "Deep Hai" is fantastic - a trippy dub disco revision of an obscure Dutch synth-pop gem.
Review: ** REPRESS ** A penultimate release of the year for Public Possession retains the defiantly unconventional approach that has been a distinguishing characteristic since the operation expanded from a Klenzestrasse record shop into a fully-fledged record label. It also represents a label debut for Samo DJ, the Swedish producer responsible for the excellent KWC 92 LP released on L.I.E.S. and co-founder of Born Free alongside Daniel 'Sling' Isling. As the title suggests, the 10" shaped Samo DJ presents Sap Sap Seoi is no mere collection of Samo DJ productions, but instead an introduction into the sonic world of his friends and contemporaries. Along with a Samo DJ cut, there is an appearance Over The Hill (aka DJ Kool Dust and graphic designer Sam Nyholm) and the mysterious Taro Tokugawa with the mood swinging gloriously between house, Scandinavian beat down and in "Here My Dear" a sublime slab of East Asian electronic pop.
Review: Since first popping up on Comeme in 2012, Barcelona-based Colombian Sebastian "Sano" Hoyos has been responsible for a smattering of superb EPs and a sole bustling full-length. This is his second outing on the eccentric Public Possession imprint and sees him deliver a trio of quirky cuts that mix vocals and rhythms from his home country (re-played on battered drum machines) with synthesizer sounds from the 1980s. This blend is most potent on cheery, tropical synth-pop A-side "El Tecnopop", but can also be heard on "El Juancho", where non-stop vocals, darting acid synths and foreboding bass ride a layered, tribal drum groove. Also impressive is closer "No Quiero Nada Contigo", a drum-machine driven cumbia outing that makes great use of sampled scratches and weird electronics.
Review: What began as a record shop in Munich founded by Marvin & Valentino now becomes a record label as the duo inaugurate Public Possession with a 12" under the Tambien project they share with compatriot Bartellow. As you'd expect from the title, the Robusto / Sexalitat EP occupies the robust end of the techno spectrum, offering up two cuts steeped in analogue fuzz but still powered by a desire to make people move. With support from the likes of Joakim, Tim Sweeney and LIES boss Ron Morelli, the wonderfully hollow sounding "Robusto" rips and bounces in all the right spots whilst "Sexalitat" nearly boils over with intensity and shimmering white noise. Sehr gut!
Review: For the Juno review team, Munich record shop turned label Public Possession were one of last year's breakthrough operations with killer releases from Bell Towers, Matthew Brown and Tambien complemented by some fine sleeve design. Marvin & Valentino, Public Possession's founders, team up once again with fellow Munchner Bartellow for some hot new Tambien jams on PP following that excellent ESP Institute 12" late last year. A metallic sticker adorning the front of the record sleeve offers handy track descriptions from Tambien themselves, who state lead track "Overheater" is filled with heavy afro vibes and percussion workouts. For us Hanna Barbera fans however, the real knockout punch from Tambien is "UGLI Elevator" that features some killer cartoon samples!! Final track "Hans Renegade" is the cut the more serious techno selectors will draw for.
Review: Here's something to tickle the fancy of anyone who likes their grooves humid and off-kilter - a first collaboration between Munich-based trio Tambien (whose members include Public Possession bosses Marvin and Valentino) and Portuguese producer Tiago. Apparently, the quartet composed the tracks over a long period, swapping stems, ideas and files online. "Track 1" is pleasingly dense and floor-friendly - a rolling, percussion-led groove that fixes ghostly chords and hip-hop samples to a dense, dancefloor-friendly groove. Flip for "Track 2", an evocative chunk of melancholic pitched-down techno blessed with exotic, Eastern melodies and more sweaty tropical percussion. Predictably, it's as beguiling and emotional as you'd expect.
Review: Munich purveyors of fine new wave Balearic are it again with a release this time with TMO (aka Moscow's Lepelis who has previously appeared on L.I.E.S. and 303 State) with the Insomniac EP. First track "Melodic Jam" sounds like a disturbed cover of Frankie Knuckles "The Whistle Song" albeit with some epic mono-synth spitting out the melody instead, soon turning into gnarly acid. On the flip we have "Jam IV" which goes for a more lo-fi, dusty deep house vibe. A dark and paranoid after-hours jam whose slow burning glory turns into snarling acid euphoria just like the track before it.
Review: Viennese producer Wolfram returns, outside of his usual labels like DFA and Permanent Vacation - this time on Munich oddball house imprint Public Possession. His new jam "Automatic Dub" is pure Italo disco heaven, with soaring arpeggios, glistening analogue strings and rusty drum computers galore - calling to mind legends like Gino Soccio and Bobby Orlando. Turns out it's actually based on Dee D. Jackson's "Automatic Lover" from 1978 - a Kristian Schultze production. There's a couple of kick ass remixes featured too: The Samo DJ Automatic Remix sees the Born Free boss take it down a dirty and heady acidified route, filled with some gnarly tape delay shenanigans.