Balearic Breakfast | Episode 227 | Meeting Phil Passera
- by The Lioncub
- Jun 17
- 23 min read
Updated: Jun 29
Colleen 'Cosmo' Murphy broadcast the 227th episode of Balearic Breakfast on her Mixcloud on June 17th 2025.
About this episode. – After celebrating the 22nd anniversary of the London Loft with all of her friends and members of the Loft Family (thank you so much dear Marcia for sharing your pictures and videos here with us!), Colleen, although ill and medicated, embarked on a new edition of our beloved show, joined by the Balearic Breakfast Family as usual 😊 And, as often, there were a lot of reasons to rejoice ourselves: of course sharing memories from the loft is always great because you feel the love on the chat, but, this time around, our time, the one we've waited for so long, had at last arrived: the Balearic Breakfast vol. 4 pre-order campaign had debuted!
And, icing on the cake, we were going also to enjoy an interview with Payfone's Phil Passera, including a mix he crafted for us, not forgetting the one Colleen did for us in the first hour (nor her latest releases which are all off the hook)! Did someone here started singing monday, tuesday happy days? I believe we should change the lyrics of the songs, like: "Tuesdays tuesdays happy days"... Well, you know what I mean right?
Wow! Thank you to The London Loft family for bringing boundless positive energy to our 22nd anniversary party yesterday. It was uplifting, poignant and cathartic - a beacon of joy much needed in these troubled times. We are privileged to be able to share these moments together. Thank you to David Mancuso for starting The Loft in London with us and for all those who have joined the friendship train in a spirit of love and inclusivity. Happy Anniversary and Happy Pride (Colleen, 16/06/25)
Colleen, Marcia Carr with DJ Ron Trent and Jacqueline Thompson
This morning’s Balearic Breakfast is now up on my Mixcloud and it features new tunes, new re-edits and reworks and an interview with and mix from Phil Passera of Payfone. They just released their new album ‘Lunch’ last week – it’s only available on vinyl and cassette and you can order it on their Bandcamp.
And another album announcement: my next compilation ‘Balearic Breakfast Volume 4’ is coming out on the 29th August on @heavenlyrecordings . It features fresh tunes that haven’t been released on vinyl by artists like @santinosurfers @ilyasantana and @tar_blanche along with hard to find vinyl cuts by New Zealand’s Troy Kingi and @claremont56 outfit Paqua and a couple of classic cuts from spiritual jazz band Paz and soul singer Gloria Ann Taylor. ‘Balearic Breakfast Volume 4’ also includes the first vinyl outings of two of my Cosmodelica remixes of @saintetienneofficial ‘Alone Together’ and @bryonyjarmanpinto ‘Moving Forward’.
Also coming out on that date is the second CD edition of the series this one featuring Balearic Breakfast Volumes 3 & 4. And once again, it has gorgeous artwork from @ardneks . It’s a limited release with no digital downloads (that’s why it says £999!) and is available to pre-order at 11am on the Heavenly Recordings Bandcamp and from record shops around the world. I’ll also be hosting record release parties at NTs Loft in London and Pike’s in Ibiza in September. Thanks for your support of the series so far – I just checked this morning and Volume 1 is going for £200 and up on Discogs which is crazy. You can pre-order via my linktree.
Next week is the Balearic Breakfast Pride Special and the request line goes up on Saturday. I look forward to your requests for music by LGBT+ artists. You can listen back to last year’s Pride special on my Mixcloud and please give me a follow and consider subscribing monthly while you’re over there. Thanks for listening.
Listen back to the 227th episode of Balearic Breakfast:
THE PLAYLIST
(1963) Beach Boys – In My Room
(2025) Visions of Light – The Last Domino
(2025) Taggy Matcher ft John Milk – Stayin' Alive
(2020) Mark Farina & Homero Espinosa – The Story
(TBR) Psychemagik Edit – Do It
(2025) Loose Ends – Hangin on a String (Random House Rework)
(TBR) Lou Rawls – You'll Never Find Another Love Like Mine (The Reflex Revision)
(2025) The Circling Sun – Constellation 7:30
Payfone Interview & Mix:
(1979) Cherry Laine – I'm Hot
*(1978) Le Pamplemousse – Sweet Magic
(2023) Addmoro – Rock & Roll Skate (Sax Version)
(1979) Sweet Clover – You're What I Need
(1984) Fresh Band – Come Back Lover (Dub)
(2005) Joe Mensah – Africa is Soul
(1979) Taana Gardner – Work That Body
* Thank you to David Stoddard for identifying the song!
COLLEEN'S PRESENTATION
The Beach Boys with In My Room, penned and sung by the late pop pioneer Brian Wilson, who sadly departed planet Earth last week. But what an illustrious life he led, helping weave the fabric of pop music with the groundbreaking album, Pet Sounds, one of the most classic albums of all time, and which inspired the Beatles to up the ante with their own game changer, Sgt. Pepper. And I wrote about the album on the Classic Album Sundays website, so you can find out more there. But I didn't start the show with the obvious God only knows, but with a single from the Beach Boys' third album, Surfer Girl, because this was the first Beach Boys song that truly floored me. My parents didn't have many records at all, but this was one of them. And I played that song over and over and over. And I think it really reflects Brian Wilson's personality and musicality. May Brian Wilson rest in paradise.
Editor's note: Fun fact, although Brian Wilson described the song as about being “somewhere where you could lock out the world, go to a secret little place, think, be, do whatever you have to do”, Charles Manson claimed that the Beach Boys stole the song from him 😂
Good morning, Balearicans. I'm Colleen Cosmo Murphy, and welcome to another weekly Balearic Breakfast Showdown, taking you until high noon on my MixCloud Live. And greetings to the fam gathered in the chat. And thank you again for joining me. And thanks to all those who joined us at the London Loft Party this past Sunday, celebrating 22 years since we started the loft in London with Dave and Mancuso. Wonderful vibes all around. And also a huge heartfelt thank you to the London Loft team, who put so much effort into these parties. I deeply, deeply appreciate you.
Now last week, I announced a couple of releases. The Cosmodelica Electric Eden remix of The Cure came out on Friday. And if you're a Cure fan, you can find out more on their website. I listened to the entire album, all four sides of the vinyl on Friday. And there's so many great remixes, Orbital, Daniel Avery, Paul Oakenfold, Ame, Mira, and many more. Profits are being donated to War Child UK. So ordering the physical copy will be helping one of the best charities in the world. And my Cosmodelica remix of The Street People came out on the Spring Revisited series by Cosmos Music and Acid Jazz. And that's also now available on vinyl. And a bit later in the show, I have another announcement for you.
Also later in the show, we have an interview with and a mix from Phil Passera of Payfone. Their album Lunch came out last Friday, and it's a physical release only. It's not streaming anywhere. So if you want to hear it, you'll have to head on over to the Payfone Bandcamp and order it. Support the artists, support indie labels, and support independent record shops. Get it on. Get on it, fam.
Okay, until then, you can hear I have a bit of a cold, so I'm going to keep talking to a minimum. Until then, I'm spending some new re-edits and new releases, such as this next one by Visions of Light, who is Simon Sheldon, who also produces Solaris, and then drum and bass outfit Spree. He also heads the Free Booter Lounge label, which houses his bandmates, Belfast DJ Musca, and Belfast producer and musician Dan, who got his start in rock bands, and then migrated to a more chill-out, ambient, down-tempo house feel. Visions of Light showcases the trio's spacey dub-infused sound, and this next one is from their forthcoming album, The Mandala Vortex, being released on New Northern Soul on the 11th of July. Here is Visions of Light with The Last Domino.
Well, isn't that song resonating with us right now? A groove-heavy statement piece by Mark Farina of Mushroom Jazz fame, along with Homero Espinosa, with a song called The Story, released back in 2020, and sadly, still a reflection on what is happening in the United States right now. The man who stole America is not in jail. I'm truly horrified at what's happening in my native land. I mean, watching mothers being pulled out of cars in front of their children, a state senator being handcuffed on the ground, thrown to the ground for just wanting to ask a question. I mean, the list goes on and on and on, and I feel angry, depressed, and also helpless, you know, being over here. But one thing that's really inspired me is the 10 million people who protested across America this past weekend. No kings. And I want to thank Jeff Peltzner from Christchurch, New Zealand, for that request. And the fact that he's on the other side of the planet of America demonstrates that what happens in the USA has great influence on the rest of the world. The story is on San Francisco label Ohm, and you can get that on Bandcamp.
Ahead of that, Taggy Mitch featuring John Milk with a different perspective of the Bee Gees classic, Stayin' Alive. Truly heard that in a different way this time. And that's from the Disco Reggae Vol. 6 compilation coming out on Favorite Recordings on the 11th of July, and it's a great comp. Taggy Mitch also does a great cover of The Seeds 1966 classic, Pushin' Too Hard. And there's also covers of songs by Ramsey Lewis and the Isley Brothers by Soul Sugar, Mystic Jungle, and Mato.
Okay, Danny Skyrager sent me over some new psych magic edits, and he's also joining me in our love dancing tent on my Saturday Cosmodelica takeover at We Out Here. I'm looking forward to hearing his deep and obscure psychedelic offerings. It's going to be cosmodelic and deep. Here's the new Psychemagic rework of an artist whom I don't know despite multiple shazams, but it's a great cover of Do It by BT Express. His voice is just so spectacular.
Lou Rawls, The Late Baritone, with You'll Never Find Another Love Like Mine, written by Gamblin' Huff and given a revision by The Reflex. It's such an amazing song, and what a life he led, getting his start in the 1950s alongside Sam Cooke. Then he served in the U.S. Army as a paratrooper, and then he nearly passed away, nearly died in a car crash. He was in a coma for nearly a week. But then in the late 1950s, he launched his solo career with highlights, including winning Grammy Awards, performing at the Monterey Pop Festival, and then after siding with Philly International, he had this, his biggest hit, You'll Never Find, which topped the R&B, adult contemporary, and pop charts. And in 1980, Rawls started the Lou Rawls Parade of Stars telethon, which benefited the United Negro College Fund, and by the time of his passing in 2006, the charity had raised $250 million.
Okay, I said there'd be a big announcement, and I'm supposed to announce this at 11 o'clock in the morning, so we're eight minutes off, but you'll hear it first. My next Balearic Breakfast compilation, Volume 4, is coming out on the 29th of August. It features newer tunes that haven't been released on vinyl by artists like Santino Surfers, Ilya Santana, and Tar Blanche, hard-to-find vinyl cuts by New Zealand's Troy Kingy and Claremont 56 outfit Pacwa, a couple of classic cuts from spiritual jazz band Paz and soul singer Gloria Ann Taylor, and the first vinyl outings of two Cosmodelica remixes, my remixes of Saint Etienne and Bryony Jarman Pinto. And also coming out on that date is the second CD edition of my Balearic Breakfast compilation series on Heavenly, this one compiling Volumes 3 and 4. And once again, it has gorgeous artwork from Ardnex. It's a limited release with no digital downloads. You'll see it on the bandcamp. It'll say £999. It's a joke, people. There's no digital download. You have to order the physical copy. It's going to be available to pre-order at 11am on the Heavenly Recordings Bandcamp and also pre-orders from record shops around the world. And I'll also be hosting record release parties at NT's Loft in London and Pike's in Ibiza in September. Thanks for your support of this series so far. I just checked this morning and Volume 1 is now going for £200 on Discogs and up, so that's a bit crazy.
Also another announcement, next week is our Pride special on Balearic Breakfast, and the request line will go up on Saturday. So please suggest songs by LGBTQ artists. I'm really looking forward to your requests.
Now, before we get to the interview with and mix by Phil of Payfone, I'm going to spin one more new tune. This one from New Zealand, Aotearoa. I always have a hard time saying that. Aotearoa's spiritual jazz outfit, The Circling Sun, a song from their forthcoming album, Orbit, coming out on the 11th of July. Lots of new releases on that day. The band's sophomore LP channels the cosmic energy of 1970s spiritual jazz filtered through synths, layered percussion, and ethereal choirs, and the collective expand their sonic universe with nods to Rahsaan, Roland Kirk, Azimuth, and ambient jazz. And you can pre-order it from their bandcamp, The Circling Sun with Constellation.
PHIL PASSERA'S INTERVIEW WITH COLLEEN
[Colleen]
I am in the studio now with Phil Passera from Payphone, and their album Lunch just came out last Friday. Hey, Phil, how you doing?
[Phil Passera]
I'm doing well, thanks. Doing well, doing well.
[Colleen]
Good. Now, I hear you had an eventful weekend last weekend in Paris. Do you want to share any of the details?
[Phil Passera]
We did. I mean, we were playing in Paris. We were playing a live show on a Saturday, daytime at a festival called Prairie du Canal. And then I was DJing late at a club called Sacre from about 2 a.m. to 4, I think, in Paris. We flew to Paris in the taxi on the way to the festival. The festival was canceled due to bad weather. And then the evening kind of went into chaos. It's a pretty dangerous place where we were playing in the area. It was pretty rough.
A few things happened, ending up with three police officers in our hotel room at 4 in the morning. We weren't guilty of anything, but we just got caught up in something. And also, I had to get on the mic and give the bouncers a real dressing down in the venue because they were being so aggressive with the young punters who were there. I'd been in the DJ booth for 10 minutes, and I'm seeing this big guy behind me just going around intimidating all the young crowd just because they were too close to the DJ booth. They weren't doing anything wrong. And I had to stop the music.
I got on the microphone, and I said, I said, whoever's running this club, I said, get this bouncer out of my DJ booth now, otherwise there's going to be no more music. And the crowd gave a big cheer because, you know, it was the guy, I don't know who this guy was. I spoke to the venue, and they said, we're really sorry. We're going to make sure this guy never works there again. You know, it was awful, like, you know, watching this guy going just face to face, intimidating these young girls, who were simply trying to have a good time. They weren't doing anything wrong. You know, it's just outrageous behavior. Who does he think he was? Yeah.
[Colleen]
Yeah, well, sorry to hear that. But it sounds like a very interesting story for the hotel room at four in the morning, I have to say. But, you know, the party does start with, you know, the venue staff. And this is one of the things I've always said. There's one venue I just stopped working at because the staff were so aggressive here in London. And it wasn't a surprise that a few years after that, they closed down because there was a stabbing. And, you know, these are the stories of being on the road that, you know, sometimes it looks all great on Instagram. But, you know, honestly, sometimes it has some little bumps and challenges, you know. But there you go.
Anyways, thank you for joining us here. I just wanted to kind of rewind back to the start of Payphone, just to kind of give a little encapsulated history for listeners who may be new to your music, because you started in 2013. You had a really cool single called International Smark, which came out. And it did really well. I mean, you did vinyl pressing, it sold out. You started this project with Jimmy Day.
Can you tell us how the two of you hooked up?
[Phil Passera]
So it started with a previous project, a bit of a failure. And I had been asked to do a remix for Lowe Records, I think it was, for a song by a French, amazing French electronic pioneer called Bernard Ferveur from his album Black Devil Disco Club. And in Brighton, I've just met Jimmy, who he's like, he's a producer, musician based there, has a great studio. And I was like, oh, do you want to collaborate and maybe do this remix? Which we did. And then the remix never came out. And then I said to him, if you're not doing anything with it, we'll do something with it. And it was a track we did called Subconscious Lamentation, which has actually got about like 2% of the original song in it. And the rest of it, we made ourselves. And we were both really happy with it. So at that point, we were like, let's work together. Let's start a new project together.
That was 13 years ago. And since then, I think we've had 12 releases. And then now the first album, which has taken us over a decade to make this record. But I think it's because we always said we wanted to make an album that was an album, not just a collection of songs, but like a listening experience from start to finish, how it was in the old days. So much so that we were actually just releasing it on vinyl and cassette only. It's not going to be streamed, maybe in a year's time, we'll put it online.
But, you know, we want to do something that's a little bit unique, especially in the face of, I mean, we do quite well on Spotify numbers wise. But, you know, with everything these days being focused on, on this thing called the algorithm, which I hate when it comes up in conversation. You know, please don't bring up the algorithm. It's a bit like, you know, 20 years ago, people just wouldn't shut up talking about brands and branding, you know, now it's the algorithm. So, you know, we have good support from good record shops. And I thought, I think we could do this just on vinyl and now cassette, which has been a lot of fun.
[Colleen]
I mean, it's interesting with the vinyl thing as well, in terms of, you know, people like Joe Clossel, he releases most of his remixes and his stuff on vinyl only and doesn't stream it. And there's no digital download copy. And I think having that kind of a physical kind of analog manifestation of something, it really is for the uberfan because people are going to have to go and seek it out and, you know, look for it to find it.
Does that worry you at all that you may not capture new fans just because they may not look into it?
[Phil Passera]
No, not at all. I mean, you know, we've got, you know, over a decade, we've got the Music Cup online. And that's enough to go around. I think people are finding it through, you know, their own channels. But I just think that you've got to create demand for a release. And this is I think from a few releases back, we started to do the same way.
And it's quite common where you put it on vinyl three months ahead of it coming out digital. So it gives the disco beards and the tastemakers, you know, a kind of exclusive. I think that's a good idea. I think that's the way it eventually goes up online and people can access it.
[Colleen]
Reward the true music now. Well, it's a really great album. I've been like following your career now for the past, I guess it's been like 12 years. You've been doing a release every single year religiously on labels like your own label, Otis, Lang, Golf Channel. And this album has taken quite a while to make. From what I understand, you've been working on it for about a year and a half.
What was your intention with the album in terms of you've had all these singles, you've progressed your sound, your sound has evolved. But did you have a different headspace going into saying, okay, we're actually making a record? I know you said you want to be, you know, great beginning to end. But in terms of the music itself, was there any kind of remit that you had in your head?
[Phil Passera]
I think it was just that it had to flow. It was going to be like a mid-tempo experience. It wasn't, you know, I don't think a collection of club tracks ever works as an album. So, and it was just about doing something. I think we've always tried to do something that's a bit different. It fits in the disco world, but it's a bit different.
And I think from, like, San Selonio onwards, we started to write more or less real songs, as it were, you know. And that's something that we pushed more. And we're pushing more still, actually, because we have a new element who's a girl from Brooklyn who lives in Barcelona called April Pittman, who she's a singer, songwriter, she's very versatile, brilliant voice and good writer. And she came in about halfway through the project. She's the front of the live show now. And the stuff we've been writing in the last six months going forward for the next record is really exciting. So lots of great stuff to come from there. And yeah, I think it was, our remit was mid-tempo, had to be song-based. You know, you're making a record, you've got 45 minutes, really.
How are you going to split it up? And, you know, our songs are long, they're always long. So we got three songs per side, you know, but it's 45 minutes of music. So that's the important thing, like, the old days.
[Colleen]
I think 44 or 45 minutes for an album is perfect. And I, you know, and the whole CD kind of revolution really took off in the 90s. People started making albums for the CD length of over 60 minutes.
It's just too much, there's so much filler, you know, I mean, there's rarely any good, great double albums. In terms of the writing process, so you're writing with the vocalists, you know, April Pittman's on the song Paper Man, you have loads of other great artists, you have Willis Earl Beale, you have Zara Kian, Ludmilla Rodriguez, Colette Tibbetts, Carmella the Balls, Barbara Alcindor, who's also you've worked with before. Do they also, do you write the lyrics together? Or do they write the lyrics?
[Phil Passera]
I mean, I write the lyrics, but now with April, that's becoming more of a shared thing. Barbara Alcindor, who was originally sang on Sofyan, and the track Confession of a Queen, she now has a, she's now appearing on a new song on the album called Pamela. And her story is quite mad, because she used to be the voice and the face of an act called French Affair, which you probably might remember, like a 90s, noughties, sort of big Parisian house thing, ooh la la kind of thing.
So this is very different for her, for what she's done in the past. But she's a character, and has a brilliant, deep French voice. And we always tend to try and find the right voice to suit the song. We might go through two or three or four singers per song to find the right one that suits that. And yeah, she's, they're all interesting characters, all of them, and all great voices. And working with Willis L. Beale was a joy, because me, both me and Jimmy were hooked on him. He appeared out of nowhere on the Jools Holland show. And it blew, you know, we were both like, wow, this guy's amazing. And then years, years later, Jimmy suggested that maybe we should try and contact him. And I was thinking, we're never going to get hold of him, never. He seems to fall under the radar in a sense, musically.
But we did, we reached out to him and we got him. And he was incredible. We had these amazing phone calls. I wish I'd recorded them, because he's an extreme character. Real, really interesting guy, talks a lot. And we sent him the track, and he came back with it. And it was perfect. And actually, the first time we sent it back, I edited it a bit, rearranged it a bit, and he called me up and he was like, did I ever give you permission to rearrange my track? And I was like, okay, well, there's no problem. Let's keep your track as it was originally, and let's rearrange the track to suit your vocal, which we did. Because his vocal on that first song is one continuous take. It's amazing. It's really brilliant. You know, collaborations don't usually work out as well as this one has. In my opinion, I think it's worked really well. And that's why it starts the record.
[Colleen]
It sounds great. I mean, I like all the different voices on there, because especially I love hearing male voices and female voices, especially together, because the duet is a lost art. I mean, it was such a huge thing decades ago. And when you hear those two types of textures together, it sounds great, because you do have a song.
[Phil Passera]
I was a big fan. I mean, I've been to all sorts of music. Growing up, one of the biggest fans I had was a rock group out of Virginia called Royal Trucks. We never came across them.
[Colleen]
I remember them. Back in the 80s, I want to say?
[Phil Passera]
No, no, it was actually mid, early 90s, mid 90s, about 93, 92, 93, late 80s. And they are an amazing, crazy group. I saw them so many times. And I love the way that they offer on every song, it should be the two of them talking or singing at the same time, two voices, male and female.
And then years later, I worked with a group called Joy Zipper, if you remember them, from New York, Long Island. And again, their harmonies are beautiful. It's always a male and female vocal together. And I always like that.
[Colleen]
Well, one of my favorite songs on the album is Pony Bar. Is that you singing?
[Phil Passera]
I can't say. I can't confirm.
[Colleen]
If it is, Phil, I think it's freaking great.
[Phil Passera]
Thank you.
[Colleen]
I have to say. I know you're not confirming or denying. I know, I know. We can't go out of spite, but I think that song is really great. I love the production on it as well.
[Phil Passera]
What's the song about? There's two bars that we frequent a lot. One is the Pony Bar, and the other is Van Van Bar. And sadly, Van Van Bar is gone already. The song is, before the song even comes out, the bar is gone. But yeah, you know, meet me at the Van Van, meet me at the Pony Bar with your hangout bar. I'm quite, at Wunderbar, quite happy with that.
[Colleen]
It's really good. It's really good. One thing I love about your music, it's so significant. It has a very kind of signature sound in that they're, the arrangements are quite minimal, quite restrained. Like you don't throw in too much to the mix. There's nothing there that shouldn't be there. You're focusing on the actual sounds. Reminds me of like Francois K's productions in a sense, where he just put in what was needed rather than embellishing. I think some of my own personal early productions I over embellished and I had to learn to take out, take out, take out. You know, and also the chord structures are quite minimal too. It doesn't, a lot of key changes. Are you a fan of minimal music? Is that something that inspires you?
[Phil Passera]
Yeah, very much. Really. I don't like stuff that's too overcooked or too many ideas. Me and Jimmy, we do kind of spend a long time, too long on these productions. You know, like going into this album, we thought it would take six months. It ended up taking a year and six months. And we've got, we have probably had like 20, 30 versions of a track before we settle. And things come in and we take them out, we replace them. It's a constant sort of patch up job.
And yeah, I think we're both very strict. If one of us doesn't like something, it gets taken out, you know, no matter how much one of us might fight for it. You know, so it's kind of like a working process that we have. And our goal from the very start with Playphone was that it would all be original music, no samples at all. I think that was for me because I was previously in a, you know, that was all samples. We just were like two young guys with samplers and, you know, a stack of records. And, you know, I was originally a bass player and Jimmy is a keys player. And from the start, we were like, let's do something that has zero samples.
[Colleen]
I think that's so refreshing, because I mean, I've never really kind of understood the whole, you know, ripping off a sample or maybe even an entire record of putting a house kick drum underneath it and calling it your own. It always kind of really drove me up the wall. And I don't sample either. I just feel like it's a little bit cheating, a little bit in a way. Well, it is, especially when you rip off an entire song and put a kick drum underneath it, then it definitely is cheating. There's no line there. And this album is fantastic. And you said before that you have a live unit together. You have April Pittman doing vocals.
Who else is joining you in the live unit?
[Phil Passera]
So we have a keys player called John Lander. We have a bass player called Joe Harris. And we were joined in Brighton, we were joined by Jimmy on keys and another guitar player called Jay Felix. I think we've got it down to a three piece now, because it's kind of easier to travel with. And yeah, the shows have been going really well, actually. We just played in Oslo, Norway, and then London. We performed at Manchester, Paris this weekend, where the live show didn't take place due to the cancellation. But next one up is Ibiza. We're playing in Bitter Box on the 29th of June.
[Colleen]
I'll be there.
[Phil Passera]
Oh, really? You're going to Ibiza?
[Colleen]
I'm playing at Pikes that night.
[Phil Passera]
Yeah, it's a Sunday. It's a Sunday.
[Colleen]
You should come by after.
[Phil Passera]
Absolutely. Yeah, and then we're doing, I think we're playing We Love Festival in Brighton in late July.
[Colleen]
Before we get to your mix, I just wanted to also ask you, aside from Payphone, what else are you up to?
[Phil Passera]
Well, to be honest, this takes up all of my time. I'm kind of wearing all the hats at the moment in this project. And apart from that, honestly, it's been a very busy week. We just had to move out of our studio in Barcelona. We're looking at a new place. All I'm thinking of at the moment is the next record.
We're working on a song called Opera Singer, which I'm really happy about, and I'm trying to finish that off, put that out as another 12, following the album. The album has been taking up all of my focus and attention in the last six months or so. Yeah, I can't think of anything else outside of my life at the minute that I've got going on. I used to love playing football, but my legs don't move the way they used to.
[Colleen]
Well, I think the album is great. You could hear how much effort you put into it, and I'm sure doing the whole kind of live manifestation of this album is a huge challenge as well with one vocalist and keeping your hair down to three people in total. So good luck with that. I really hope that I get to see you perform live sometime this summer. I know what you also mean about thinking about the next project. Sometimes I'm over my own remixes or whatever before they even come out.
You've been in the studio, then I don't listen to it, then it comes out on a white label, I play it a little bit, and then I'm kind of on to the next thing in my head. That's a good sign. I think that's a good sign as a creative person.
[Phil Passera]
We've been working. The process has been taking too long. For the next recording, we're going to try a different approach. If you can stand listening to a song you've read 1,000 times, it's a discipline because of course you go through the phase of initially you love it, and then you start to realize you're getting sick of it, and then you can't stand it anymore, but you have to push through that.
Finishing songs is, I think most people think, that's the hardest thing. You get to a point where you can't stand it anymore, but you have to push through it. You believe that there's something good in it, and then one comes out. Personally, I don't listen to it for six months, and then I'll listen to it. Hopefully, you should be happy. It does sound good. I'm glad.
[Colleen]
Well, I can confirm it does, Phil, so thank you.
[Phil Passera]
Thank you. Thank you very much. I appreciate it.
[Colleen]
All right. Well, good luck. Good luck with everything. Good luck with the album. Good Thank you so much for joining us on Balearic Breakfast.
[Phil Passera]
Thanks a lot. It's a pleasure.
[Colleen]
Take care.
[Phil Passera]
Ciao. Ciao.
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