Packed with cosmic chuggers and uplifting remixes, this mix was curated by Colleen 'Cosmo' Murphy for Crackmagazine and published on June, 27th 2023. Ahead of my set for @listenhereevents at @stowawayfestival on the 19th August, Crack Magazine invited me along to put together a one-hour set for their mix series. Just to keep you on your toes, I did more of a Balearic/Indie-dance kind of a thang and I have reposted it on my Mixcloud and Soundcloud. I’m chuffed to have been asked by Listen Here Events to perform on their wonderful sound system at Stowaway. Their tent is curated by obsessive vinyl collectors, selectors and DJs who share a deep passion for music and high quality audio. My Balearic Breakfast guest Paul Hillery is also one of their special guests. With it’s secret world of ancient woodlands and lakes with hidden parties, soulful relaxation, glorious comedy and plentiful feasting, Stowaway Festival in Buckinghamshire is the perfect place to host Listen Here and I look forward to exploring more! Info and tickets can be found in my linktree. Hope to see you there! Music on my Crack Magazine Mix is from @calm_music_conception@galloriginale@hellyeahrecordings@shuntvoltage@ewanp@andrewweatherall1988@primalscreamofficial@franz_ferdinand@markequark@hortonjupiter23@musicfordreams and more… Listen back to the Crack Mix 503: PLAYLIST Gallo – Abysso (Calm’s Mellow Mellow Acid Dub) Shunt Voltage – Generator Rheinzand – Mi Mundo (Blitzzega Mix) Angela – I Gotta Little Love Arcade Fire – Reflecktor Mark E Quark – Doin’ It Right Franz Ferdinand – Outsiders (Ewan Pearson Remix) Spacemen 3 – Revolution (Horton Jupiter Rework) Primal Scream – Uptown (Andrew Weatherall Mix)

Worldwide FM broadcast the 35th episode of Balearic Breakfast on April 27th 2021. About this episode. – Something's coming... Something's approaching... Once again, the magic happened and it was a collective and heartfelt effort. As we shall see, this episode will take us on a trip like no other, the Balearic Breakfast Family this time embarking on a Flying Ship... Colleen posted the request line on April 24th 2021, allowing us to take a furtive look at her friend Zaki Dee's Mural. This episode featured new music, classics, and also a few well-chosen Yatch Rock tunes alongside a beautiful tribute to the One and Only Prince! Get onboard and don't be afraid of heights, all you have to do is... never look down... Full Spead Ahead! Listen back to the 35th episode of Balearic Breakfast: THE PLAYLIST (2021) Caoilfhionn Rose – Paths (2021) Secret Night Gang – The Sun (2016) BadBadNotGood – In Your Eyes (1980) Richie Havens – Dreams (1979) Wings – Arrow Through Me (2021) Paul Mc Cartney & Khruangbin – Pretty Boys (2021) Confidence Man – Out The Window (Greg Wilson & Ché Wilson Mix) (1979) The Osmonds – I, I, I (2005) Metro Area – Things Fall (1979) Ashra – Bamboo Sands (1979) Charme – Georgy Porgy (1980) Aretha Franklin – What a Fool Believes (1992) The K-Creative and Perception – Feed The Feeling (2001) Da Lata – Pra Manha (Blaze Remix) (1995) Deep Zone – It's Gonna Be Alright (1987) Gladys Knights & The Pips – Love Overboard Prince Tribute (1988) I Wish U Heaven (1990) Anotherloverholenyohead (2004) Dear Mr. Man (2018) 17 Days (1981) Do Me, Baby THE LISTENING EXPERIENCE Each Balearic breakfast show has its soul, this episode breathes differently from all others. It has strong imagery, the one of a flying ship coming from nowhere and heading to unknown destinations. Thanks to their relaxed feeling (like the 2nd track), a lot of tracks help us picture the flying ship. Of course, this is the case with the opening track, Caoilfhionn Rose's Paths, which has a profound, free and ethereal feeling. Also, the Yacht Rock tracks requested by the Balearic Family (a new documentary just came out, if you want to expand your vinyl collection, be my guest!) help in picturing the ship (listen to Richie Havens's Dreams – a nice cover of Fleetwood Mac's 1977 song – also Wing's Arrow Through Me – and of course Charme's Georgy Porgy – a song originally recorded by the rock band Toto on their 1978 and first studio album, and based upon a nursery rhyme of the same name). The pinnacle of this 35th episode happens when Colleen plays Confidence Man's Out The Window (Greg Wilson & Ché Wilson Mix) / The Osmonds' I, I, I / Metro Area's Things Fall / Ashra's Bamboo Sands (which made me think of The Mysterious Cities of Gold's soundtrack which has a close sonic signature). There's your mighty ship proudly flying in the Balearic Skies (can you hear in your head the windy sound it makes while travelling?)... A Wow Moment of the show for sure! Even during the second part of the show, the vision stays strong and realistic, pay attention to the sound effects in the tracks (xx for instance). As always, Colleen’s mixing helps the listener’s mind to picture the flying ship at several moments of this 35th episode. Closing the show with a beautiful tribute to Prince, the cleverly organised and mixed songs leave us in a dreamy mood as the Flying ship slowly disappears in the distance…

Colleen 'Cosmo' Murphy broadcast the 161st episode of Balearic Breakfast on her Mixcloud and Twitch TV socials on January 23rd 2024. About this show. – For this second edition of our "Family Gathering" series, a feature that Colleen will keep for future occasions by the way (that's great news!), she welcomed two key figures of our Family: our dear Lee Zee, whose deeply reflective mix inspired me creatively as you will see in, what I wanted to be, a real written tribute; and the Great and Kind Kieran McCann here proposing a mix which will take you to views you never saw before (and we shall see together precisely why)! Colleen shared these words on her socials: "As I’m now in New Zealand, once again, the guest mixes from our worldwide BB family continue. First up is my dear friend Lee Zee who is the designer of the Balearic Breakfast logo and all of those lovely ‘request line’ stencils that use photos of my travels. The last song of his mix is especially poignant as it is dedicated to his late mother who also happened to enjoy the KLF. She was a brilliant woman. His mix is deep and beautiful. It’s followed by a mix from @kieranjmccann of the @cooriedoonparty in Glasgow. His globetrotting mix will have you up and out of your seats in no time and shazam-ing like there is no tomorrow. Thanks to all who joined in the live chat during the Mixcloud live stream. It’s a grounding experience to be with all of you tuning in and chatting from different time zones and corners of the globe. You mean the world to me. Enjoy the show and thanks for listening." Listen to the 161st episode of Balearic Breakfast: PLAYLIST Lee Zee Mix This Mortal Coil – Song to the Siren RY X – Berlin Gigi Masin – Clouds Cocteau Twins – Alice Izue Asazaki – Yoisura Bushi (Kuniyuki Remix) Mental Remedy – Omamiuda (Prayer for Japan) Endgames – Ecstasy (Centurion Mix) 52nd Street – Tell Me (How It Feels) (Dub) Sade – Make Some Room Malcolm McLaren – Call A Wave (Breakdown Mix) Tangerine Dream – Love on a Real Train (Live) The KLF – Last Train to Trancentral (Pure Trance) Kieran McCann Mix Derya Yıldırım & Grup Şimşek – Hastane Önü Neyssatou – War Horace Andy – Get Down Manu Dibango – Goro City Don Cherry – I Walk Antoinette Konan – M'ackô Nana Tuffour – Sikyi Medley St Germain – How Dare You Esa – A Muto Club Ice – Manhassett (Larry Heard Space Mix) Natalie Cole – Annie Mae FANTASMAGORIA... Dedicated to Lee... Courtesy of Colleen 'Cosmo' Murphy Dreams do never come true. Dreams do never come true. It’s a perpetual illusion, this world of ours we live in. A perpetual illusion we strive to keep alive and well because, amidst the loneliness, amidst the disillusioned love affairs and the untruthful friends, amidst the useless rules and the fatiguing orders given by those who do never experience their stupidity, amidst death lurking in the corner of our eye, we do all, effectively, have nothing left. So we strive with all of our broken souls to create, to recreate, something coming from a somewhat distant past where all of the reality of our actual dreams was a dream we were not aware of. Time passed, and we didn’t see life’s sail unfurling before our eyes, filled with empty words and lost promises, still thinking we had kept Something from that not-totally forgotten era... Yet, you held nothing, blinded child of the dying sun. You were a mere dream, a passing, a light ghost, and you shall stay in your ethereal and oh-so-long-lost amnesia. Voices, voices here, voices there, where am I? Who am I? Do I even exist? And these shores, are they real… Lee’s voice lost itself as he tried to call someone, something, somewhere, there… In the distance, he couldn’t distinguish anything, and the lonely fog kept waving around his feet. What’s there left to do? It seems I am no one, absolutely no one, since you left… Keep marching Lee... Keep on marching... Step after step, the fog kept rolling in and out of this undisclosed space, where promises seemed to blossom slowly like small red flowers in the spring's wakening wind… Step after step, you will forget about my dream, dear child. And, by doing so, you will discover the true meaning of life. Just like yourself, I was a dream passing by. Just like yourself, I was an illusion. One you needed, one you reached out to, finding there meanings and explanations, one you cherished and loved, but nothing more than just an illusion. And, in our unknown Balearic World, that is how it is all meant to be. You will find me again, Lee… I know you will… Keep on marching, dear Sun of mine… Voices here… Oh so close to me… But all I can see is your absence... Lee kept on marching in the lost ethereal space, a crystal tear vanishing in the awakening wind, there, somewhere, as a path started showing its waving ways in the now slowly, in the o so slowly disappearing fog. An actual path? How?! So lost, being offered a path? The never-ending source of philosophical elevation embarked Lee on the lost reality in its ever-renewing dreams, soothing his turbulences with steady and somewhat affirmed rhythms. Renew yourself, you’re nothing, and being nothing is the key, be everything but something tangible, that’s lost story, that’s a thing from your past now. Your only possibilities are in the never-more, and remember, just be Balearic, like the never-ending wave, like the high-flying bird, forever disconnect, disconnect, disconnect yourself from your inner tribulations, detach yourself from the Mortal coil they said was your only destiny, be open in your forthcoming conversations, for nothing here will be real. Go, go, go my child, awake in my sunny embrace and smile at all that's left here for you. Take a trip down to nowhere, Find Solace in the Kaleidoscope of your new Ecstasy and, at last, dear Sun of mine, embrace your only and true eternity... THE LISTENING EXPERIENCE Certain songs of broken love take heavenly aspects, sometimes. This Mortal Coil – Song to the Siren [1984 - Discogs] is one of them, undoubtedly. The song, originally composed by Tim Buckley, whose lyrics were taken from a poem by Larry Beckett, was issued on Tim's sixth studio album, Starsailor in 1970 and had quite a long story, both in its creating process as well as in its own musical reality afterwards. Leading us on a path of sorrow, Lee keeps the aerial aspect of his mix to another level with RY X – Berlin [2016 - Discogs]. This song, through its sadness, still elevates the listener thanks to the musicality of the vocal line, which contrasts with the melody of the guitar, which is, to me, on the lower register. There's something very contemplative here, but sadness is not overwhelming, though it is heavy, for sure. We can feel Lee's delicacy as he lets the song die peacefully before starting the following ones; this mix is a flow, a march, a silent march. As Gigi Masin – Clouds [2016 - Discogs] starts (this track has been sampled many times), we get closer to the marching aspect of Lee's mix; it is a journey through the unknown, confirmed by the following track, Cocteau Twins – Alice [1996 - Discogs], which perfectly fits in rhythmically speaking. Released in 1982 as part of Cocteau Twin's' album “Garlands,” the track showcases Elizabeth Fraser's beautiful vocals, the song sharing with the rest of the tracks an ethereal element, leading us to picture clouds or fog in an unknown space... Though we feel lost somewhere, it is strange because we do not feel darkness; a sad peace surrounds us; this feeling is beautifully confirmed by the stunning track Izue Asazaki – Yoisura Bushi (Kuniyuki Remix) [2014 - Discogs], clearly indicating that this mix is a call ("Yoisura Bushi" is a traditional Amami Island song of prayers for the safety of sailors). Telling a story through a mix is one of the most hard things to achieve. You must know your tracks and their lyrics and keep the narrative clear. Normally, you should be able to write your story down on paper once you complete the playlist; at least, that's how I always worked on my own mixes. When we heard the following track, Mental Remedy – Omamiuda (Prayer for Japan) [2012 - Discogs], we all were in awe because we knew the track from Colleen's Balearic Breakfast Vol. 2 compilation, and, on a personal level, I felt this was a structuring point of Lee's story. This moment Wowed the Balearic Breakfast Family. From a lost world, from sadness, from grief, a path was born; a way out, somewhere, showed its indirect ways. Cleverly done, Lee, and with the right rhythmical touch, too. Being in Colleen's musical embrace gives us Joy, a tremendous amount of joy. Because we share the music but also the Show's soul. Lee, of course, did exactly what had to be done at the dawn of the second part of his mix by steadily speeding things up with the wonderful track that is Endgames – Ecstasy (Centurion Mix) [1983 - Discogs]. The voyage is still taking place; it is just lighter now, and the following track, 52nd Street – Tell Me (How It Feels) (Dub) [1985 - Discogs], while keeping the rhythm steady, does not kill the ethereal element that was present in the first part of the mix. We have a great intellectual unity here, it seems obvious. Even the great Sade – Make Some Room [1994 - Discogs], with a more closed approach to the sound, keeps an openness into the void that can't be denied. Found on the B-side of their 1988 single "Nothing Can Come Between Us", "Make Some Room", "a dreamy ambient techno tune with 909 rhythms, a rubbery 303 bassline and some chopped-up vocals", shows Sade's voice less to the upfront than usual, "the track offering a sneak peek at the more electronic and downtempo sounds she would explore on her next LP, Love Deluxe". While Malcolm McLaren – Call A Wave (Breakdown Mix) [1989 - Discogs] slightly slows down the rhythm, we clearly see that the march keeps going on. With his great mixing skills, Lee is able to keep, slowly and in an almost perfect rhythm, the flow to the absolute greatness that is Tangerine Dream – Love on a Real Train (Live) [2015 - Amazon]. Featured in the movie "Risky Business" (the movie soundtrack also includes the great "Old Time Rock'n'roll by Bob Seger), this trippy musical scene seems to find influences in Steve Reich's Music for 18 Musicians and remains, to this day, their most important production. Lee's last mix is pure bliss here, just right here, perfection. Listen to how the last track, The KLF – Last Train to Trancentral (Pure Trance) [1990 - Discogs], arrives on Time... Beautifully done, Lee... Following such an "inhabited" mix is not easy, but it seems that Kieran's musical trip perfectly marched into Lee's introspective work, actually because of its absolute "openness"! Logically, Kieran starts his set with the somewhat worried Derya Yıldırım & Grup Şimşek – Hastane Önü [2021 - Discogs] as it beautifully sets the stage and the Foreign Musicality this mix will propose throughout its hour lengthy sonic reality... It is not every day that you hear Turkish sounds taking you so far away from your homeland! This incredible musical piece is followed by a complete change of territory (we're closer to Tunis now) and rhythms (a light touch of Jamaican reggae!), with the beautiful Neyssatou – War [2019 - Bandcamp]! This beautiful piece is taken from the great "Pay It All Back Volume 7" compilation which proposes 18 tracks stitched together with a number of special pirate radio-style segueways, creating a unique journey through the modern world of On-U Sound! Did you notice the dynamics of these songs? I think I already told you that Balearic Breakfast was all about the dynamics, didn't I? Talking about that, Kieran keeps the groove absolutely on by playing another groove, Horace Andy – Get Down [1985 - Discogs]. It seems obvious, as the next number, Manu Dibango – Goro City [1980 - Discogs], enters our dancefloor, that Kieran, on that mix, was not rhythmically obsessed (at least in this first part, hint!). He went all the way towards an eclectic mix, showcasing beautifully recorded songs that must sound very good on a nice big sound system, laughs! For those of you who would like to know more about this particular song, there is a great French page on musiqxxl.fr. Gone Clear, the first of two reggae albums by the legendary Cameroonian saxophonist Manu Dibango, was recorded in Kingston with Robbie Shakespeare and Sly Dunbar (who will also work with Serge Gainsbourg a few years later), and a brass section featuring the Brecker brothers! Sly & Robbie know how to do things... I also had the Brecker Brothers on horns... It's a good album, isn't it! In fact, I recorded two of them [Gone Clear released in 1979 and Ambassador released in 1981]. There's Gwen Guthrie and Jocelyn Brown on backing vocals, singers who've made huge hits... When you listen to the record, you hear it's singing... There's a special sound to it. I was happy to do it. I did stay in Jamaica for a month. It was a very good time. The mixing took place in London. Manu Dibango Keeping the rhythm steady for the next number with Don Cherry – I Walk [1985 - Discogs], one thing is sure: Kieran's selections sound huge and precise, with a beautiful depth to them. Interestingly enough, Don Cherry's studio album Home Boy, Sister Out from which I walk is taken was only issued in France, his international issue taking place some 40 years later on Wewantsounds! Once again, I can only recommend you have a Google translation of this great page; it's a fascinating story! Sometimes, the best mixes are the simplest ones, and Kieran just proves it right now with the still very Balearic Antoinette Konan – M'ackô [1986 - Discogs], reissued in 2019, followed by the joyous Nana Tuffour – Sikyi Medley [2018 - Discogs], which has been reissued in 2018. What's happening here in the mix just Wowed the Family! Take the time to listen carefully; you should simply lose your mind when realising how beautiful this passage of Kieran's mix is as St Germain – How Dare You [2015 - Discogs] enters our musical cells (this particular beauty containing a sample of "Nightmare Blues" written, composed and performed by Robert Burnside)! Clearly and slowly, Kieran takes us down to another Balearic side with the following number: Esa – A Muto [1986 - Discogs], nicely mixed in, by the way! ESA's first album, "A MUTO", was released in Cameroon in 1986. It marked a turning point in the Makossa practised in the southwest of the country. For the record, ESA (pronounced ESSA, a term which, among the SAWA people of south-west Cameroon, means "evocative magic" or "contact with the beyond") is an African music concept created by Georges DAYAS WONJAMOUNA and embodied by the exceptional Stephan DAYAS. I mean, come on, Listen to the realism of the sound; I'm just feeling ecstatic right now (oh, by the way, we're in Cameroon right now if you were curious)! Kieran keeps the Balearic Vibes alive and well with the incredible Club Ice – Manhassett (Larry Heard Space Mix) [1992 - Discogs], ending his set with the very "Credits like" song, Natalie Cole – Annie Mae [1977 - Discogs]. What A Trip that One was, Kieran!

Colleen 'Cosmo' Murphy broadcast the 162nd episode of Balearic Breakfast on her Mixcloud on January 30th 2024. About this show. – I remember when I spoke to Douglas a few days ago, insisting that this blog was not about me but about us. I had this beautiful sentence "And that's also something I learned thanks to Colleen... It's US... it's just US... US as music lovers, the music that's being played during the show, the artists who make it and Her... Her as a Professional... an Absolute Human Professional..." There you go, Colleen; you've just been awarded a new title from your Balearic Breakfast Family, the AHP one! Congratulations! Joking aside, it is really Heartwarming to share music all together with our dear Captain. It really is! Being given the opportunity to share our musical worlds with such a great musical radio host, I mean, that's the icing on the cake, right? For this week's show, Colleen asked Susan, whom I interviewed earlier on the blog (read here), and Matt Raistrick to craft mixes for us as she's still travelling around the globe: "I haven’t brushed my hair in weeks but at least my clothes are clean and that in itself is a feat when you’re on the road. This week’s Balearic Breakfast is now up on my Mixcloud for your listening-back pleasure. This week we are joined by two more members of our global Balearic Breakfast family: @sansan.ot from New York / New Jersey and @matt_raistrick from Greater Manchester. I’ve had the pleasure of hanging out with Susan and her husband Jeff, their daughters and her brother-in-law (an amazing roller skater) at various parties in New York and it’s great to see her shine on this mix. Matt requests songs each week (at least when the request line is up) and they are all worth checking out as he has a great ear. Once again both mixes are fantastic. And thank you to all who made the past 2 shows reach Number 1 on the Mixcloud Balearic chart. Thanks to all who joined in the chat on the live stream of the show. Your encouragement and support of one another is truly inspiring, and thank you for making this community a beacon of positivity. We all need more of that in our lives." Let's keep the fire burning and embrace these two great-sounding hours of pure Musical Bliss... Listen back to the 162nd episode of Balearic Breakfast: PLAYLIST Susan Chan Mix Pat Metheny Group – Are You Going with Me? Laid Back – Fly Away/Walk in the Sunshine Aswad – Dub Fire Sade – Why Can't We Live Together Los Niños – Star Odyssey Moloko – Forever More (Francois K & Erik Kupper Vocal Mix) Jacob Gurevitsch – Elevation in Minor (Cosmodelica Remix) Paul Young – Every Dub (Pete Blaker Balearic Dub Edit) Matt Raistrick Mix Steve Hiett – Kinda Knew Anna Simon Peter – You Don't Send Me Slow Waves Anymore Citron Citron – Tu m'as Reveillée Dans Mon Sommeil Statues – Comienzio Sade – Love is Stronger than Pride (Mad Professor remix) Lova – Venizia 26 02 Optimystic – Trust Me Ichisan – Vitranc '86' Ron Basejam – FAKE Tooli – Solution Dub DENA – Idealize (Lauer Remix) Jean Claude Gavri/Howard Jones – Mental Chains Jean Claude Gavri/Pet Shop Boys – Love Trip Captain Sensible – Wot! (Daniel Monaco edit) Tina Turner – We Don't Need Another Hero (Plastic Fantastic instrumental Dub) THE LISTENING EXPERIENCE Susan's mix very quickly gave me the impression of a river flowing to its destiny: the sea... She was thrilled to have done this mix for us: "It’s a mix of old and new favourite tracks of mine. Definitely a privilege to put something together for the Balearic breakfast family!" (to read my interview with Susan, click here). Every track follows the previous one in a beautiful musical flow, and there is an underlying tension to the whole mix, something intangible yet very strong, something that pushes the listener, a driving force, a musical engine. I felt that so strongly that it even reaffirmed some thoughts I had for the last few days about how we could be more Balearic in our lives. But we'll come back to these thoughts later in this post. Opening her set with the absolutely sad track Pat Metheny Group – Are You Going with Me? [1982 - Discogs] really surprised me as I thought it was rather a closing song. Still, when I gave it a second thought, "Are you going with me?" really is a plea; it's a question waiting for an answer, but the answer to that question will not change the Destiny of the one who asks it. It's an affirmation, it's an affirmative question, the underlying answer being "no matter what you'll do, I'll go. If you want to stay by my side, I'd really love it, but I can't force you, my destiny is waiting and I can't stay here longer..." Strangely enough, I searched the internet to find more information about this heartwrenching song and only found these few lines: "It's a special song, probably one of the favourites of my own songs, and it is my favourite song to play live with the group. There really is no story to it. i was just trying to find a way to use that c minor/a flat major common tone thing that i love so much in a way that sounded good to me. it was written very fast, basically i improvised it into the synclav in the same amount of time it takes to play one chorus. i don't think i ever changed a note of it - it seemed just fine. i then remember playing along on the (at the time new) roland guitar for about 5 hours without stopping - always a good sign for a new tune. if it is about anything for me (other than the c minor/a flat thing i was talking about) it is about a little walk that i took just before i wrote it near where it was written. (upstate new york) - somehow i always think of that when i hear it. but most people make up their own thing of what that song is "about" and they are all pretty different definitions from each other - and i think that is also a good sign for a tunes life". Then enters the second song, Laid Back – Fly Away/Walk in the Sunshine [1983 - Discogs], with a visual accent to it, almost like a feather falling somewhere; beautiful mix, by the way, simple yet very effective. This song directed me towards the image of the river. That rhythm really lets you picture the free and generous but somewhat boiling waters (if the sound of that song reminds you of something, search no further as Laid Back was responsible for the Hit "Sunshine Reggae" that can be found on the same album "Fly away" has been taken from, namely "Keep smiling" from 1983). Since it's very long too, "Fly Away/Walk in the Sunshine" accentuates the idea of the Flow, which is well maintained with the following song, Aswad – Dub Fire [1982 - Discogs]. Can you feel the lingering tension in the music's tonality, too? Nothing is really happy here for the time being. And we keep that "uneasiness" during Sade – Why Can't We Live Together [1984 - Discogs] (the original being by Timmy Thomas from 1972), which tends to show that Susan has a trained ear as she was able to create here a beautiful musical unity. I love how Sade's song enters the mix, with an uncertain affirmation followed by Los Niños – Star Odyssey [2021 - Bandcamp], and the river is still flowing strong. Keeping the rhythm intact, Susan's next choice seems absolutely logical in the "déroulé" of her mix; such a great choice putting the very ocean-driven Moloko – Forever More (Francois K & Erik Kupper Vocal Mix) [2003 - Discogs] here! This beautiful and strong musical moment is followed by Jacob Gurevitsch – Elevation in Minor (Cosmodelica Remix) [2023 - Bandcamp] (read a review here), a track we all love I believe! Ending this somewhat romanticosad mix, Susan proposes to us the beautiful Paul Young – Every Dub (Pete Blaker Balearic Dub Edit). "Everytime You Go Away", released in 1985 on Paul's "The Secret Association" studio effort, was, in fact, written by Daryl Hall and originally recorded by Hall & Oates for their 1980 studio album, Voices. Yet, it has not been released as a single; Young's version becoming a hit nearly five years later. Daryl Hall listed this version as one of his favourite Hall & Oates songs and explained, in various interviews: "Paul Young had a pop hit with it a few years after we released it. It's just one of those songs. I feel very proud of its craftsmanship. I never thought of it any other way than the way it was 'til Paul Young did it ... I was just doin' a kind of gospel/soul song; that was all I had in mind for it. I was really surprised to hear the production they did because it kept the elements but commercialized it - made it sound like a pop record". As I said in the beginning, this mix got me thinking that we, as humans, should try to take things with distance, especially when we're drawn into situations we absolutely can't control. We should try to distance ourselves from what is coming at us, what is "attacking" us and know that we are not That situation. We should allow ourselves to surpass any situation that we encounter; this should help us to keep our emotional balance. And this is where the image of the river is interesting. Can you see Why? (...) Matt's mix is the most laid-back, unpretentious mix I've ever heard, yet its structure is nice, it does exist (it pops out musically, so that's great, too), and its last part is just perfect, right up until the end, where the Plastic Fantastic instrumental Dub serves as a beautiful ending credit list. We actually did a great interview together that you can read here. Starting his mix with the very soothing Steve Hiett – Kinda Knew Anna [2019 - Discogs], whose album "Girls in the grass" contains unreleased material recorded between 1986 and 1997, Matt breaks the flow with Simon Peter – You Don't Send Me Slow Waves Anymore [2023 - Bandcamp]. Simon shared his thoughts on his Facebook about this very song a few weeks ago, saying "Key inspiration for this track was Cornelius - 'Point of View Point' (Yann Tomita mix) - a track I've loved for years!" Matt keeps on surprising us as he, once again, breaks the rhythmical flow by selecting Citron Citron – Tu m'as Reveillé Dans Mon Sommeil [2022 - Bandcamp] (you woke me up from my sleep) and Statues – Comienzio [2023 - Bandcamp], which beautifully ends the first part of this mix. When you think about it, musically, "Tu m'as reveillé dans mon sommeil" is a nursery rhyme! The lyrics are gentle and present a "love story for two voices": Augustin sings the male version while Zoé sings the female version of the lyrics. The brother and the sister present an unconventional love song which really got into our hearts. Even though the English translation can not reproduce the duality created in this song, the lyrics go like this "I was crazy/ I was alone/You told me that the pain/Was worth it/And you woke me up in my sleep/Aaaa/I was terrible/in my cocoon/You told me that life/Was worth the effort/ And you woke me up in my sleep/Aaaa/I was lame/Without ecstasy/You told me that love/Was worth the effort/And you woke me up in my sleep/Aaaa". Obviously, Matt wanted to convey, in this first part of his mix, a Balearic Message, regardless of the musical unity, and that's great as every track shines in its own independent way! Then, nicely keeping up the rhythm for the first time, Matt takes us to the second part of the mix, starting his journey with Sade – Love is Stronger than Pride (Mad Professor remix) [1996 - Discogs], beautifully followed by Lova – Venizia 26 02 [2023 - Bandcamp] (click here for an interview I did with the great Davide Lovato). This moment of the mix really shows you Matt's freedom; there is a constant "take off", and surprise is always lurking from an invisible corner... The last two tracks, nicely mixed together by the way, and preparing us for the next big part of Matt's musical journey, are Optimystic – Trust Me [1991 - Discogs] & Ichisan – Vitranc '86' [2023 - Bandcamp]. Finally, from Ron Basejam – FAKE [2016 - Bandcamp], you can hear the same sample in the tribute "JTHZ MIx" I did (Julius Thysen & Hens Zimmerman); Matt takes us onto the Dancefloor for a nice boogie, which deserves to be given the Wow effect! There are no rhythmical breaches here; the flow is real. We surely don't need another DJ, but we do love Record cueers when they know what they're doing, and that's exactly what happens here with the next five songs that are Tooli – Solution Dub [2023 - Bandcamp], DENA – Idealize (Lauer Remix) [2023 - Bandcamp], Jean Claude Gavri/Howard Jones – Mental Chains [2021 - Bandcamp], Jean Claude Gavri/Pet Shop Boys – Love Trip & Captain Sensible – Wot! (Daniel Monaco edit) [2022 - Bandcamp]!!! Matt ends his mix with a perfect closing track, Tina Turner – We Don't Need Another Hero (Plastic Fantastic instrumental Dub) [2021 - Bandcamp].

Colleen 'Cosmo' Murphy broadcast the 172nd episode of Balearic Breakfast on her Mixcloud on April 16th 2024. About this episode. – Our beloved captain's vacation time is coming to an end, sigh! But wait! If she is coming back, it means that we're going to be able to request more Tracks?! Oh yes, so nothing is that bad, hey! And this episode is another one that just felt like it gave us what we All Needed: More Music (laughs)!! With all of these events going on, there's nothing more to add but give our captain the Mic! "(...) As it’s the last week of my hols, the show features two guest mixes from our family members @rick_van_veen and @melissalyde. Both mixes truly compliment one another. Rick is from The Netherlands and is a longtime contributor to the show. His mix progresses from chillout to dancehall and hip hop to more of an acid house sound with artists including @kingbritt @officialmeshell @basement_jaxx @carlcraignet @sweatsonklank @stgermainofficial @sven_wunder Melissa is from Brooklyn, NY, is the founder of @alfredascinema and has made some great requests on the show. Her mix is all about deep soul and jazz with artists like @cecilmclorinsalvant1 @scottgroovesdj , @louievega Joe Claussell, @_floydvader @novakaneomega #gracejones #quincyjones #minnieripperton Once again thank you to the Balearic Breakfast community for supporting our special guests. Your enthusiasm is a joy to admire. I’ll be back streaming the show live next Tuesday, the 23rd April from 10am to 12pm BST and the request line will go up on Saturday. I look forward to your suggestions and until then, just be Balearic! Thanks for listening." Listen back to the 172nd episode of Balearic Breakfast: PLAYLIST Rick Van Veen Mix (2022) Sweatson Klank – Ballad of a Sleepless Traveller (2023) Sven Wunder – Take a Break (1983) Yellowman – Zungguzungguguzungguzeng (1993) A Tribe Called Quest – Oh My God (1969) Jim Sullivan – Plain as Your Eyes Can See (2022) Sault – God Is Love (2023) Meshell Ndegeocello – Virgo (King Britt's Sirius B Remix) (1996) Basement Jaxx – Paradise (1993) Maurizio – Domina (Carl Craig's Mind Mix) (1996) Nuyorican Soul – Mind Fluid (1993) St Germain – How Do You Plead? Melissa Lyde Mix (1981) Adele Sebastian – Man From Tanganyika (2023) Cecil McLorin Salvant – Doudou (1978) Quincy Jones – Poppy Girls (The Wiz) (1977) Minnie Riperton – Oh Darlin'... Life Goes On (1972) Ivete Garcia – Ameno Resedá (feat. Unidos Do Jacarezhino) (1980) Joyce – Aldeia de Ogum (1976) Musiques de L'Afrique Traditionelle – Percussions Senegal (2022) Louie Vega ft. Joe Claussell – Igobolo (Feelin' Love) (Joe & Louis Mood Dub) (2021) Floyd Vader ft. Novakane Omega – Speak Easy (2023) Scott Grooves ft. Cjay Hill – Let Me In (1980) Grace Jones – Private Life (1998) Kp & Envy – Swing My Way (1976) Jean Carne – Free Love THE LISTENING EXPERIENCE The "Balearic Watering Spaces Mix". – Being part of the Balearic Breakfast Family and being passionate about sound is quite a good thing actually, because you can help your friends when they need it! I met Rick thanks to the show, and we talk a lot together about music, about the show itself and also about other themes, believe it or not, Cookies and, of course... Pigeons, laughs! So when Rick asked me to check his mix (he felt the third track was louder than the others and wanted to correct the issue before it was streamed live by Colleen on April 16th), I was overjoyed and gladly accepted the proposition! Rick sent me his mix in .wav, and I lowered the third track's volume by only approximately 1db under Steinberg's Wavelab, leaving the rest of the levels untouched as they were even (thank you, Youlean Loudness Meter and my ears😊)! Then, while listening to his mix, an image came immediately to my mind with a title: the "Balearic Watering Spaces Mix" was born (Rick crafted this nice picture just the other day for you to enjoy 👌)! If you listen closely, all of the songs Rick selected do have that sonic "waving and watering" signature (listen to the bass or the echo in the songs; pay attention to the inner depth of the sound, the funky rhythm...). Nothing here is "harsh"; every beat is underlined by the melody, the bass; there is a groove, like a current; this mix has an undertow, there, somewhere... Hearing this, I said to Rick, wait, we're going to enhance that, and so did I by using two plugins I absolutely love: PSP Xenon (which put out the harmonics putting the "watering" effect to the forefront) and Gullfoss EQ (used at its minimum but best quality to enhance the realism of the sound). I feel the result is truly Gorgeous, and Rick's selections and the mix in itself also enhance the "waving and watering" feeling, as nothing is forced musically, and every song flows into the next one with grace. Such a beautiful mix!! More about the songs. – Here is some more information about the songs Rick used in his mix: With both a sensitive and organic approach to sound, Sweatson Klank's compositions step out and plunge the listener into a visual-musical world. The Californian-based DJ, film composer and musician has issued several albums/EPs in the last few years, "Ballad of a Sleepless Traveller" definitely living up to his recent statement: "I look at my musical career more like a jazz artist in the sense that so many of my favorite Jazz musicians just had these incredible long careers, leaving behind great catalogues of work but were never huge. They were, however, respected, and their contributions to music are timeless. That's my goal"; Sven Wunder's "Take a Break" is taken from his "Late Again" 2023 studio album, and the artist has already been featured in the show, a recent review stated "There’s certainly a cinematic, recorded-to-tape quality to Late Again, on which tracks such as the string-kissed “Take a Break,” “Pop-Jazz Structures,” and the horn-forward “Stars Align” evoke the work of Quincy Jones, David Axelrod, Stan Getz, and even Trouble Man-era Marvin Gaye" - Although the album is described as "a collection of nocturnal jazz pieces that depict shooting stars and scattered beams from the setting sun", one thing is certain, it takes us on the deep side, Rick's choice being perfect here as this musical piece perfectly completes and expands the oh so well chose intro of his mix!; progression is a key element of our beloved show, there is always that moment in the mix when it happens, and once again, Rick, by choosing Yellowman's classic 1983 song Zungguzungguguzungguzeng, shows how much a good mix elevates your spirit by 1) setting you free, putting you at ease and 2) lifting you up and this is exactly what this classic track does [Besides, the track is close to Cecil Wellington's "Boneman Connection", played at the Loft by David Mancuso, both tracks are in fact sampling... Alton Ellis' Mad Mad] ; A Tribe Called Quest's "Oh My God" is indeed another classic ("without question the most intelligent, artistic rap group during the 1990s", further stating that the group "jump-started and perfected the hip-hop alternative to hardcore and gangsta rap" according to critic John Bush), easily fitting its pumping rhythm and its drowning stereo effect into Rick's mix!; the WOW effect of Rick's mix is here: putting some folk after two reggae and rap classics is indeed a Genius move by playing Jim Sullivan's 1969 song"Plain as Your Eyes Can See"! It also showcases the dynamic part of the show as this song is, in fact, a sad one (a lamentation of unreciprocated love), but its affirmed rhythm does bring hope to the listener. The Lost album of the unsuccessful artist has been reissued in 2019; Sault's "My God is love" can be found on their 2022 studio album UNTITLED (God) released along (4!!!) other studio albums, a concept album about Faith, but also about self-care, it seems, a subject we love here on the blog, as this review of the album states; Meshell Ndegeocello's Virgo (King Britt's Sirius B Remix) is another example of Rick's astounding musical knowledge as the multi-instrumentalist, singer, songwriter, and producer Meshell Ndegeocello has been nominated for Best Alternative Jazz Album at the 66th GRAMMY Awards; his 2023 studio album "The OMnichord Real Book" being praised by critics; Basement Jaxx's "Paradise" takes us to a more Balearic, but still somewhat "Locked" musical trip, perfectly showcasing why Rick's mix is a loungy, deeply soulful musical affair, taking you deep down the ocean...; Car Craig's remix of Domina sets the bar high indeed; read an interview here; of course, those of us following Colleen, and keeping David Mancuso in our Hearts on a Daily Basis know Nuyorican Soul as their "Nervous Track" was played at The Loft! Rick proposes us here another beauty from Kenny “Dope” Gonzalez and Little Louie Vega; taken from the 1999 compilation "From Detroit to St Germain", "How Do You Plead ?" is a track Ludovic Navarre issued back in 1993 and to this day considered a classic. Melissa's "Free Spirit Mix". – If you're a regular reader of this blog (I hope you like it by the way, ha!) I'm sure you noticed what I wrote last week, sharing the Idea that Colleen always tries to stream Family's mixes that go well together, thus respecting the show's musical energy. And, today's episode, once again, confirms that Colleen keeps that idea for every show as we go from a somewhat reflective, deep, almost "enclosed" (I said almost Rick, laughs!) to an open and free-wheeling mix! So there is always that feeling of "evolution" in the air, that excitement that grows. And this is what hapenned on the chat as Melissa's mix started and went on! A lot of us praised Melissa's mix for its openness, its communicative joy and its freewheeling spirit. I felt that very strongly, too, and we'll dive into that in the second section of this part. Melissa's mix is light. She's not here to impress anyone but to share the musical fruits with all of us. It's a musical but also a gustative experience, one that shakes our senses, inviting us to a light but vibrant (almost tribal) dance where we delve into Music's Soul! Absolutely Brilliant and Sunny! More about the songs. – Here is some more information about the songs Melissa played in her mix: with its percussive tam-tams, Adele Sebastian's (an Afro-American jazz flautist and singer) [Note 1] "Man From Tanganyika" is a beautiful cover of Mc Coy Tyner's 1968 song taken from his eighth studio album, "Tender Moments" and is actually referring to the Battle for Lake Tanganyika (a series of naval engagements that took place between elements of the Royal Navy, Force Publique and the Kaiserliche Marine between December 1915 and July 1916, during the First World War); Cecil McLorin Salvant's "Doudou" is taken from her new studio album, "Mélusine" (the second on Nonesuch records). It contains five original songs and interpretations of nine others dating back to the 12th century, sung mainly in French, Occitan, English, and Haitian Kreyòl (the album's title refers to the legend of Melusine); "Poppy Girls" is a funky but short number taken from the double LP and 1978 "The Wizz" soundtrack (if you haven't listened to that soundtrack, please do... It's a total trip...); taken from her 1977 and fourth studio album "Stay in Love", Minnie Ripperton's "Oh Darlin'... Life Goes On" is a very funky/Balearic tune indeed. Sadly, the singer was battling cancer at the time and succumbed to the disease in 1979 (diagnosed in 1976). Following Minnie’s passing, her husband wanted to continue her legacy and established The Minnie Riperton Legacy Fund for breast and women’s cancers at the Los Angeles based Concern Foundation for Cancer Research; Ivete Garcia's "Ameno Resedá" is that Carnival song you'll keep in your heart for many years, it refers to Rio de Janeiro’s most important rancho – the street Carnaval groups that predominated in Rio in the early twentieth century, before the emergence of samba schools; keeping the Balearic vibe alive, Melissa then plays Joyce's "Aldeia de Ogum" from her 1980 studio album "Femina" (to discover more about her 1977 lost album, click here). Joycé Silveira Palhano de Jesus (her real name) recognised that starting her career as a singer, she was the first Brazilian singer-songwriter to express herself as a woman, causing a scandal...; Colleen interviewed Louie Vega several times, including a very nice CAS event that took place recently. Igobolo (Feelin' Love) can be found on a double 12-inch set, including remixes and dub versions! Grace Jones' "Private Life" is a cover of The Pretender's song, found on their 1979 eponymous debut album. The song started as Chrissie Hynde's willingness to create a Reggae song. It was then Famously covered by Grace on her 1980 studio album (with a more upfront tempo) and remains a classic to this day; Swing My Way was a staple in the 90s, and, fun fact, the new generation found out that the 1988 hit song featured rapper K.P. (Kia Phillips) on the verses and white singer Envyi (Susan Hedgepeth) on the iconic hook (to find out more about the duo, click here); Melissa then ends her great set by playing Jean Carne's classic "Free Love" from her 1976 debut studio album, a disco track on which the young kids of the 70s used to do the hustle (to find out more about the duo Jean formed with Doug, click here)! Footnotes for Melissa's Mix: Adele Sebastian was an Afro American jazz flutist and singer, active from the early 70s (when she was still a teenager) until her untimely death at the age of 27 (!) in 1983 from a kidney failure. In fact she had been depending on monthly dialysis to stay alive for years. She lived through and for the music and you can hear it on her only solo album 'Desert Fairy Princess' which was first issued in 1981. The mostly acoustic instrumentation brings a very natural and therefore rather retrospective sound considering the year the album was recorded. Adele and her band pull it off right from the start as if it had been 1966 and it was time for a revolution to shake the dust from the old time jazz. In a perfect way she mixes classic American vocal jazz elements with playful and more free passages, Latin music and tribal African sounds in the lengthy and quite rhythm oriented 'Man From Tanganyika' and makes the title track start with a mystical 'Allahu akbar' chant while it turns more and more into a dark and gloomy song with something like a psychedelic edge reminiscent of Pharoah Sanders on his early works. Wild rhythms from drums, percussions with tons of bells and chimes weave a thick groove carpet and conjure a magical atmosphere. Those jazz aficionados who love the mid 60s John Coltrane, his sidekick Pharoah Sanders and Alice Coltrane will go crazy for this album.

Colleen 'Cosmo' Murphy broadcast the 176th episode of Balearic Breakfast on her Mixcloud on May 21st 2024. About this episode. – While on tour, Colleen always tries her best to keep her Balearic Breakfast Family together and happy. Well, as you might have noticed, there was no show last week, sigh! Though that deeply saddened us, we were also absolutely supportive towards Colleen. It seemed obvious that streaming a 2-hour show was not the best thing to do when you just played a beautiful set in Athens and you're about to fly to... Boston! As Colleen put it, "After 3 hours sleep 2 nights in a row I’m now sat in Heathrow waiting for my flight to Boston and have realised that I actually am human and I do need rest and therefore I have to postpone tomorrow morning’s Balearic Breakfast stream until next week. I have finally admitted to myself that I will be unable to wake up at 4:30 am Boston time to get the stream ready. I hope you don’t mind but I need one weeks break." So we all patiently waited for this week's show, for which Colleen woke up at... 5;09 am, sharing with us live on the chat "It's 5:09 am here in Boston. That's how much I love all of you"! Good news Colleen, we Love You Back! This 175th episode of Balearic Breakfast was a special one for all of us, and I mean it. Firstly because of the Gorgeous interview Chris Coco, a kingpin of the sunset sound, did with Colleen (transcription availiable here), chatting about his new album ‘Daydream Utopia’, gifting us an exclusive mix. Secondly, Breakfast family member Constadino Folias shared with us a calm yet thoughtful mix and, strangely enough, both of these mixes perfectly blended with a somewhat sad mood we all felt as we shared concern about our beloved and ageing parents and family members. Life Circle never ends sadly, and there is nothing we can do except lend our heart and soul to the ones we so dearly love. And strangely enough, Constandino's mix gave us both a lightly sad feeling but, at the same time, a feeling of hope that really matched what was hapening on the chat while we were listening all together. So, without further a do, let's listen back to this beautiful episode! Listen back to the 176th episode of Balearic Breakfast: PLAYLIST Chris Coco Mix (2024) Chris Coco – 3BlueHidrotape (1996) Durutti Column – Guitar For Mother (2024) Chris Coco – Synesthesia (1977) David Bowie – Art Decade (2024) Chris Coco – Extraordinary Measures (2023) Sonlife – Piecebypiece (2015) Lost Horizons – Thunder Storm EFXS (2024) Chris Coco – Tokyo Ame (1981) Brian Briggs – AEO (2016) Leon Vynehall – Midnight On Rainbow Road (2023) Chris Coco – Leap Year (2020) Tenderlonius – Kirwani (1986) Colourbox – Philip Glass (2021) Green House – Royal Fern (2024) Chris Coco – Serenity Test Constadinos Folias Mix (2022) Agosta – Carricante (2019) Ed Longo & The Applied Arts Ensemble – New life (2020) Kenkou – Everlasting Dreams (Calm's Still Dreaming mix) (1986) Paris Bis – Unis Dans La Nuit Unique (2023) Canebrake – Bike Ride 6AM (Minus Yogis Remix) (2023) Mike Salta & Mortale – Hey Moloko (2021) Jesse Sizmo & Seb Hall – 45 Degrees (2019) Max Essa – The Price You Pay (For Loving That Way) (2015) Ilija Rudman – So Much (Kaleidoscope Mix) (2019) Ed Longo & The Applied Arts Ensemble – Arcadian Dream THE LISTENING EXPERIENCE The General feeling of Chris Coco's mix. – It is quite interesting to see how Chris constructed his mix, his music meeting the music of other artists in one beautiful musical wave. I love the result, a worried yet somewhat "driving" mix, perfectly showcasing how you may feel when sad events occur in your life... After all, what are we if not unknow to ourselves diving creatures? Concentrating our lost attention on one point, whatever it is, wherever it may be, does, indeed, help us to move along, searching for that next stop where we'll find solace before meeting another hard morning, another heartache, another smiling deadly and hollow figure, or another friendly leading and helping hand... Chris' mix is an inner journey, it is one of these mixes that brings out the feelings you may want to keep deep down inside for they may hurt you should you let them surface... But, remember, we must keep on diving... As I like to say, "I keep my sadness alive so my joy won't die..." and Chris' mix, and his music also actually, is exactly that... Something driving you somewhere through a light nothingness, that nothingness you always try to ignore when the sun is shining, apparently... More about the songs. – For your musical knowledge, here are some informations I found about some of the tracks played by Chris during the mix: Durutti Column's Guitar For Mother is taken from the 1996 “Fidelity” studio album (remastered and reissued in 2020), the track perfectly showcasing the album’s dream-like atmosphere, the band’s exclusive guitar sound being here expanded with the use of synthesisers while keeping a resolutely balearic musical approach; taken from the 1977 "Low" studio album, recorded between the "Chateau d'Hérouville" in France and Berlin, "Art Decade" showcases the "non-commercial" approach Bowie wanted to give the album (the first one of the "Berlin Thrilogy" sounding, interestingly enough, both dated and very modern), and really is about West Berlin "a city cut off from its world, art and culture, dying with no hope of retribution"; being the second digital single from SONLIFE’s self-titled 2023 debut album, Piecebypiece keeps the "lost feeling" of Chris' mix intact. A lot of the tracks were created in the middle of the night when SONLIFE started working on the album, this explaining that...; beginning of the 90s, Stan Hatzakis, boss of the Dance Tracks (rings a bell 😉) record store in New York, Tony Confusione DJ and Keyboard player, as well as Joaquin Joe Claussell, DJ and young store salesman, came together to release music under the "Instant House" moniker (Thunder Storm EFXS being a great example of the musical fusion these three crafted). This double CD compilation brings together the best of their first release between 1988 & 1993; a classic often played by David Mancuso, both at the Loft and during the radio show he hosted, Brian Briggs' AEO is another great example of Chris' mix sonic and musical unity! an extremely cathartic piece of music, Leon Vynehall's Midnight On Rainbow Road has been issued on vinyl (2016) and is part of the second Musik For Autobahns compilation (2015) by the revered DJ Gerd Janson; Tenderlonius' (here joined by the instrumental quartet JAUBI from Lahore, Pakistan) Kirwani takes us to other musical horizons, letting us discover a specific Musical Indian scale used to portray emotions of longing, love and devotion (more about this here); a lot of people might get confused on that one, but this track is Not a piece of music by the great Philip Glass (the renowned musician composed, among other stunning pieces of music, the incredible Opera "Satyagraha" dedicated to Gandhi), it is, on the contrary, a well-deserved tribute to the musician by the English electronic musical group Colourbox signed on the 4AD label, who released between 1982 and 1987 several records ; taken from the debut LP Music For Living Spaces, “Royal Fern” ripples with optimism, like sonic skipping stones toward the sun: “I’m trying to hit that part of the brain that’s affected by the emotional state that you’re in when you perceive something as cute,” Ardizoni says. “Cuteness and joy are gateways to compassion. It’s the gateway to empathy and activating the network in your brain that boosts moral concern for other people in the world around you”, explains the Los Angeles-based non-binary artist Olive Ardizoni. The General feeling of Constadinos Folia's mix. – As always, musically speaking, Colleen never misses the show's unity. Whenever you listen to Balearic Breakfast, you always feel Home, music simply leads you elsewhere, where you know nothing, showing you its true force, its true power. We feel that very strongly when hearing the first few tracks Constandinos selected for his own mix, they really shine in response to Chris' own selections... Though I feel Constadinos' mix is more open, having more positivity to it, being more "open", it still has that uncertainty, just like a light cloud lingering there, at the heart of the nowhere you did not understand yet... Both mixes are incredibly precise in their respective flows, thus perfectly reflecting Colleen's own musical approach... As Family member Siobhan Murphy so rightly wrote on the chat: "A massage for the mind thank you". While we were all enjoying the mix, it seems the sun went out simultaneously in several corners of the world as many of us, including yours truly, shared that the sun was coming out! As often, while we were enjoying Constadinos' mix, we also took the time to talk about other artists we truly love. Family member Kieran Mac Can reminded us that "Today would have been Arthur Russell's 73rd birthday. Just in case anyone needs a reason to listen to his music later. I went for a morning walk listening to "Love is Overtaking Me" earlier." to what our dear Captain answered, "Wow I didn't realise that Kieran - I just read Richard King's amazing new book on Arthur and I'm hosting a talk with him at Rough Trade on the 3rd June. It's an incredible book. Very intimate". We all said goodbye as Constadinos' mix was ending, our dear DJ sharing "My inspiration to do the mix is all of you guys the BB gang... Thank you Colleen for giving me the opportunity xo"... By the way, did you hear how much Constadinos' mix unfolds itself towards the end? I'm sure you noticed the global musical progression of today's episode! 😉 More about the songs. – Here are a few stories about some of the songs played by DJ Constadinos during his mix: for the first 2 tracks, Constadinos takes us to Italy as both Agosta and Ed Longo are from the sunny Country, the feeling of openness being also very well translated through the third track thanks to Calm's rework of Kenkou's Everlasting Dreams, giving to the sunny musical piece a sentiment of eternity we already felt in Chris Coco's mix; Paris Bis were a Swedish duo (Tom Wolgers on keyboards and Irma Schultz doing the vocals) that issued a few records on the also Swedish Record Label. Unis Dans La Nuit Unique, the down-tempo sexy Balearic tune, is a nice love song very representative of their style, sadly Tom Wolgers passed away in 2020; keeping the ethereal/cloudy/open/worried feeling alive, there comes Bike Ride 6AM by Canebrake (a thicket of any of a variety of Arundinaria grasses - AKA Palms & Charms Tokyo-based record label co-founder Samuel Bruce) with a track celebrating the joys of cycling at dawn here remixed by Minus Yogis; already featured during Balearic Breakfast, Mike Salta & Mortale's Hey Moloko was picked up by Hot Chip for their splendid Late Night Tales compilation (more about the track here); should you need to learn more about that "Balearic Music" genre, Jesse Sizmo & Seb Hall may have some interesting information to share as 45 Degrees greatly fits into their musical visions...; the Japan-based DJ Max Essa (here with The Price You Pay (For Loving That Way)) released this Balearic gem back in 2019 on the Jansen Jardin label; Constadinos Folia ends his mix with two beautiful tracks, enhancing the sunnier times we all experienced live, blending Llija Rudman's track So Much with Ed Longo & The Applied Arts Ensemble's Arcadian Dream. CHRIS COCO INTERVIEW WITH COLLEEN [Colleen] Good morning, Balearicans. This is Colleen Cosmo Murphy on Balearic Breakfast, hosting it until 12 p.m. on my MixCloud Live. And greetings to everybody over there joining in the live chat and video. Well, today I have something very special for you. Today we have an interview and an exclusive mix from Chris Coco. And many of you probably know who Chris Coco is because he's one of the major names on the Balearic chill-out scene. But for those of you that don't know, we'll tell you all about him. And he also has a new album out called Daydream Utopia. Welcome, Chris. [Chris Coco] Hi, nice to be here. [Colleen] Well, it's funny because we've known each other, I think pretty much since I moved over 25 years ago. But there's things about you that I just didn't know. And I was looking through your biography today. I didn't realize that you were an editor of DJ Magazine. [Chris Coco] Yeah, I mean, it was a long time ago, but yes, that's true. It used to be called Jocks at one point. I don't know if you remember that, which is like the worst name for a magazine ever. [Colleen] It does seem a little unsavory, a little stinky. [Chris Coco] Yeah, it does, especially in the U.S. sense of it (ed. : In the United States and Canada, a jock is a stereotype of an athlete, or someone primarily interested in sports and sports culture, and does not take much interest in intellectual activity. It is generally applied mostly to high school and college athletics participants who form a distinct youth subculture). [Colleen] Yes, exactly. [Chris Coco] But yeah, and we changed that. I kind of fell into that role and then changed the name to DJ, which seemed a bit more appropriate. And that was kind of around the very exciting time of the evolution of house music in the U.K. from Acid House onwards. So it was kind of a lot of fun for quite a few years because everything was very fluid and a bit mad. And then it turned into more of a business and I kind of got bored with it and stopped doing it, basically. [Colleen] Well, it was a really fresh time. It's like the DJ scene is just, you know, taking a whole new turn, it's a whole new vista. And you were very involved in the Acid House scene. But then at some point, you really got into this kind of whole chill-out side of things. I mean, before you had Coco Steel & Love Bomb, it was more, you know, house-oriented music. What was your eureka moment for getting more into the sounds, the sunset sounds, let's say? [Chris Coco] I think it was actually the cliché of Café Del Mar listening to José Padilla play. And that was when I was doing the DJ Mag job. So I was kind of sitting there thinking that I was getting bored with playing in clubs because it was becoming more formulaic. I mean, you know, things have changed again now. There was a point then where it was being broken down into all these sub-genres of house. You had to play, you know, two, three hours of a specific sub-genre and if you didn't, people thought you were weird or something, which, and I always liked the mixing stuff up, you know, bits of old stuff, new stuff, this go house, whatever it is, breaks, whatever. So this was like this revelatory moment of, oh, you can play whatever you want, any tempo, any genre, as long as it fits together for the feeling, which is kind of what you do now, in fact, isn't it? [Colleen] Yeah, yeah. [Chris Coco] So that was really that. But if you look back to that, the Coco Steel & Love Bomb album that came out on Warp, it's not all house music. There is some ambient and down-tempo stuff as well. So I've always been a little bit, because I'm quite a mellow, people always tell me you're quite a mellow person. You're quite laid back. I've always had this like different sides, the party side of it and the more meditative, spacey side of it. And I think even at the height of when I was club DJing, I was still considered quite relatively mellow compared to what other people were doing. [Colleen] Yeah, exactly. And you're not doing the big drum rolls and your fist pumps into the air, are you? [Chris Coco] Well, no. [Colleen] Are you doing that? [Chris Coco] Occasionally, but not every three minutes for four hours. [Colleen] Well, there's a really interesting part of your story as well that you toured with Robbie Williams. Yeah. And I just think that is so interesting. I'm fascinated by him, actually. Because I didn't grow up with the boy bands, I can't even name a Take That song, believe it or not. I can't even name one. [Chris Coco] That's probably a good thing. [Colleen] It's probably a good thing, exactly. But there's something I like about his personality. I don't know, there's something about him that seems just kind of wild. He seems a bit genuine to me. I could be wrong, that's just what I see. But I would love just to know, gosh, it would have been great to be a fly on the wall for that tour. But it was, I don't know, 10 years ago or so with that tour. And I just wanted to, just two quick questions about it. What was your favorite memory and what was your worst memory of that tour? Because touring with a major superstar is a very different thing. And I'm sure you were aware of things and seeing things that maybe things you can't talk about anyways. I'm not asking for gossip, but just more about what it felt like for you to be on a whole kind of different journey. [Chris Coco] I think, I mean, I think the best thing about it was probably just the kind of adrenaline rush of being involved in something like that and playing in front of so many people. I can feel my heart beating faster now. And there was, because I was in, I was the DJ of the band. But when we did the encore, I had to play stuff off of CDJs to kind of build the crowd up before the band came back out. And that bit was like madly kind of exciting. The best DJ experience, because I DJed before as well. This was before, it was actually 2006, if you don't think that's a long time. But so it was before DJs were, the DJ show was a thing like it is now. So I used to, I was just playing off CDs, two decks, no lights, no nothing. But the most brilliant DJ experience was playing at the San Siro in Italy. And I got, I did an hour set in front of his crowd as the only warmup before he came on. And that was insane. That was, you know, one of my best DJ experiences ever, if not the best. And it was just, it was in the year that Italy had won the World Cup as well. So everyone was kind of slightly excited, shall we say. [Colleen] Very excited. I mean, football's also a religion there like it is here as well. [Chris Coco] Yeah, but that was pretty amazing. The worst part was, I don't know. I mean, there's, as you alluded to, like hanging out with a massive superstar and that year that was the biggest tour in the world. It's just like this constant, you're under constant pressure and there's a stress because you don't know what's going to happen because you don't know what the guy at the top of the pyramid is going to do next. So you're kind of constantly like aware that something might happen or that you might get kicked off or something might kick off or whatever. And that's kind of the draining part of it. But obviously compared to working in Tesco on minimum wage, it's not really a problem, you know. [Colleen] Exactly, exactly. You're privileged in that sense. And I'm sure the cortisol levels run high for everybody that's involved in a tour like that. I don't know how they do it. It's kind of crazy. The amount of pressure they have as well, quite honestly. Anyways, let's get back to you. Enough about Robbie Williams. But I just have always been curious about that. The other things that you do, I just want to let our listeners know if they don't know already, you have your own label called DSPRR, Disappear. And aside from putting out your own album releases, which you've done quite a few, I mean, you have the new one, as I said, Daydream Utopia. You put out one last year with George Solar. You also put out these balearic compilation series too of some of your other works to kind of compiling them all together. And it's a really great thing that you're doing there because it seems like you're kind of running it all yourself. Everything is, you run your own radio show like I do on Mixcloud, Melodica, your weekly Melodica show. And both of us have a radio show without a radio station. So congratulations on that! Of course, it used to be on Radio 1 with The Blue Room with Rob DeBank, which was a great show, a great chill-out show. Can you just tell me a little bit more about your record label, Disappear? [Chris Coco] As you said, it kind of started as being a way to release my own stuff. And then in the pandemic, because it was something that I could carry on doing from home, as you say, on my own, I kind of started working, connecting with more artists online and having conversations and ending up saying, oh, why don't you make some tracks for me, for my label? And it kind of, it's evolved into this little community, balearic community kind of label. Well, actually, I mean, this year I've decided to call it Beyond Balearic because balearic can be a bit of a cage sometimes. So I'm now working with quite a lot of new producers, which is really interesting because it keeps me on my toes, like when I'm making stuff, because you're listening to, I made another, I put out another album last year by a producer called Sunday, which is kind of ambient breaks in that area. I've spent a lot of time thinking about how do you make these sounds, you know? And I actually, I've remixed a couple of his tracks and learned a lot about his production techniques from talking to him and sneakily looking at what he does when I'm remixing. So it's turned into this kind of, quite a nice kind of community thing. And there's one part of it is releasing stuff on vinyl, which is, you've got to make a big commitment to, which is an interesting process in itself. And part of it is doing digitally piece with newer artists, just to see where it goes. So giving people the chance to start that process and having someone to be involved who's been doing it for quite a long time, because obviously it's easy to put out a record if you want on your own, but it's really difficult to make any kind of impact with the digital release. It's about trying to build new artists as well. [Colleen] I think that's really good. I mean, you and I probably have a similar age. We both started in the 1980s and I'm also mentoring up and coming DJs and presenters. It's great to be able to kind of pass on the knowledge because for me, for instance, I had mentors that helped me. Did you have any mentors that helped you? [Chris Coco] Not directly, I don't think. I mean, I think my hero when I was growing up was John Peel and his radio show on Radio One, because it was the only place to listen to alternative music at the time. If you want to do psychology, rather than talking about music, he was almost like a father figure in some weird way, from a distant father figure who was like going, hey, listen, have a look at this, have a look at this, listen to this. And all the thoughts that come along with that and the kind of feeling of liberation that comes with discovering new music and a world outside of suburban England at that time, which was pretty dull, shall we say. But not like a massive mentor exactly in person, no. I don't think so. More these kind of like virtual figures. [Colleen] Well, it's interesting, because that's what you said. I grew up in the suburbs as well outside of Boston and I had a similar thing. I was turned on to artists like Brian Eno from a radio DJ named Oedipus. I had a show called Nocturnal Emissions. So there you go. I don't even know if you could do that anymore. In any case, it was a great show. And yeah, the radio is kind of what really kind of wrote me in and got me started as well. Well, let's get back to this wonderful mix that you've provided here for us, which is also featuring some of the songs on your new album, Daydream Utopia. And we'll come back with Kris Coco in a few minutes and talk about this latest album. [Music] [Colleen] And we're back. I'm Colleen Cosmo Murphy, and I'm here with Kris Koko, who has a new album out called Daydream Utopia on his own record label, DSPPR, or Disappear. And you can find that on his bandcamp. And I have to say, Kris, it's another beautiful, beautiful album. This record, it says it's made to be played in two sessions on a vinyl record. So you have one side, side one, then you have to physically flip it over and play side two. First of all, why did he want to do it that way? And then second of all, how are the two sides different? [Chris Coco] At this point in time, you don't need to make a physical release of music. You can do it digitally and it's very efficient and it works. So you're making an artistic choice if you decide to make a record, especially on the ancient technology of ancient vinyl technology. So my view of it was, and it's been the same with the other records that I've released with other artists, is like, if you're going to do this, it's a big commitment and it's a big deal because we're choosing to put this thing out into the world that's going to hang around for a long time and that people are hopefully going to cherish. And you're really limited with what you can do because of the limits of the format. You've got about, you know, maximum 20 minutes, probably less per side. With electronic music, obviously with digital, you can make, if you want to make a track that's four hours long, you can. It's not, may not be advisable, but it's possible. So you've really got to think about what you're doing. From an artistic point of view, that's really good because it makes you start thinking like, do I need this eight bars? Do I need this 16 bars? Can I cut it down? And then you're actually thinking about that. And a lot of the time you say, yes, I do, because it's supposed to be a long track. So if you start with the intention of making something for vinyl, it ends up completely different from if you start making something sprawling without a focus. So it gives you this brilliant focus. And then you start thinking, okay, side A is different from side B. How's it going to be different? Which was your next question? And with this one, it's kind of turned out that the A side's kind of lighter and the B side is darker. And that's also reflected because you can do that on vinyl because it's a piece of art, if you like. The front of the record is a cloudy sky, which, you know, a cloudy sky with the words Daydream on it. The back of the record is the night sky. I'd actually, to be honest, I didn't plan all of this, but it kind of ended up being like this because that's what happens in the creative process. You give yourself these parameters and then things happen. Then afterwards you go, wow, this looks like we planned it. And the same on the labels on the inside. One side is daylight, the other side is nighttime. So I think that's how you would describe the two different sides. It ends up with a little coda, which is called Serenity Test, which kind of like leads you back to turn it over and start again, if you like. [Colleen] Oh, cool. I didn't get that. That's really interesting. And that's also on your mix that we're listening to right now, if it's coming up. I think it's your last track on the mix. I guess we'll have to listen to the radio show again and then when this radio show finishes. [Chris Coco] Yeah, definitely. [Colleen] Now it seems like there's a bit of a Japanese connection here too. You have some guests, Japanese musicians, and also there is a song called Tokyo Ame. What's that all about? Why is there this Japanese connection on the album? [Chris Coco] Mainly because I've been to Japan quite a few times DJing. So one of the Tokyo Ame track was a friend of mine called Mar, who also has a radio show in Tokyo. He was staying here. It was actually just before the pandemic when everything was getting a bit weird and he wasn't sure if he was gonna be able to get back home. And he was finding out his girlfriend, who's now his wife, they were having a, I asked him to do it and I recorded their phone conversation. And they were just talking, as lovers do about ordinary things, mostly about the weather, in fact. Because Tokyo Ame means it's raining in Tokyo, basically. I think you can feel that kind of their love and that they were missing each other in the conversation, even though it's about the weather. And it kind of feels really beautiful. And I was making a track and we put their conversation into the track. He was kind of here in the studio and listening and helping me make decisions about the track. So that was kind of a beautiful, a lovely thing. [Colleen] That is a beautiful story. [Chris Coco] The other one is I've been inspired a lot by the Japanese way of looking at things. Again, this kind of attention to detail and precision, which I tried to put into this, the making of this record. The other collaborations with a guy called Yoshiharu Takeda, who I've never met, but again, long distance relationship, swapped files and ended up making something peculiar and strange, but rather fun. [Colleen] Who is he? [Chris Coco] He's a jazz musician who normally makes, I don't know what you call it, ambient jazz, abstract jazz. He came up with, used a hang drum and got his friend to sing and completely transformed one of the tracks into something lovely. [Colleen] The singing is beautiful. It's really beautiful. Feels kind of old fashioned, kind of Japanese singing. [Chris Coco] It does. Yeah, it does. [Colleen] For the most part, you play, programmed and mix this entire album. And it's quite a nice equipment list I like on your bandcamp page. Do you play bass and guitar and keys and all of these things? [Chris Coco] Yeah, I play bass on a couple of the tracks. Guitar is a friend of mine, Nick Cornu, who I've worked with for years. He's an amazing guitar player. I play lots of things really not very well. [Colleen] Same with me! [Chris Coco] But there's a lot of people who do play really well. And if I need to, I get them to come and help me. [Colleen] Well, it sounds great. I absolutely love it. So it sounds fantastic. Why don't we get back to your mix, which is featuring some of the songs from this album. And you are listening to Chris Coco here on Balearic Breakfast. [Music] [Colleen] And we are back. We have been listening to Chris Coco's exclusive mix for Balearic Breakfast. And it's for his album, Daydream Utopia. And actually there's one more song I did want to talk to you about, Chris, that starts with synesthesia. Do you have synesthesia? [Chris Coco] It's something that I'm interested in as an idea. Synesthesia being the phenomenon where when you listen to music, you see colours. So it's connecting the spectrum, the sonic spectrum with the visual spectrum, which I find a fascinating idea because I like, as you might have guessed from the title of the album, daydreaming quite a lot and drifting off listening to music. It's always been one of my favourite occupations. So, no, I don't, but I kind of, I'm fascinated by the idea of it. [Colleen] What else is going on in Chris Coco's world? You have the weekly radio show, Melodica, and you have your label, as you said, you're signing other artists as well. Are there more compilations coming out or are you touring at all? [Chris Coco] I do a thing called the Chill Out Tent with some friends, which again came out of not knowing what to do in the pandemic. It started off as an online thing, but it does have a physical presence sometimes. [Colleen] Oh, I didn't know that because I was invited as a guest of yours as well during the pandemic. So there's actually a physical spot for this. [Chris Coco] Well, we're doing a Chill Out Tent at a festival that's run by 1BTN, which is a radio station based in Brighton. They do a festival called We Are Love, which is the 26th to the 28th of July. So we're going to be there for the whole weekend. With an actual physical iteration of the Chill Out Tent, which is really nice. Again, it's kind of, it's a family thing as in musical family. We've got Phil Meisens coming to do it. [Colleen] Oh, Phil's great. [Chris Coco] Paul Hillary is- [Colleen] Oh, Paul's great. They've both been up on the show as well. [Chris Coco] And then it's kind of mostly our crew. It ends up on the Sunday with me and the Balearic Ultras guys here from Brighton as well. [Colleen] And they've been on the show as well. [Chris Coco] Oh, well, there you go! [Colleen] So we're all one big family, Chris! [Chris Coco] Exactly, yeah. But that's kind of, that's the sort of big deal thing that we're doing. We do, we also, there's also a Chill Out Tent iteration every Sunday at a pub called Simon the Tanner, which is in Bermondsey, which is, it's a little pub and it's playing records or vinyl, in fact. [Colleen] In terms of this album, I guess you don't really tour these albums, do you? [Chris Coco] I did a few, I did a few playing the record in listening bars thing. It's not a live project, it's more of a studio project. [Colleen] But you have had live acts like City Reverb as well. [Chris Coco] Yeah, yeah. [Colleen] Which you kindly asked me to remix for you many, many years ago when I just started remixing. Are you ever going to do any other bands? [Chris Coco] I don't know. I mean, I'm working with Sun Life, who I mentioned earlier, has a live version of what he does, which I'm not in the band, but it's really interesting trying to develop that. And there's a couple of other bands that I'm kind of involved with but aren't signed to the label yet, but let's see what happens kind of thing. So I think I'd probably be more interested in that side of it. It's like trying to develop working with other people to make that happen. But, well, yeah, there's also, actually, there's so many different things. There's also another album that I've made, which isn't quite finished yet, which is kind of ambient collaboration with a really good piano and keyboard player called Kevin Pollard, who worked with Smith & Mudd and those guys, Claremont 56. And that could - [Colleen] He's been on a show! [Chris Coco] Yeah! Fantastic! But that one could turn into a live thing possibly, but I don't know yet. I mean, that's more something for the end of the year, so. [Colleen] It sounds like you have your hands full and congratulations on the new release. You are definitely a Sunset Sound maestro. It's a great album. It's called Daydream Utopia, and it's out on your Disappear label, and you can find it on your Chris Coco Bandcamp. [Chris Coco] Yeah. [Colleen] And you know what? I do want a vinyl copy. You did offer me one, and I definitely would like one. So I'm just gonna let you know that here! [Chris Coco] Okay. It's not, I can tell you that it's on its way! [Colleen] Okay, great. Thank you so much, Chris, and good luck with the album. [Chris Coco] My pleasure.

Colleen 'Cosmo' Murphy broadcast the 194th episode of Balearic Breakfast on her Mixcloud on September 24th 2024. About this episode. – In this festive episode, the family was all smiles during the chat and seeing Colleen laugh while cueing records was one of the highlights of today's show! Some members of the Family even started wondering if there would be a way to record the chat along the video and be able to watch the whole show that way at a later date, to which our Captain sadly answered that only the audio was being archived. Who knows, maybe one day, this will happen?! In the first part of today's episode, Colleen proposed a few new tracks to discover, along with a few heartfelt musical tributes to friends. The second part featured her interview with two members of ASHRR, who are celebrating the launch of their latest studio album, "Sunshine Low": Listen back to the 194th episode of Balearic Breakfast: "This morning’s Balearic Breakfast is now archived on my Mixcloud for your listening back pleasure at https://shorturl.at/4igqu . On today’s show I’m joined by Josh and Ethan of Ashrr and we have a chat about their new album ‘Sunshine Low’ on 20/20 Vision Recordings . It’s a great record and they put together a great one-hour mix for us, too. I’m still on a high from our London Loft party this past Sunday and thank you to our amazing, positive team and to all of the dancers who brought their spirit to the floor. I’ll be riding the mighty glory all the way to this coming weekend when we do it all over again in Italy at our Last Note party – closing out the summer in style (and the weather looks great, too). And for those who want to join us in London – our next Loft party is the 8th December and reservations are going out next week." PLAYLIST Colleen's Mix (2024) Mark Barrott – Pandora (2024) Jonson Jonson & Jonson – Keep Falling for It (2024) 100 Poems – Song for Claire (Your Life is Your Life) (NOL) Steely Dan – Glamour Dub (Francois K Live Stems Mix) (2024) Ben Gomori (ft. Daisybelle) – Inside Melody (2022) Eparapo (ft Dele Sosimi) – From London to Lagos (WheelUp Remix) (2024) Mim Suleiman – Chunguza (musclecars Remix) (2024) Opolopo x Alafia – Axxanxxan (1974) The Blackbyrds – Walking in Rhythm ASHRR Mix (2022) ASHRR – No Garden (2024) Hiatt DB – Paris, Tx (2006) Hugh Masekela – Afrobeat Blues (1978) Robert Palmer – Night People (1972) Milton Nascimento – Trem De Doido (1975) Herbie Hancock – Sun Touch (NOL) The Police – Voices Inside My Head (Ashley Beedle/DJ Harvey Mix - ASHRR Edit) (NOL) Nile, Lovebirds – Shut The Lights Out (ASHRR Edit) (NOL) Stone Roses – Fool's Gold (ASHRR Edit) (NOL) Modern Romance – Salsa Rappsody (ASHRR Edit) (2024) ASHRR – Please Don't Stop The Rain (2012) Roxy Music – Love Is the Drug (Todd Terje Disco Dub) (2024) Ibibio Sound Machine – Pull The Rope (NOL) The Clash – This is Radio Clash (Outside Broadcast Remix - ASHRR Edit) THE LISTENING EXPERIENCE What happens when a chapter ends, where do you find the strength to go on, what pulls you through your pain and your worries, what can heal your wounded mind, where to physically put yourself, what to do with the freed time, where to look, which choice to make? Endless questions in a dark sea of possibilities... But everything is always conceivable, everything is in your hands, throw yourself into tomorrow's today, don't think, forget, don't try to reproduce what was, scrape everything, destroy the ancient with a new you never thought about and move, move, move on, one step after the other, without ever looking back. That's what "Pandora" told me while I was listening to it. This track deals with unfolding promises you must take into your hands to make them grow... Interestingly enough, here are Mark's words about this track "Pandora is about the immediate aftermath of grief where you know that any memory or photograph will open Pandora’s box and out of it pours this Tsunami of emotion that will engulf and temporarily drown you. But you do it anyway because the second or so of pleasure and comfort the memory brings is worth the tidal wave that follows" Listen back to Colleen's interview with Mark Barrott (Ep. 157): With such an opener, it seemed clear there was something Colleen needed to share and if you listen to the show you'll understand how much this moving musical piece may have struck her inner chord... There's a lot of movement at the start of today's episode, but it's nothing closed, there's no fear (there's some pain of course), sure enough, but these feelings are the ones pulling you through, because somehow through loss, love always shine there... We feel the marching force in the second track too (Keep Falling for It), even though it's more relaxed, but there's that feeling of going on, this feeling is enhanced by the sonic unity of these two first songs, they share the same "grandeur" and of course, a very close "Balearic" Soul. This marching feeling, although embodied with a light grief, is very present too in the track of today's episode (Song for Claire (Your Life is Your Life)), the words we hear at the beginning being taken from Charles' Bukowski "The Laughing Heart" and here read by none other than Tom Waits. And, on the top of that, Colleen's message is constructed inside an absolutely romantic triptych mix, the number three standing for sun signs, moon signs and rising signs and is also associated with religious beliefs, reaching towards eternity... your life is your life don’t let it be clubbed into dank submission. be on the watch. there are ways out. there is a light somewhere. it may not be much light but it beats the darkness. be on the watch. the gods will offer you chances. know them. take them. you can’t beat death but you can beat death in life, sometimes. and the more often you learn to do it, the more light there will be. your life is your life. know it while you have it. you are marvelous the gods wait to delight in you. John C Bawcombe and Claire Then, there's a silence in the mix, and a stylistic change, if I can put it that way. We're still in the midst of somewhere, but there's a goal now, we're not only reaching out to anything out there, there's light appearing and a voice to follow (Glamour Dub (Francois K Live Stems Mix)). Speaking about voices, and lights to follow, it's interesting to know that "Glamour Profession" portrays the story of three different LA characters. The short stories might be told from the viewpoint of a drug dealer or even of cocaine itself; all interpretations are welcomed in light of what has been presented at the beginning of this episode... I'll let You think about Possibilities right now, laughs! The second half of the first hour of today's show has a more positive feeling, even though it keeps the ethereal element very present (Inside Melody – London producer and DJ Ben Gomori here featured with the London-based Puerto Rican-born producer and DJ Daisy Belle, this track being taken from Ben's forthcoming album, Collapsing Time). As always, positivity comes knocking at the door with the Balearic tune that is "From London to Lagos" by Eparapo (Eparapo is bassist, composer and producer Suman Joshi, who's been part of Dele Sosimi's Afrobeat Orchestra for a decade. And he's also performed with Tony Allen, Sean Cootie, Ginger Baker, Laura Mavula). Once again, and interestingly enough: "The word “eparapo” means “join forces” in Yoruba, the language of Afrobeat. It’s also the title of a track by the late, great Tony Allen – drummer for Afrobeat legend Fela Kuti and lifelong friend and mentor of our very own “Afrobeat Ambassador”, Dele Sosimi. Not only did Tony help to invent Afrobeat, he always looked for ways to push the boundaries, never content with recreating what had gone before but constantly expanding and developing the genre. This project hopes to pay homage to his legacy, and that of Fela Kuti himself. Its aim is to innovate, fuse and diversify while still retaining the essence of the music. The positivity keeps on growing as Colleen's mixing definitely liberates itself from any fog or any uncertainty with Musclecars's Remix of Mim Suleiman's Chunguza (Chunguza meaning exploration) thus perfectly fitting today's intellectual message! We went from uncertainty to exploration; now that's a beautiful path to follow, don't you think?! Keeping the vibrant beat alive, Colleen then Cosmically Drops the funky number that is Opolopo x Alafia's Axxanxxan, ending her set with a classic tune that was, of course, played by David at the loft, Walking in Rhythm by The Blackbyrds! COLLEEN'S NEWS Colleen is resuming her monthly Classic Album Sundays events. The next one is at the KEF Music Gallery, Wednesday 9th October. Colleen will be joined by Keith Kilgo, a founding member of The Blackbyrds to celebrate the 50th anniversary of Flying Start, which came out in 1974 and features "Walking in Rhythm", a hit in the US and a loft classic. Also, on Monday, 14th October, Classic Album Sundays presents Saint Etienne at The British Library with National Album Day, celebrating the 'Foxbase Alpha' album with Sarah Cracknell, Bob Stanley and Pete Wiggs (click here to join the live stream). EVENT ALERT Join ASHRR and Balaeric Burger to celebrate the release of Sunshine Low album listening party 🎉. Live chat with the band members and the full album will be played! Click Here to participate! ASHRR INTERVIEW [Colleen] Well, we have ASHRR here in the studio and they have a new album coming out on 2020 Vision Recordings on September 20th. And I have been supporting and playing their singles here in Balearic Breakfast and you all love them. This is their second LP and it's a really ambitious album because I believe it's a double album. It has 13 songs. And with me today here in the studio, we have Josh Charles and Ethan Allen talking about their new record. Well, I wanted to talk about your pedigree a little bit because you are a trio who have quite a history in music. We're certainly not telling the story of three bedroom producers getting together and just giving it a go and seeing seeing what happens. So let's start with you, Josh. First, can you tell us a little bit about your musical history? [Josh] I started playing piano when I was a kid. I guess I was quite good at it. I was concert trained and I was also into rock and roll. When my parents grew up, I grew up with Motown music in my house. I started listening to Van Halen and I was like, I want to do this for a living. I got to do this. And so I started piano when I was about eight. At about 12 years old, I discovered New Orleans piano, and I'm on a blues station in Kansas City where I grew up and it blew me away. And I was like, I can't play this, but I have to learn how to do this. So I became obsessed with jazz and New Orleans piano. And when I was a teenager, somehow by kismet, I ended up meeting Dr. John. And he became my mentor for a good 10 years or so from my early middle teens into my late twenties. Just really taught me so much, very informally. But we both lived in New York and so got a lot of time to spend with him. And so I think that part of my background has always been there, but I was also in rock bands, went through the major label system of being swallowed up and never putting out records. Finally went independent and made my first record, I guess. And it was called, it was like a, I called it No Town Music, New Orleans meets Motown style. The years go on, I ended up doing a bunch of songwriting, ended up moving to Nashville. I met Steven Davis, who was our singer. He was a former big band singer who had headlined the Rainbow Room and everything. And my background was also in this music. So he and I connected, we wrote a bunch of music together in that style. Ended up coming out to LA, we were recording five or six big band albums, full orchestra that I produced and wrote. And we then said, this is a crazy venture. Let's try and do something a little less expensive and a little less, maybe a bit more, it was like for licensing. And then we ended up kind of going into the direction we're after headed. And so I met Ethan through a friend, and he introduced me over to him and we'll take that part of the story. But that's essentially my basic pedigree in a small couple sentences. [Colleen] That's incredible. I mean, I've never had an answer like that. And my gosh, Dr. John, that's, I mean, I discovered him when I was, I guess, 18, the first album, Night Tripper. And I was like, oh, my gosh, I became obsessed. Absolutely obsessed. I did see him play in Japan once in 1989. How about you, Ethan? You have quite an interesting history in music as well. [Ethan] I started playing in bands and writing songs. In earnest, once I moved to Austin, Texas from my hometown, which is a small West Texas town. And then Austin was an explosion of new life that I hadn't seen before. And I also started working in recording studios there. Worked at a small studio for years where they would let me in at midnight and work on my own bands and other band stuff. And then started working at the two bigger studios in town, which were Willie Nelson's two studios. So I went to work for him. And that's usually where the bigger traffic of bands started coming through. So I was an assistant engineer working on everything from Townes Van Zandt and Lucinda Williams to the first Sublime record and the Butthole Surfers. [Colleen] I was going to ask, I was going to ask about the Butthole Surfers. I was like, on the edge of my seat there! [Ethan] And that was certainly in there. And Paul Leary, the guitarist from Butthole Surfers was a producer who was bringing in a lot of different bands and work. And so it opened me to a whole new world. And then all that time, my hero at the time amongst many, there was Daniel Lamois and Brian Eno. Daniel Lanois had a recording studio of his own in New Orleans, which is about 10 hours away. I drove there for a Beastie Boys concert and had been trying to work there. Wrote a letter a month for a year, but to no answer. There was no internet at the time. So I went and knocked on the door and they let me in and they said, Oh, you're that guy that's been writing letters. And then once I was there, that was nonstop records, 24/7, for about five or six years. And it was a lot of major label work. I also got to meet Brian Eno and work with him a bit. And he was part of the father of our line of producers and engineers there, Trina Shoemaker. And then a lot of great artists were coming through there. Everything from Sheryl Crow and R.E.M., Nigel Godrich. It was an unending stream of all kinds of things from ambient experimental music to rock and roll to electronic music. I did a record with Tricky and Angels With Dirty Faces. And then many, many things started happening, but it was a nonstop rollercoaster. And then moved out to Los Angeles, went freelance as a producer and a mixer and a composer, and also started playing in bands again. I played in a band called Gram Rabbit for years. Finally, our paths led Stephen and Josh and I to each other through mutual friends, other musicians who play with a lot of people. And then we quickly found out that we had a really interesting cross-section of interests and talent. And it sort of very organically grew unplanned and quickly became something that we were pretty excited about. So we started doing it. [Colleen] It's interesting to hear your backgrounds, because they're so diverse. And these are references we don't always get in this kind of music and the kind of interviews that I'm doing for this show. So it's really exciting for me. Now, you got together and your first LP, Oscillator, came out in 2019, just right before the pandemic. And I was listening to that today. And it definitely has more, it pulls from a lot of different areas. All of your music does. It's not easily pigeonholable. I don't think you could. But it did have more of an indie vibe than the latest album. And I just wanted to kind of briefly go there. That came out in 2019. I expect you really didn't get a chance to tour it, correct? Click here to read the interview ASHRR gave to the Balearic Breakfast Blog [Josh] We played a bunch of shows in LA. We didn't actually leave LA, we never toured it. We were actually getting ready to start doing some stuff. And then I mean, in one of our last shows was like four days before everything closed down. And that record was interesting, because when Ethan and I got together, we just were like, well, we're just gonna make, we're gonna experiment, right? We were trying to write around, at that time, we were just basically saying, let's write around Stephen's voice. Like he's got this unique sounding voice, crooner, that Roxy, late Bowie-ish kind of things, like what if we wrote the music that kind of highlighted his voice, but also was this, we were into that art pop, you know, experimental stuff. And there's some really good stuff on that album. There's some, I'm proud of it. It was our first record ever. So it was definitely, it was a moment. And definitely we have some songs we still play from there and like a lot. [Colleen] Now with Sunshine Low, of course, you hear all these different sounds are in there. I can hear, you know, dream pop, I hear 70s psychedelia, I hear like kind of post-punk angular funk. There are no wave sounds like Talking Head, 99 Records, Wire. There's a lot of different things going on. But it definitely has more of a groove. And it's definitely more groove-based, this one. And now the songwriting is still front and center, unlike a lot of other groove-based bands that I can tell they just start in the studio, start creating, start jamming, then layering lyrics on top. It seems to me that the songwriting is the front and center. Am I right in saying that? [Ethan] I would say on Sunshine Low, certainly. But it is even a bit more of a stretching out and groove-based initial work. That's also in this record, there was a new phase of that. I guess I should also augment our history by saying that, not to speak for Josh, but both of us have always had a strong, certainly funk and soul, R&B and disco. And then that led to, you know, in my own past, starting in Austin, you know, here there was not as much of a rave culture, but there was one there. And the clubs that I used to hang out in, you know, everything was starting with industrial music, house music. So that was kind of an initial introduction to it. And then, you know, house music wasn't something I really came into contact with until a bit later. And then suddenly there were these parties and warehouse parties, which in Austin and around Austin, Dallas, Houston. So that was part of the culture that I knew about, but didn't always live in 100%. But it was certainly groove-based music and dance was always a part of something, one way or another. So when we started doing this, you know, I think a natural evolution without us even really just trying to do it, it began to become that. It was in us. It wasn't like a point of artifice or like, well, this is what we're going to do now. It was more that we just started making music that made us want to move. [Josh] So just to add to you, Ethan, we were in the middle of a pandemic and the music that we were writing at that time for me felt super dark and heavy. And I just, one day I kind of just snapped. I was just like, I'm just craving some kind of human connection. I just want to dance. I just want to make music that makes people want to move and get together. And we started experimenting, you know, with the sounds that where Sunshine became this album. And one of the other things I think is very interesting is, yes, I didn't grow up with, like my dance music experience was Motown soul funk, New Orleans, but also in the 90s in New York, you know, Underworld, Temple Brothers, House of Ministry. I was into that stuff, but I really didn't know anything about house music or anything other than kind of what had permeated the indie scene in New York at that time. But I think what's really interesting is that we also have, when we write this music that is groove oriented, but our singer is not a soul singer. So what makes this very interesting, I think, is that Stephen's not like a soul singer. He's not a house singer. He doesn't have that kind of voice. And I think if he did, it would sound a bit more typical. And I think what's very interesting about the way we work is that Ethan and I will always start with just a groove, usually some kind of vibe, something we want to do. Very rarely will there be a full lyric or any kind of lyric, maybe just some nonsense words. Fizzy was just a demo called Fizzy, ended up staying that way. But I mean, I think Stephen's voice is so sort of thorny and different. He's not a soul singer, but he has soul. And we just thought, what if we made this? We kind of like became fearless when it came to making Sunshine Low. Ethan was like, we love hip hop, we love soul. We didn't put that into that first album because we weren't sure, you know, was this going to work? And then we just got our confidence to a level where we're like, you know, fuck this, let's just do it. And we did. And I think that's so interesting when you hear Stephen sort of singing over these things where, you know, he's not like a chakaka, he's not like a green. And it just makes it the contrast is what I think is really special. And also when Ethan and I all sing, when we sing together, we have this very unique blend, obviously, as we would, that kind of makes the sound of the group in addition to what Mikey can sing. [Colleen] Now, we were talking earlier about our past musical touchstones, which we have, we share a lot of Van Halen, Butthole Surfers, Brian Eno, I can name it, you know, all these different ones. How do you feel about disco? And how did you initially feel about disco? What do you think it is as well? And how has that transformed? It's a big question. [Ethan] I think when disco was in its prime, I was probably like eight or nine. But I was a rock and roll fan for sure. It was Led Zeppelin and Van Halen and all of that. And there was a definite world where you're either one of them, or you're one of them. But I think part of it was my best friend Wendell had an older sister who had a group of girls who had a disco dance club. And of course, I had a crush on her. And I would go there and they taught me how to dance along with my mom, who was someone who was a big dancer. And we would go out dancing. And those records, you had to kind of know what was going on. And then suddenly I realized, oh, I love this music. This is very familiar to me. It reminded me of stuff that I already knew. I guess my initial impression of disco wasn't so much that it was disco. Obviously, I wasn't hanging out at Studio 54 at the time. It was more that this is great dance music that sounds like the R&B and stuff that I know. And I really got into it and then later discovered, of course, once you get older, the other aspect of it, the club nature and all of that. And it always was with me. I think when I got to New Orleans, there were amazing jukeboxes. So there would be George McCray, all kinds of stuff that were kind of in that in-between world of disco and other things that has continued through up to now. [Josh] When I started getting into post-punk music, Talking Heads, ESG, all that stuff to me had a sound, which I didn't know what it was. But it was the post-disco and post-funk. I loved straight up 70s funk. Obviously, I'm wearing a Meters t-shirt. [Colleen] New Orleans in the house. Y [Josh] Yeah, that was my thing. But I think what I didn't realize was that so much of the connotation, I grew up in the 80s and the connotation of disco didn't have any meaning to me. I grew up in Kansas City. As I got older, I realized that the original version of what disco was, which was early soul, funk and mixed records together to make them extend on the dance floor, had a lot of passion and a lot of soul. So I was so into soul music, so into all this music. But disco, I think when I discovered the kind of electronic music that was coming out, Underworld, all that stuff, I don't think the word ever sat well with me, really. And then I kind of ignored it. And then in the late 90s, U2, who's one of my favorite bands, they put out Disco Tech. And I was like, whatever the sound is, I kind of like this. This is cool. And I went back and I started to get more into it. When Ethan and I were talking about it, now I talk about it a lot because I think of that feel, right? We talked about that P-Soup beat from the Harold Melvin and the Blue Notes record, right? It's like from that Love I Lost record. And that sound became the four on the floor straight disco beat that I love. And I guess I've always loved it. I just didn't know what it was called. And so I think there's a lot of that element in our music for sure. I love soulful disco and I love the documentary that you were in because it really talks about what the power of it was at the time and what it meant and to the culture and everything it represented. And Ethan and I were talking about it after we watched the documentary and just saying like, man, it was just a special, a special moment. And then I really think my favorite period of it was really that post-punk thing when Blondie and Talking Heads, everybody started using that music together, mixed with Latin percussion and these funk grooves and that beat. I don't think that will ever go away. I think that's also something we embrace so much today. [Colleen] Yeah. I mean, disco can be looked at from two different angles. One, it's just dance music. It's morphed into different things. It morphed into house music. It morphed into all different types of sound. But it became a trendy term. And I think because of Saturday Night Fever, it was like this huge blockbuster hit. The soundtrack came out before the film. All of a sudden, you know, this sound that was really from nightlife and urban centers like New York City, like Philadelphia, all of a sudden became a household name in suburbia where I was growing up. And so people latched on to it. But because people latched on to it so quickly, then everyone left, right, and center is putting out a disco mix, copying the Earl Young kind of four to the floor, snares on the two and fours, eighth note hi-hats. Oh, now it's disco because it has that drum pattern. So there's two different ways of looking at it. And I think most of middle America looked at disco like that. And so if I said the word disco, it was a bad word because of Steve Dahl and what he did at Kominsky Park, burning all those disco records. Also, it was quite ahead of its time in the sense that it welcomed all different communities. The people who are the purveyors in some ways were the LGBTQ community as well, as well as Black Americans and Latino Americans and all that. So disco has a lot of different meanings for a lot of different people. But let's just look at it as an overall umbrella now. And what we do see, and I think you're right with the whole pandemic, you wanted to dance. And I remember having these kind of five to six hour house parties where I'd have cameras in this room and I'd be DJing through MixCloud Live and people are on Zoom and I'd just be dancing up a storm myself for like six hours because I really, really missed it. You know, people say there's a disco comeback. For me, it never really went away, but I can understand why people are saying that because you do see its influence and the kind of influence of the groove and dance music in general seeping more and more into pop music. I have a theory as to why I think that's the case, but I want to ask you, why do you think that's the case? [Josh] One of the songs we talked about a lot when we were making this record was Deee-Lite, with "Groove is in the heart". We were talking about that feeling like, oh, man, we should it'd be great to have something that just evokes this feeling, right? And this kind of like joy, but also it's really well done. I mean, you know, we will never sacrifice like sort of our musical integrity. [Ethan] Disco in particular amongst dance music has so much joy in it. And there was a starvation for joy. It's a very particular kind of dance music that infiltrated mainstream pop where it's infectious, but it's also mysterious and it pulls you out. [Colleen] Well, let's go back to this album and the album. Is this a double album? I mean, there's 13 songs. [Josh] Well, there's only 10 songs that fit on the vinyl. It's like 50 minutes. So we decided as Ralph was saying, you've got to cut it to a single album. So we just took out a few songs from the vinyl sequence that will be on the digital. So if anybody buys the vinyl, they're going to get the digital as well, which has 13 songs. [Ethan] One thing in the process of making this particular record is, you know, we were sort of a prowless ship when we started making it. And then we then started doing things and then it began to have its own identity of sort of like a child. Then you have to kind of pay attention to its needs. And then we went into an orgasmic frenzy of just like all this stuff started happening, including at the incredible encouragement of Ralph in 20/20, you know, opening us to other people remixing us and then us doing remixes of ourselves and the sound system aspect. That also then was another whole explosion, which then informed the actual proper record too. Suddenly what the record was both stretched out, became unrecognizable and then became more focused. So it became more clear what songs and what spirits would make the album complete. [Josh] Some of the songs were older songs that we reworked, we rewrote. So Ethan and I had been remixing our songs. We actually put out a version of Sunshine Low, put out a version of No Garden, did our own versions of them because we were like sort of getting into the idea of remixes as a form of like, let's, we could do it ourselves. We don't need to hire anybody. We'll do ourselves if we did. But then Fizzy, we wrote the song Fizzy and just felt like this feels sort of like a signature song for this album. Like it has all of the elements that kind of define the album in a lot of ways. Almost, not everything, but I was like, hey, this Krungeman album of remixes came out, the Mordecai remixes, and I loved it. We both loved it. And I was like, I loved Felix Dickinson's remix of Time. [Colleen] I love that one. Yeah. [Josh] So I just, I just texted him or sent him a DM and I was like, hey man, we've got the song Fizzy. We want to put it out. We would love to have you do a remix. We love the work you've done on the Krungeman record. So he's like, send me the song. So I sent him the song. Three days later, I get a text from him. He's like, man, I love the record. I sent, you're going to be hearing from my manager. And I'm like, okay. And then I get an email from a manager named Annie. And I was like, wait a minute, this name looks familiar to me. And then she was telling me, oh, she was the one who basically broke and brought Krungeman into existence. She was one of our favorite bands. Did not know that. Did not know that. And probably one of, maybe one of the biggest influences in the last few years, Bad Insult, that we both have. [Colleen] Oh gosh, yes. I'm with you. [Josh] I'm with you. [Colleen] Inflo is a producer. [Josh] We are absolutely team Inflo and team Krungeman. But we, but so Annie was like, oh, I love this song. Do you have more music? I'd love to know more about you. So she and I got into all these conversations and we sent her what was, I said, I would say maybe 70% of the final record that we had of Sunshine Low, which didn't have a title. And she was like, I love this record. Do you have a record deal? I said, we have, we have our own label. We just put it out independently. And she's like, well, I have a couple of ideas for labels I think you'd be great for. And she mentioned Ralph. Six months later, Ralph's on board. Ralph has took a long time. Ralph's on board. He's signing us. He's like, I want a band. He's been wanting a band for a long time, but a band that has songs and a band that makes this indie dance category that he thinks has been missing right now. Cause we were talking about all the bands from like LCD and everything that, you know, they've had their, they're already massive. He's like, there's another kind of sick cycle that's coming back and he really wanted to have that. And so he, he then agreed to sign us. Fields did the remakes and it was really Annie who kind of made this whole thing happen. [Colleen] It is good that you're on a UK label and it will do better for you. As an American transplant over here, I can tell you that they will embrace this more over here first because the Brits love a good banger. That's why. Well, this is a great album. As I said, it's really ambitious, great songwriting, great production. Your pedigree is amazing. Could you each just pick out one of your favorite songs on the album and tell us about it? [Ethan] I'll pick a "Different Kind Of Life". It's like all the songs on the record, just so interesting how it was a lightning in a bottle, what we started off with into where it became. And then it was sort of a spirit instrumentally that we really liked. It had kind of a relentless, but joyous feeling to it. And then we all come together on the lyrics and really thought about that one. And that was one whole idea, kind of like the Buddhist idea of Samsara, that you're always wishing you had something more than the life that you have. And you're never quite satisfied enough with what you do have. And because of that, you're blocked from truly, fully appreciating. So enjoy this one, fully live the one you've got. [Josh] I guess if I was to really think about the song that defines the album, it would have to be "Fizzy". It goes from this sort of cool side, chill thing to like a New York City underground post-punk party. You know. And then you've got the kind of earthy and fire vocals and you've got the synth things and doing all the weird arpeggiated synths and his flashlight guitar things. Just the way that song works. I'm astounded that it came out that way. [Colleen] Well, it's a great album. And for those listening, Sunshine Low is out on 20/20 Vision Recordings on the 20th of September. And good luck with the album. I hope that means you'll be coming over here to play live. Thank you so much for your time. And I'm looking forward to hearing more music. And thanks for coming on to Balearic Breakfast. [Josh] Thank you so much for doing this. We are a big fan and you've been really supportive. Balearic Breakfast, before we knew what the term was, I knew that we were on Balearic Breakfast. So it's like, oh God, what does this mean? Because Ralph kept saying, guys are the ultimate blank. You were one of the first early supporters of learning music. So we really just really were super grateful for that. So first of all, just want to say thank you!

Following the nice interview I did with Andrei Sandu following his book's publication, I felt the need to support his beautiful work just a little more, thus writing this review. Introduction. – In a time where finding information about songs has been made much easier thanks to the development of the internet, allowing any music enthusiast to discover how an album was recorded and why a song was composed, one may ask if reading a book like "Mates' crates - 100 Stories Behind The Songs" is worth it. My answer will be a short and direct one: Yes. And we're going to discover these reasons together along with a positive review of Andrei's book; not forgetting a few points that may have to be corrected in a second issue (of course minor ones). Let's go then! Why you should read Andrei's book. – The first reason why you should read Andrei's book has to do with his personality and his passion for music. A radio host, DJ, music lover, and a member of the London Loft Party, Andrei is as passionate about music as one can be. And, when you're dealing with passion, you're dealing with Truth. Anyone who dearly loves something, and who puts his heart into it, has meaningful stories and interesting points of view to share. And, being a part of the London Loft crew only adds to the most interesting pages of Andrei's book as the reader gets closer to some absolute classics played over the years by legends (Mancuso, Levan, François K and so many more) that proudly stood the test of time. In a sense, this book not only is an open door to some of the best music available, it is also the key that will allow you to discover even more tunes should you take the time to dig on your own... Also, it must not be forgotten that Andrei's book is proudly self-published as a fundraiser for Doctors Without Borders and Music Venue Trust. The Great... – As far as the book itself is concerned, it is a pleasure to hold: the beautifully printed cover is soft, and the book is quite thick and heavy with a nice yet straightforward presentation, allowing the reader to enjoy reading stories behind the selected records. Still, although the book's layout is simple, it does not mean anything is lacking. It is quite the contrary. The book is loaded with great information: the record's sleeves pictures open and end each article, QR-codes allow the reader to access the songs on Youtube, also the label and the year of the record are mentioned, each article being completed with Andrei's memories and stories behind the recording of the songs or the albums they are issued from. Again, a simple yet well-thought-out and effective presentation! We can't think of anything more that could be added here, it's great! Also, on the editorial side, Andrei's Work has been seriously conducted as he proposes cross-references between the articles he wrote, allowing the reader to expand his knowledge entertainingly. Speaking of Andrei's writing style, here again, nothing can be criticised as he takes you with him on his journey, sharing his stories, how he found the records, how he discovered the artists, and what the songs or the albums represent to him, along with objective and researched information (for instance, did you know that the Legendary South African trumpeter Hugh Masekela took part in Lamont Dozier's album production?). You're not reading a bored musical journalist's paper about a record he barely took the time to listen to. You're reading a friend's work who shares with you his very soul. Mates' Crates offers a nice and heartwarming reading experience and, just for that point alone, is undoubtedly worth keeping in your library! ... and the "possibly improvable". – A few things may be improved should another edition be printed in the future, rest assured, nothing too important! Although the book is beautifully produced, it sits quite stiffly in the reader's hands. Should you want to open it up slightly more, you'll risk damaging its slice, which, really, is a pitty. Nowadays, some books have their pages glued together. Although it is more cost-sustainable, it does have its downsides for the reader as these books age quickly, showing some strong wear without being used very often. Lastly, we would have wished the colours were more vivid, allowing the reader to fully enjoy the record's covers or pictures. Conclusion. – Let's be honest, nothing of these few remarks can prevent us, and future readers, from enjoying this incredible piece of work. Simply put, we love this little musical bible to bits and wish Andrei all the success he deserves for sharing the love he has for Music. Don't wait, grab Andrei's book right here! Artur Michalski Aka "The Lioncub"

Colleen 'Cosmo' Murphy broadcast the 216th episode of Balearic Breakfast on her Mixcloud on March 18th 2025. About this episode. – After playing an incredible set at the Southport Weekender 2025 event, Colleen packed her bags and flew to Japan for a 10 days tour in the city she adores so much. She shared the following post on her socials upon her arrival: "It’s great to be back in Japan as this country holds a lot of personal history. Even though it is on the other side of the planet from my native USA (both geographically and culturally), Japan was the first place outside the USA where I hosted radio shows (way back in 1989) and Japan was also the first foreign country I travelled to as a DJ in the mid-90’s. I DJ-ed at Precious Hall on that occasion and have done so on every trip back. The last time I was here was in 2019, both for a tour and a family holiday with my husband and daughter - I took the above sakura/Mount Fuji photo on that trip. Luckily we were able to visit while our daughter was still a teenager as it was a lifelong family dream and we made it just before the world changed in 2020. Well, now I’m back on Japanese soil and even though it has only been a few hours, it feels wonderful to be back. I hope you can join me somewhere along the way and fingers crossed the sakura will arrive before I depart." Despite a quite busy schedule, our dear Captain managed to say hello to us all while Adam was taking care of the stream on Mixcloud. JAPAN SPRING 2025 TOUR 19 March: @club_mago Nagoya 21 March: @boars_obihiro Obihiro 22 March: Precious Hall 24 March: Precious Hall Listening Party* 27 March: @bar_inc_osaka Osaka 28 March: @woal_music_life Takasaki 29 March: @dj_bar_bridge_shinjuku Tokyo *please note the tour flyer has the wrong date for the Precious Hall Listening Party which is on Monday, the 24th March. PS: Thank you from the bottom of my heart to all the friends who shared their precious pictures with me and allowed them to be published here! ありがとうございます This episode was both a Joyous one (we had a great interview with Kenneth Bager presenting his brand new album), and a sad one as Jen Ferguson and Glenn Williams (owners of the Hop Burns and Black shop in East Dulwich, London – more about this here) dedicated their incredible mix to their late friend, Justin. As always, the Family united and we were all touched and sad. Losing great people is always unbearable... To Justin. "It's hard to believe our gorgeous Justin left us last week. It doesn't seem real. Justin & Natasha only came into our lives 5 years ago, but it feels like we've known them much longer. I've always thought of them as the king & queen of the prom (so smart, so stylish, so cool, so hot) & what brilliant company too, company Glenn & I got to enjoy all over the world, sharing amazing holidays in Ibiza, Palm Springs, Amsterdam, my Margate birthday weekender just last month...Some of the best times of our lives have been spent w these two, enough Top Palz moments to fill albums & albums. How lucky are we? Justin- a gentle soul with a giant presence. The mightiest of totaras, you were instantly drawn to him. Wry, wildly intelligent, perceptive & understated, Justin could be a man of few words but knew exactly when to deploy his famously dry wit or unleash a devastating zinger. We bonded over his excellent taste in music (my phone is full of Shazams from whenever J was at the controls) & our shared history of terrible teenage poetry & Jim Morrison adulation. Along with Natasha, we were always first to sign up for Country Karaoke at the ‘honky tink’. Unlike Natasha (don't worry, she knows 😂), Justin had a wonderful singing voice- his rendition of Always On My Mind last Nov (directed, of course, to his adored wife) left not a dry eye in the house. He was always the first, & the best, on the dancefloor- & no one rocked a vest like Big J. It's cruel & unusual to be talking about Justin in the past tense. It's beyond comprehension. The sadness comes in waves & is overwhelming. His departure leaves an unbearable void in our mini world & our hearts are breaking over & over again for Natasha, Saskia & Jasper. It's such a fucking waste to the world & I can't believe our dreams of a disco care home commune won't come true. As Natasha says, there'll forever be a Justin-sized hole in all our lives & dancefloors, but he'll always be there with us. Out of the corner of our eye we'll see him, in his Cowboy Hat cap, eyes closed, a faint smile on his face, quietly doing the Justin arms-aloft shimmy. Goddamnit, we love you so much, you beautiful man. You'll be always on our minds. I always write too much and there's never enough room on Instagram posts... but one of my favourite recent memories of Justin was at the @fillybrook, at one of the @idjut_boys parties Justin enjoyed so much. He and Natasha were on their way off home, then Conrad dropped Silly Love Songs, and Justin bounced back on to the dancefloor saying, "Just one more!" Rob turned to him and said, "You don't even like McCartney!" and Justin went in for a big, long hug. Because it didn't matter if Justin liked McCartney or not - what was important to him was that Rob loved McCartney, so he wanted to share some joy with a friend. That was Justin all over x" Listen back to the 216th episode of Balearic Breakfast: THE PLAYLIST Kenneth Bager MIx (1986) Ambiance II Fusion – Colours in Spaces (2004) Hiroshi Yoshimura – Hayama Sound Logo (1987) Minimal Kidds – Moon Gone (2009) Scott Matthews – Is This Love (NOL) Kenneth Bager & Findlay Brown feat Anna Domino – Don’t Look Back (Random House Factor Sunset Mix) (NOL) Niron Higor – São Só Palavras feat Bruno Berle & Alici (Kenneth Bager Extended Edit) (1988) Via Nova – Dreams For You (NOL) Dj Pippi & Willie Graff – Harmonized (LTJ Experience Remix) (NOL) The Swan and The Lake – Penari Sepatu Jen Ferguson and Glenn Williams' Mix (2021) Pete Blaker – Kylie N Jason (Beach Filter) (2015) Idjut Boys – Dub Shine (Link) Haircut 100 – Evil Smokestacking Baby (Edit by Mr K) (2024) U-Bend – 50Peter20 (2017) Beach Boys – The Trader (Psychemagik Edit) (2015) Bryan Ferry – Midnight Train (Idjut Boys House Remix) (1988) Kriss – Hey Mister Mister (1985) Moses – We Just (2025) Luca dell'Orso – Dear Rosie (feat Jolisa) (2022) Crosby Stills, Nash & Young – Carry On (Flying Mojito Bros Refrito) (2024) Marshall Watson & Cole Odin – Voyager (Extended Guitar Mix) (2003) Lemon Jelly – Rolled (20/03/2025) Greetings from Japan! I would like to thank @kennethbagerofficial of @musicfordreams for his mix for this weeks Balearic Breakfast. Somehow in the rush preparing for my tour I managed to cut off the last 15 minutes of his mix (sorry Kenneth) but the full interview about his new album with @findlaybrownofficial made it. And don’t we all look cute dressed up at @comaclub with @justinstrauss1 & @dj_pippi 🤩. And a big thank you to @missjenferguson and @radiowammo of @hopburnsblack for a beautiful & poignant mix dedicated to our recently departed friend Justin. The chat on the live stream was very emotional and their mix is superb. KENNETH BAGER'S INTERVIEW WITH COLLEEN [Colleen] Hey Kenneth, how are you? [Kenneth] Thank you for having me on the show. I'm a big fan and it's always a pleasure to be on the show. Thank you. [Colleen] Thank you. We did a great extensive interview with you. Gosh, it was years ago now. [Kenneth] Yeah, it was like a non-stop talking for one hour or something like this. [Colleen] So if anyone wants to know more about Kenneth, go to my past shows. I'll let you know which show it was, but it was a few years ago. But thank you for coming back. [Kenneth] Yeah, thank you for having me. [Colleen] Oh, pleasure. And I really love this new album. And could you tell me a little bit about how you got to know Finlay Brown? Because I know you did a single with him a few years ago. [Kenneth] Yeah, I think when he did his first album many years ago, I think even 10, 15 years ago. [Colleen] Yeah, Separated by the Sea. [Kenneth] Yeah, it was incredible. He got fantastic reviews in The Guardian and in a lot of the English press and so on. And there was an amazing remix by Beyond the Wizard's League. [Colleen] Yeah, I got that on White Label. It was such a good one. [Kenneth] Fantastic remix. And I think from that moment, I actually fell in love with his voice. And I found out that he was a more adventurous singer-songwriter than most. And it really tickled something inside me. And I thought, you know, I do many different albums when I'm in charge for the production. So I thought this one should be a little bit different to my previous ones, because I wanted to make an album that sounded not so much like a collab album, which a lot of lyric producers and DJs do. But I thought it should have a red line. And I thought the red line can be some of my production ideas, mixed with his unique voice all the way through. [Colleen] Fantastic. Now, he's since moved, because he's originally from York. Then he went to Brooklyn, if I'm correct. And now he lives in Copenhagen. [Kenneth] He lives actually on an island, which is, I think, one and a half hours drive from here, which is super chilled. And, you know, everything is green there. And he's surrounded by water, the whole island. And we did some recordings there in his home studio. And basically, the whole album came about that I asked him. We did one song, and I was very, very happy with the result. And I said to him, you know, I have this idea. Why don't we do a full album? And he was really into it. And basically, I sent him the music. And then he recorded the vocals on top. And then we took the demo and put it into a pan or, you know, into a pot and totally destroyed maybe sometimes the demo and made a new arrangement and added a new musicianship to it. So he didn't know all the time what the end result would be. But neither did I. So it's been a fun ride. [Colleen] Well, that's the great thing about collaboration, isn't it? I mean, you just never know where you're going to go. And it's my favorite way to work, especially in the studio, because you can just take ideas so much further when you're with people that you trust, obviously. [Kenneth] Yeah, and this is also one thing. And you can also work with other artists that, you know, will find it very problematic and very protective about how they want everything to be, which is another side, too. But I thought from also from his remixes and from, you know, having I went down in my car to visit him. And, you know, after some conversations, I knew that, you know, this would work out really well, because he's also adventurous. He listens to a lot of dance music, African music and so on. So he's not like only listening to to folk. He's a singer, songwriter music. [Colleen] Well, that that was apparent to me, you know, when I got that Beyond the Wizard's Sleeve remix, because I was playing that and then I got the album. I was like, oh, wow, this is a completely different album. But that's what I really like. I think the album that you've done together, Silence With Singing, has a lot of beautiful textures on it. I mean, there's moments that are more spaced out. There's moments that are more for the dance floor. One of the songs I wanted to ask you about was Red Flowers. It's a beautiful song, but it's quite funky. Can you tell me how that one came about? [Kenneth] It came about that, actually, it's quite a long story short, that when I was seven years old, my family didn't have a lot of money, but my father bought his first cassette recorder in 1969. And in the cassette recorder he bought, I was seven years old, there was a tape by Herb Albert in the cassette recorder. And I've been a big fan since of Herb Albert. I always wanted to do a collab with him, but it's possibly sometimes, it's maybe not easy. [Colleen] He's a little bit busy. [Kenneth] Yeah, and I think he's always funky. And, you know, I've really been following him my whole life with all the incredible stuff that he's done. [Colleen] And also the fact that he's a label owner, just like you. [Kenneth] Yeah, so there's a lot of... Even though you can't compare it. So when we did it, I've been wanting to do a trumpet-based or driven track for a long time. And we actually took a session with this, possibly the best Danish trumpet player we have, called Kasper Trondberg, which is very, very famous in the Danish jazz circuit. And he just played to some chords we had. And then after he left the studio, we played around with what he did. And we put a puzzle together, so we actually created the hook line in the track. So if you heard the demo, it sounded totally different. And then I sent it to Finlay, and he came back with something that I would describe. And I think it's one of the only tracks on the album where he sings, of course, his own, totally own voice, but he made it more like a David Burton, Brian Ferry kind of vibe to it, which I really liked. And I thought, you know, it's that kind of like early New York vibe to it. And that's also the more dancey tracks. I started as a DJ in 79, and I've always been a mega fan of what was happening in the New York clubs. And of course, the incredible remixes that Larry Levan did. And I've also been a massive fan of Compass Point Studios. So that's definitely something that I think you can hear in some of the production on the album, that it has that resemblance to... It's not that it's a reverb or anything, but it's definitely that kind of like Sly and Robbie, you know, disco type of thing, you know, like they also did on the Gwen Guthrie album. [Colleen] Gwen Guthrie album, yeah, exactly. That song Love From Outer Space on the album is probably my favorite. And you're right, now that I think about it, it does kind of fit in. You know, I mean, the Compass Point All-Star sound wasn't always the same, but it just had certain elements like Wally's Batarus keyboards and Sly and Robbie rhythm section. So yeah, now that you said it, I can hear a huge influence on me as well. You also work with Anna Domino on one of the songs, Don't Look Back. Can you tell me how you hooked up with her? [Kenneth] I actually contacted her, I think more than 10 years ago. And she wrote back that, because I've been a big fan of what she did in the 80s on this Belgian independent label and was always buying, you know, when there was a new Anna Domino album. And so I wrote to her and she said, oh, it's not a good time now. But then I thought, you know, we're doing this. Why not, you know, write her again? Maybe it's, you know, it's a big chance. But she came back now. I've suddenly got time and I'll do it. And she did it very quickly. And so it was a great honor to have her on the album and also to make it like a duet with her and Finlay. And she's also very glad and happy for the result. And also the other thing I wanted to say regarding the sound of New York from the early 80s, which is there is certainly on the album, is it's actually, I think, my first album ever that has had quite a lot of airplay in New York. [Colleen] Oh, really? Yeah, yeah. So it's actually, it's kind of like it clicks together because it was the first time, I think, Francois Kevorkian, Danny Krivitt, Justin Strauss, they were playing here. I know Justin Strauss has been a big supporter for a long time, but I think they actually got it, you know, that there was some connection to, you know, looking back to make something that looks forward. [Colleen] Right. Absolutely. Well, let's get back to your mix. Can you tell us a little bit about the mix you've put together for us? [Kenneth] The mix that I've done is a combination of some unreleased remixes of tracks from the album. And it's also featuring some edits that I've done to make it more special. And of course, some pretty obscure tracks that people can dig on the Internet to search out and find. [Colleen] Okay, well, let's get back to the music. Kenneth Beyer on Balearic Breakfast. II [Colleen] And we're back here in the studio with Kenneth Beyer, listening to his exclusive mix for Balearic Breakfast, which we are loving. Tack. Tack. Thank you so much, Kenneth. You know, Music for Dreams is one of our favorite labels on Balearic Breakfast. And there's so many great projects that you have put together, you know, with artists like DJ Teepee, Lily Graff. We also have Phil Meissen, of course. Your own stuff. Can you tell us what... Oh, Island Man, another great one. Can you tell us what's coming up on Music for Dreams in 2025? What we can look out for? [Kenneth] There's a lot of... Obviously, there's always a lot of stuff we're releasing. But I'm very happy that we actually... There was a person that was, you know, an amazing producer from Denmark called Grasgård. We released an album, I think, in the beginning of the history of Music for Dreams. But he's made an incredible album that we released later this year. And he's kind of like... He's definitely different to what sells, but it has that kind of like... You can't really categorize what it is, but it's funky and it's, you know, some Afro stuff in it. But it's very nice. And then we have an album by Bill Mison, a.k.a. Ambala, which is his second album. It will also be out on a double vinyl. I'm really looking forward to release that. That is a very good album. And we've had the dailies... I would say the dailies are equivalent to Johnny Peterson, a guy called Jonas Vistie, who is hosting a show on national radio every Saturday. He's releasing a debut album, which has been doing really, really well. And it's kind of like an Afro-balearic kind of Guadalupe sound he's doing. It's really, really receiving. And he's already... He will be playing two of his debut concerts, and they already have to do a second date because it got sold out very quickly. So that's really nice. And then we also have an album, which I'm really looking forward to release by this artist, The Swan on the Lake, which is kind of like a... I would say he's sitting somewhere between Vangelis and some New Age. But he's done... He's coming with an album. He started to sing in Italian, and he's never sung before. So I was like super surprised. What's going on? And, you know, I was not expecting this. And then at the end of last year, he came back to me saying that he thought there was something that I should hear. And then he played the song where he was singing in Indonesian. So I think that's going to be one of our really big albums this year because if I have to say something, it feels to me like it's definitely a world music album. But it sounds to me like it's something like, you know, if you can imagine that if you took Deep Forest Enigma and made it in 25. [Colleen] Wow that sounds cool! [Kenneth] So this is what it is. But with a kind of Mediterranean sound. But it's really, really unique and very special. And I don't think there's anything out there that sounds like it. [Colleen] I really can't wait to hear that. That sounds really interesting. [Kenneth] We have an album coming out, the second album by Santino Serpas. So that's... And he's made a track that's very lofty, which was, you know, I thought he was sitting having a jam in the studio, a track called Underwater Disco. And we were just commissioning you to do a remix. So I'm looking forward to what that's going to be. [Colleen] So am I! [Kenneth] I haven't gone in the studio yet. So fingers crossed, I'll do something that you like. And I also obviously have a Santino Serpas song on the upcoming Balearic Breakfast number four compilation. [Colleen] Okay, wow. [Kenneth] Yeah. [Colleen] So there's a lot of Santino Serpas kind of connections here. Cosmic connections. Yeah. I love their sound though. You know, it has a kind of a Cruang Bini kind of sound as well. And it's psychedelic and it's surfy. It's just a lot of things that I really like. So thank you. Thank you for asking. And what are you doing this summer, Kenneth? Are you heading over to Ibiza? Are you doing any gigs that people need to know about? [Kenneth] I've decided here during my holiday in February that I'm definitely going to go DJ a lot more in Ibiza this summer. Because I've been, you know, I did some, it wasn't intentional, but at the end of last year I was visiting, as I always do, Ibiza. And then I played two or three gigs a week and I really enjoyed it. So I'm going to go back and I think I'm going to go back and forward a little bit to DJ there. And looking forward to it. [Colleen] Good. Well, I'll be there, I think, I think I'm there May and then June and then July again. So hopefully we'll cross paths. [Kenneth] Hopefully we'll hook up and see each other. [Colleen] Yeah. That would be nice. We'll see you. Well, thank you again for this beautiful mix you've given us and for taking the time to have a little chat with me about the album Silence Was Singing, your new album with Finlay Brown, which is out now on Music for Dreams. And good luck with the album. I hope it does really well. I think it's fantastic. [Kenneth] Oh, thank you very much. And thank you for having me on program, on your beautiful program. [Colleen] Thank you. It's always a pleasure.

Colleen 'Cosmo' Murphy broadcast the 221st episode of Balearic Breakfast on her Mixcloud on May 6th 2025. About this episode. – A few hours before hitting the stage at Queen's Park Spring Weekender '25, and a day before playing at 1BTN's 10 Birthday bash at Patterns, Colleen launched the request line for the 221st episode of Balearic Breakfast. And, as we shall see in the listening section of this post, today's selections showcased, both in the music and in the lyrics, and in a certain way, some positive uncertainties... This morning’s Balearic Breakfast is now up on my Mixcloud. Today’s show is mainly your requests along with some new music from @younggunsilverfox @musclecars.nyc @alex__kassian @thevendettasuite , @the_mighty_zaf and a new @robot84music rework. This Saturday it’s the Balearic Breakfast Day Party at NT’s Loft in East London and I’m looking forward to playing with my buddy @joe_hot_chip . We’re going to do some back to backs along with solo sets and we’re going to debut our Cosmodelica Electric Eden remix of the Cure so that’s where you can hear it first! Thank@you to @jaynewinstanley for the ace jacket ❤️ THE PLAYLIST (2002) Andy Bey – Saidas e Banderias (1978) Shirley Caesar – Message to the People (2023) Elisapie – Taimangalimaaq (1988) Tanita Tikaram – Twist in my Sobriety (2023) Jaakko Eino Kalevi – Chaos Magic (2020) Joel Sarakula – Sunshine Makes Me (2025) Young Gun Silver Fox – Stevie & Sly (2025) Thompson Twins / Robot 84 – Dub Inside (2025) All Seeing I & Crooked Man – The Return of the Crooked Cat (2001) Charles Webster – Forget the Past (2025) Alex Kassian x Spooky Orange – Coloured Liquid (Part 1) (2025) The Vendetta Suite – The Jam Answer (1980) Linx – You're Lying (TBR) Invisible Man’s Band – All Night Thing (Alien Disco Sugar Rework) (2025) Disco Combine 2001– Disco Party (Dave Lee Psychedelic Funk Mix) (2020) Joaquin Joe Claussell – With More Love (GTR Version) (2025) Annie & The Caldwells – I Made It (a musclecars production) (2025) The Mighty Zaf & Linkwood – Yokai (2021) Sun Palace – Rude Movements (Moodymann Remix) COLLEEN'S NEWS Do not forget to subscribe to Colleen's website (https://www.colleencosmomurphy.com/) to get updates about her upcoming events! Here are some dates where Colleen will be spinning over the next few weeks: 10th May: Balearic Breakfast Day Party at NT's Loft, London 18th May: All Night Long at Pikes, Ibiza 23rd May: Cosmodelica x Love Injection at The Good Room, Brooklyn, NY 28th May: Dantes HiFi in Miami, Florida 7th June: Last Note Party in Perugia, Italy (sign up for our mailing list) THE LISTENING EXPERIENCE Sometimes, an episode directly reflects what you're going through in your life. That's just how I felt when I listened to this 221st Balearic Breakfast's episode. From the openning track, Andy Bey's "Saidas e Banderias", to All Seeing I & Crooked Man's "The Return of the Crooked Cat", including songs like Tanita Tikaram's "Twist in my Sobriety" or even Charles Webster's "Forget the Past", A Loy of today's songs had that worried feeling, that unexpected evolution, and, in the end, that somehow "Positive Uncertainty". This strange equilibrium revelas itself, as I said in today's post introduction, in the music itself, but also in the lyrics. If you take for instance Tanita Tikaram's "Twist in my Sobriety", the song really is about not understanding, and, as Tanita explained it in an interview, "when you're 18, you've got a very particular emotional relationship with the world, you feel very isolated, and everybody else is so distant and cold. And I think I was singing about not feeling anything or not being moved by things around". Of course, Shirley's Caesar's "Message to the People" directly spoke to my soul too, the lyrics being so evocative: "Do you find yourself in the deepest hole, that you can find, well? / Listen, your life is spinning around and your up seems to be down / You're in deeper than you've ever been / You're time is not yet, oh you'll regret it / If you're too late / Let me tell you, young man, you need to be saved / I've got a message for the people, will you please hear my message / If you can't find your way / You've got to hold on to something / I know of a friend, he'll reach out and pull you in, save your life" Of course, as far as the music is concerned, we can also take for example The Vendetta Suite's "The Jam Answer" which has a worried feeling to it, just to show that the main intellectual theme of the show is nicely extended to the second hour too. But, as often, there's a beautiful equilibrium which never lets enter darkness totally, each song, each track having its own light, its own dose of Hope (including the show, with its last 6 songs beings beautiful danceable moments, Colleen's mix between "Disco Party (Dave Lee Psychedelic Funk Mix)" and "With More Love (GTR Version)" being simply splendid, and the Ultimate WOW Moment of the show...). COLLEEN'S PRESENTATION Saidas e Banderias by the late American jazz singer and pianist Andy Bey, who recently transitioned to the next realm. Known as a musician-singer, the four-octave vocalist got his start in the 1950s, singing with Louis Jordan and with his sisters as a trio, extensively performing in Europe and releasing albums throughout the 60s. His emotive voice was a natural choice as a collaborator with Horace Silver, Gary Bartz, Dee Dee Bridgewater, and Stanley Clark. And Bey released the solo album Experience and Judgment in 1974, which was more of a cult classic. And he didn't release another album until the early 90s and then was quite prolific for 25 years or so. We heard Saidas e Banderias from his 2001 LP Tuesday in Chinatown. And thank you to David Puzzi for that request. Good morning, Balearicans. I'm Colleen Cosmo Murphy, hosting your weekly Balearic Breakfast until high noon on my MixCloud Live. And greetings to the family gathered in the chat group right now. Lovely to see you as always. I had a fun-filled May Day holiday weekend up in Glasgow on Saturday, playing with Horse Meat Disco for Melting Pot at Queen's Park. And then on Sunday, celebrating 1BTN's 10th birthday at Patterns in Brighton, which was a lot of fun. And thanks to all who joined us and to those who said hello. It's really great meeting listeners face to face. I really appreciate your support. And this Saturday, it's the Balearic Breakfast Day Party at N.T.'s Loft in East London. And I'm looking forward to playing with my buddy Joe Goddard of Hotship. And we're going to do some back-to-backs and some solo sets. And we're also going to debut our Cosmodelica Electric Eden remix of The Cure. So that's where you can hear it first. So excited to hear that one out. Now, today's show is mainly your requests, along with some new music from Muscle Cars, Alex Kassian, Young Gun and Silver Fox, Crooked Man, The Veneta Suite, The Mighty Zoff, and a new Robot 84 rework. So let's get on to the music with some requests. This is from our friend Bert in Brooklyn, who says this legendary gospel singer has a message for the Balearic Breakfast family. Shirley Caesar has had a 70-year career, starting when she was 12 years old, and she's won 11 Grammy Awards. So it's no wonder she's known as the first lady of gospel music. She sang with The Caravans in the 1950s and then went solo, releasing her debut album, I'll Go, in 1967. She's had a stellar singing career, and she's also a preacher, and she acted in a few films, including Why Do Fools Fall in Love? and Fighting Temptations. From Shirley Caesar's 1978 album From the Heart, this is Message to the People. Pop folk singer-songwriter Tanita Tikaramam with her hit Twist in My Sobriety. And that's from her 1988 debut LP, Ancient Heart. And she released a bunch of albums in quick succession, including Everybody's Angel. And I got to interview her for that album for my syndicated radio shows back in the day. And I also got to see her perform at the Beacon Theatre at that time, and she was so good. She seems very self-possessed. She has the courage to kind of take intermittent breaks from the music business, so good for her. And then she comes back with more music. And I just checked her Instagram this morning, and tomorrow she's hosting a social event in Hackney, just down the road from me. And it looks like she's having painting and sandwiches. It looks really sweet. And she's also playing at the EFG Jazz Festival later this year. And thank you to Karl Banitov in Montreal for that request. Ahead of that, Inuk singer-songwriter Elisapie with an Inuktitut version of Cyndi Lauper's classic Time After Time. And she grew up in the Inuit community of Saluit in Quebec, Canada, and she started releasing albums in 2009. And the song we heard is on her award-winning 2023 LP, an album of covers sung in Inuktitut, which is one of the principal Inuit languages. And she started singing at the age of 12, and she's also a broadcaster, documentary filmmaker, actress, and activist. Just an all-around interesting person and artist. And thank you to Tom Torres in Vienna for that request. And Bert on the chat just said Cyndi Lauper was inducted into the Rock and Roll Hall of Fame. And that song, Time After Time, is just such a great song. It's been covered so many times, including by Miles Davis. He has a version on You're Under Arrest, that 1985 LP. Now, this next one is pretty tripped out, and it was chosen by our tripped-out friend, Virginia Tsioti in Athens, Greece. It's by Finnish musician Jaako Eino Kalevi, and he's released loads of albums since 2007, both solo and collaborations. And this next one is from his 2023 LP, his wildest statement yet, a double album of elemental pop and Baroque electronics that plots a thrilling course through the Jakko universe, drawing on cosmic jazz, dub reggae, neon synth pop, tender ballads, and psych rock nirvana. Here is Kalevi with the album's title track, Chaos Magic. You can thank Sarah Joseph for turning on to this latest nugget from Young Gun Silver Fox, the tune Stevie & Sly. And of course, we know who they're talking about, although I think it should be called Stevie, Sly and Steely. Anyways, it's the opening song from their latest album, Pleasure Young and Pleasure. And the Young Gun Silver Fox is Andy Platts and Shawn Lee, and they're touring in the UK right now. And then heading over to the States in June, and they're absolutely fantastic live, a really tight band. In fact, if you've seen Ashla Puthli last year, you would have seen Shawn Lee playing drums. He's also her musical arranger, such a talented lot. Ahead of that, the UK-based Australian artist Joel Sarakula with Sunshine Makes Me from his 2020 album, Companionship. Sarakula is a songwriter who has traveled the world in search of his muse, experiencing everything from being a victim of Caribbean carjackings to performing in the remote fishing villages of Norway before finally establishing his career in the UK and Europe. He's released several albums of his breezy Californian-styled soulful pop, Nine to be exact, including his latest, Soft Focus, released last year and which I listened to this morning. It's fantastic. I'm now a fan. And thanks to Victor Olteanu in Romania for that request. OK, this next one is for Luigi in Houston who asked for the Thompson Twins' Come Inside, the opening track to their 1991 LP Queer. And it was a big record as a white label in the clubs and should have signaled a comeback for the band. But when it was commercially released, it didn't do as well as expected. And in fact, the British release of the album was canceled. But Robot 84 didn't forget about this tune and put a little twist on it, which I hope Luigi is going to like. Oh, loving this one. Sheffield's All Seeing I & Crooked Man with a tune called The Return of the Crooked Cat. And All Seeing I was Richard Barratt, Dean Honer and Jason Buckle. And they released one album, Pickled Eggs and Sherbet, in 1999. And Buckle went on to be a part time member of Fat Truckers and form Relax Music with Jarvis Cocker. And Crooked Man, of course, is Richard Barratt, a.k.a. DJ Parrot, and is the Sheffield based DJ and producer, who is one half of the duo Sweet Exorcist alongside Cabaret Voltaire founder Richard H. Kirk. I just love the Crooked Cat sound. His remix of Cymande is fantastic, too. And thanks to Matt Raistrick for that request. I'm Colleen Cosmo Murphy on Balearic Breakfast. And this next one is from our friend Barry Bernitz in Washington, D.C., who says it's been a tough week in the USA. And I'd just like to add, I think it's been a tough 100 plus days. So he suggested this one with a very apt title. It's by British Deep House producer Charles Webster. And I just love his stuff. He's gone under many monikers, including Furry Freaks and presents, and has been releasing singles for nearly three decades. This is from his debut album Born on the 24th of July, released on Peacefrog in 2001. And it's called Forget the Past. A new one from The Vendetta Suite, who is Belfast DJ producer Gary Irwin. He's released several singles and an album on Italian imprint Hell Yeah! And is back with this one, which is a great slice of Italo and Balearic. We're listening to The Jam Answer. And I really can't wait to play that at the Balearic Breakfast Day party on Saturday. And the flip is also good. The title is called Island Hill Microdots. So that should tell you all you really need to know. Ahead of that, a new one from Alex Kassian after last year's standout E2, E4 rework. And he returns to test pressing records with the next installment in the series. This time turning his attention to Spooky's Orange Coloured Liquid, taken from their debut 1993 LP Gargantuan. Alongside acts like Underworld and Leftfield, UK duo Charlie May and Duncan Forbes helped reshape the early 90s progressive house sound under their spooky moniker. And now decades later, Cassian delivers two versions designed to serve Dancefloor and Sunset respectively. With the rolling breaks of Part One, and that's the one that we heard, beautifully complemented by the ambient swells of Part Two. And there's also a John Beltran Placid Angles remix. Okay, let's slip into something a bit soulful. A special request from London House Music Works. The early 80s Brit funk group Linx, which featured David Grant, who went on to a solo career, and bassist Peter Martin, who joined 23 Skadoo. Linx were in the same scene as Freeze and Level 42. And a quick aside. I'm hosting the 40th anniversary celebration of Level 42's World Machine with members Mike Lindup and Phil Gold next week for Classic Album Sundays. It's sold out in minutes, but if you want to join us for future events, sign up at classicalbumsundays.com. As our next one is with Graham Massey of 808 State, and we're featuring Xcel. In fact, I interviewed him for that one the first time around when it came out in 1991. Anyways, back to Lynx. This is You're Lying from their debut album Intuition. An old request from Tomohiro Yamada in Osaka, Japan. For Jo, or Joaquin Joe Claussell, With More Love, the GTR version of his lengthy 2009 song that came out on 7-inch in 2020. Ahead of that, a great slice of psychedelic soul disco funk from the UK's Dave Lee. It's called Disco Combine 2001 with Disco Party, and it's out now on vinyl, so don't wait. Ahead of that, All Night Long, the 1979 single by American disco funk act Invisible Man, given a rework by Alien Disco Sugar. And it's the title track of Invisible Man's debut 1980 LP. And the band was made up of the Burke Brothers, and Kenny Burke, of course, went on to an illustrious solo career. And that was requested by David Stoddard, who is going to be there at Pikes for my All Night Long debut on the 18th of May. And I'm doing three All Night Long sessions at Freddy's at Pikes. Also there on the 29th of June and the 28th of September. Okay, Annie and the Caldwells is a family that plays a powerful disco soul from West Point, Mississippi, led by singer Annie Caldwell and her husband of the last 50 years, guitarist Willie Joel Caldwell. Now you can pre-order their forthcoming I Was Living in a World of Sin Part 1, and you can get the Muscle Cars mix. They turned out a great mix of I Made It, and I played it on Sunday night, and people loved it. So you have to head over to the Annie and the Calwells Bandcamp to pre-order. And you'll also get remixes by Nicky Siano and Justin Strauss. And those two DJ producers will join Annie and the Calwells at Public Records this Thursday. So you'll want to check them out, and they're over here in the UK in August. This is I Made It, a Muscle Cars production on Balearic Breakfast. Absolutely loving this one by The mighty Zaf & Linkwood with YoKai. Requested by Rick Van Veen in the Netherlands. And the mighty Zaf is the man behind the record shop, Love Vinyl and Hackney. And Linkwood is the Edinburgh DJ producer Nick Moore. And that's out now on vinyl. And, of course, we had Annie and the Caldwells before that, I Made It, a Muscle Cars production. Well, we nearly made it to the end of the show. I went a little bit longer because I have one more for you that I really wanted to play. This is Colleen Cosmo Murphy getting ready to sign off. Until next week, I will be streaming live again next Tuesday and playing some new stuff. I'm going to catch up on some old requests as well. And don't forget Saturday is the Balearic Breakfast Day Party with my friend Joe Goddard over at NT's Loft. And we'll be debuting that special Cure remix as well. Okay, leaving you with an old favorite but a real twist, you know. It's Sun Palace, Rude Movements. Loft classic and, you know, one that I thought, hmm, it really shouldn't be a remix, but it was. And it was remixed with aplomb. I've played Francois K's mix so many times. I decided not to go for that one this time. But BBE did this whole package of remixes and along with Kenny Dope and also François. And I think Opoloppo, there's a great Moody Man mix. And I think it's really great because it's really faithful to the original but really adds some beautiful instrumentation. And I heard Hands On Family play it when we were playing together over at BBE. So I thought it was kind of apt. It was requested by Herbie King and Brighton. And thank you all for joining me. Thanks to all over on the MixCloud Live. It's always great to see you. It's a very lively conversation over there. Have a wonderful week and thanks for listening.

Colleen 'Cosmo' Murphy broadcast the 238th episode of Balearic Breakfast on her Mixcloud on September 17th 2025. ABOUT THIS EPISODE After celebrating the 4th Balearic Breakfast compilation alongside DJ Korbian (thank you Ian for allowing me to share your pictures and videos here!) at the London's NT Loft, Colleen posted the request line on her socials on Saturday, September 13th, saying: This Tuesday marks the 5th anniversary of Balearic Breakfast and in celebration this week’s show will feature songs you discovered on the programme. Please make your suggestions in the comments below and if you want to check out tracklists from the last 5 years, head over to the Balearic Breakfast community blog where you can also read interviews with some of the show’s past guests. Please only request a song that you first heard on the show (we’ll save new tunes for next week). Balearic Breakfast started in the midst of the pandemic in 2020 and the weekly gathering of like-minded musical souls and the musical exchange of the request line was a lifeline to many - including myself. I have received so many emails, messages, cards, gifts from people saying the show helped them get through the pandemic, health concerns and other challenges. It was the same for me. The Balearic Breakfast family has been a massive well of support when I was going through some pretty terrible times. It still is. Over the years the show has featured many guest DJs and artists but also mixes from members of the community - most of whom do not have a musical vocation like myself but who are very passionate and knowledgeable about music. It has been a joy to watch other community members support one another - I’m so proud. Hundreds of shows, four compilations on Heavenly and parties throughout the world are testament to the weekly programme and community. Today we are celebrating the release of my Balearic Breakfast 4 compilation on Heavenly Recordings and the show’s anniversary at NTs Loft where I’ll be joined by Heavenly Jukebox and Pete Wings of Saint Etienne. I’m in awe of Balearic Breakfast’s impact and grateful to everyone who has made it what it is. Its much bigger than myself. I hope you can celebrate with us on Tuesday. The show streams live on my Mixcloud Live beginning at 10am and going on until whenever. Thanks so much for listening. As per usual, the Familly gathered on September, 16th on Colleen's Mixcloud, happy as ever. There was a lot of requests, and Colleen was able to take an incredible amount of them into account, including the very last few, such as the one made by our pal Kieran "Glad you got it on time! Wish I had more time to go through five years of show tracklists". Despite a few sound issues (some of us had a lot of bass with a somehow boxy sound while others complained the sound was thin), the whole 5 hour musical experience went without a hitch, we even had a member of the Family celebrating his own Birthday (Happy Birthday once again Scot)! Among the regular listeners, we also had new listeners joining the fun, as Neilo Viney sharing with us "Hi there. First time listening with my newborn son Idris. He is 3 months old and gives the most amazing smiles when listening to music. Especially Balearic Breakfast :)). As DJRudy said, "We're all one family, we all mater"! The impact Balearic Breakfast had in our lives during the pandemic has also been reassessed by our pal Jocal when he said "The aural vaccine for COVID has proven to be an antidote to many other ills for 5 years. Long may it continue". My dear Rick (Rick van Veen) made an interesting statement, saying "Wow, honourd to hear two old requests in a row. Great thing about bb, letting other enjoy music through your request"! Our commune joy rose at the same rate the viewers numbers did, quickly reaching 600 and then 1700 (incredible numbers as said our pal Popdiscorules), which was insane as Bert François (hoping to reach the 2000 landmark) stated "When we started, we were lucky to get 18 viewers on a given breakfast..." and, of course, we enjoyed Colleen's selections and mixing to the maximum! With the show coming to an end, and with Colleen saying "Thank you all for joining. Tear eyed right now. The world is so fucking hard - the rise of the right wing - fascism -a genocide - war. Thank god we have each other. Sending you all love. I'll be back next tuesday - hope you can join me", we all celebrated one last time, thanking Colleen and Adam for the incredible work they did for these last 5 years... Thank you for 5 years of pleasure (Rick van Veen) "Thank you Colleen for a great show and helping create this amazing community. Genuinely changed my life over the last few years" (Kieran Mc Cann) Thanks Colleen what an achievement! Keep your spirits up it"s the small kindnesses that matter (Richagain) Happy 5th anniversary and thanks for the music, Colleen. THat has been magical. Thanks to the Family for being there and lots of love (itsAnahere) THANK YOU!! HAPPY ANNIVERSARY!! (Tomohiro Yamada) Had to pull over as been tuned in from the car! Congrats agains Colleen and thank you for everything you and Adam do for this community. Epic show. Sending love! (Sean_E) Wow what a day of music and community! Thanks Colleen (Michael Guthrie) Wonderful! Congratulations Colleen! (KellyAnderson) Thanks for today and for looking after us over the last 5 years Colleen. You're amazing! Big love to you all Balearicans (Jonboy) Thank you, thank you, thank you Colleen for a magical five hours and for the last five years (Warren 'Wowza' Pountain) Thank you Colleen, Adam and the whole BB community - people make the world go round - love saves the day (davstod) Thank you Colleen for all your efforts and commitment and love (Popdiscorules) Happy 5th birthday to you Cosmo and all of the BB family! United in music (Rina Ladybeige) Sadly, a few hours after posting the live recording, Colleen had to take it down as it appeared the sound was not meeting satisfactory standards. Colleen modified her post as follows: Today’s 5-hour birthday special was up on my Mixcloud but I had to delete the upload because of the sound quality. Working on it! Will hopefully be able to salvage it but if not, I would rather it not go out there as it just doesn't sound right. I'm so sorry. It is an all-request show that features the songs you discovered on my weekly broadcast. Thank you to all for your contributions and for joining me on the chat group - we had nearly 2k people join the live broadcast this morning - an all time record. And today’s show marks 5 years since Balearic Breakfast started and many of you have been with me for the entire journey since the show started on WWFM in the midst of the pandemic in 2020. It was a challenging time – for many it was a desperate time – and we all kept each other going in the middle of various lockdowns isolated in our own homes. Well today the world is still as challenging – maybe even more so with wars, genocide and the rise of fascism – I can see it and I’m sure many of you can, as well. So I hope Balearic Breakfast continues to be a calm and comfort in the eye of the storm. Music and community will hopefully help us navigate through the shrill political minefield in which we now find ourselves. We need to be here for one another. Thanks for joining me family and looking forward to another 5 years. See you next Tuesday ANNOUNCEMENTS This Sunday is our London Loft Autumnal Equinox party in our new East London riverside h(ohm). If you would like to come along you can make reservations here and please join our Loft family by jumping on the Friendship Train here. And over the next few weeks here is where you can catch me: 27th September All Night Long at Neuhm in Napoli, Italy 28th September at Freddy's at Pikes, Ibiza 3rd October Arkestra in Istanbul, Turkey 25th October at Public Records, Brooklyn, NY 31st October Halloween at Pikes, Ibiza 11th December, Wonderfruit 2025, Thailand On September, 19th 2025, Colleen announced on her socials that she will be re-recording the 5th Anniversary Special next Tuesday (September 23rd). See you there! THE PLAYLIST (1991) Kirsty MacColl – Walking Down Madison' (6am Ambient Mix) (2021) Arooj Aftab – Mohabatt (1985) Love & Rockets – Saudade (2023) Rhythm & Bliss – Song of Earth and Sky (2023) Elisapie – Taimangalimaaq (2024) Cleo Sol – Desire (1996) James Mason – I Want Your Love (1981) Teena Marie – Portuguese Love (1971) Roberta Flack – Go Up Moses (2004) Linkwood Family – Miles Away (1979) Alfredo De La Fé – Favorite Things (2020) Hillside – Walpole Days (Cosmic Arts Version) (1976) Ned Doheny – Get It Up For Love (1983) Flayer – Wanna Get Back Your Love (2012) Crosby Stills & Nash – Dark Star (Ashley Beedle Heavy Disco Edit) (2012) Shawn Lee's Ping Pong Orchestra – San Diego (Tour Werks After) (1982) The Who – Eminence Front (2024) Alex Kassian E2-E4 Mad Professor's Qantas Crazy Remix) (2019) Chris Rea – It's All Gone (Pete Blaker Edit) (2021) Bad Business Club – Flip Me Over (Summer Sunshine Version) (2022) Residentes Balearicos – Juno's Dream (Gold Suite Remix) (2013) Solange – Losing You (2025) Trip Tease & Alain Vice – Sex Having Disco (Prins Thomas Diskon) (1988) Kriss – Hey Mister Mister (2025) The All Seeing I – The Return of the Crooked Cat (2014) Friendly Fires & The Asphodells – Velo (2022) Maxine – Alien (House Mix) (2009) Arthur Russell – Wax the Van (Yam Who Rework) (2023) Parbleu – Elios (2024) Nicola Conte – Into The Light of Love (Joaquin's Spirit of the Dance Version) (2021) Secret Night Gang – Captured (Cosmodelica Remix) (2025) Far Out Monster Orchestra – Black Sun (Joe Claussell Classic Mix) (2022) Stim Dzyl & Mark Francis – Kilimanjaro (Eye Candy Mix) (2004) Scott Grooves – The Journey (2023) Lady Blackbird – Beware the Stranger (Ashley Beedle) (2025) Mighty Zaf & Linkwood – Yokai (2024) Opal Sunn – Elastic Phase II (1986) Michael Shrieve/Kevin Shrieve/Klaus Schulze – Transfer Station Blue (1992) The Moodswings – State of Independence

Colleen 'Cosmo' Murphy broadcast the 239th episode of Balearic Breakfast on her Mixcloud on September 23rd 2025. ABOUT THIS EPISODE After a technical incident that impacted both the sound streamed during the 5th Balearic Breakfast Anniversary special and the recording of the event, which took place on September 16th 2025, Colleen decided to take down the recording from mixcloud. On September, 19th 2025, she proudly announced on her socials that she would be re-recording the 5th Anniversary Special on September 23rd (more about last week's episode here). What an adventure this 5th Anniversary has been! What an incredible Journey! Everyone in the Family was Wowed by Colleen's determination to get the party right without compromising anything and, icing on the cake, this second take took place during my Birthday! Colleen was in very good spirits and in a joyous mood on the chat, saying "In a strange way it was easy as there wasn't any prep this week - all of my notes and songs were already pulled together. And it's fun todo this for 5 hours anyway😉" Her dedication to the show must be celebrated here once again, pulling a show like this one takes a crazy amount of work, she has to check the requests, find informations about the songs or the artists, think about the way she's going to mix the songs, add her own bits of information regarding her forthcoming events, present the show and recording, publish it on mixcloud and do the Instagram and Facebook posts... And this, week after week... As Ana said it, Brava Cosmo! Our friend dancing_james perfectly summed up Colleen's tour de force: "I think today will reveal how much preparation goes into the show, the research and the anecdotes to be able to recreate it". Well said James! Of course, a few of our friends did talk about the London Loft that took place on Sunday, sharing how much the dancers lifted the spirits of the whole experience high! Dancing_James again shared "I love being part of the Loft Family, it's a joy to be a part of something which brings so much pleasure and positivity". To sum it all up, I'll share two last thoughts by our friends. The first one is by Siobhan Murphy: "Always a pleasure to hang out with you and the Balearic Breakfast Family each and every tuesday. What a journey we have all been on. I have been listening back to 2020/2021 shows while I was travelling last week - they still sound so new - so fresh - so emotive - Peace for the musics" The second one is by our dear Lioncub, and he said "We're peace people, we're music people, we're ego free, let's share the LOVE!" Listen back to the second take of Balearic Breakfast's 239th episode: This week’s Balearic Breakfast 5th anniversary show was a sonic success and is now archived on my Mixcloud for you listening back pleasure. Yes I did the entire 5 hour show again as last week’s epic anniversary special was not Virgo compliant – in fact it was far from perfect as the music wasn’t what the artist intended. We unknowingly had corrupt software which took out all of the bass and made the sound tinny. I couldn’t let it stay archived like that and it was such a special show, I just had to do it again. My husband Adam has worked tirelessly trying to sort it all out and it took him a full two days so thank you Adam for dedicating your time. And thanks to all of you who joined me once again on the live stream. It’s a joy having you with me as always. And thank you to all who joined us at The London Loft in our new riverside h(ohm) – our best sounding room since we started the parties with David Mancuso in 2003. It is such a joyous space and it was great seeing faces from the past as well as new faces joining us for the first time. Our guests enjoyed our new home as much as we did and also a huge thank you to the London Loft team and to Simon and Guillaume who joined me on the decks. Our London Loft winter party is the 7th December and invitations are going out this week so keep your eye on your inbox. The last Balearic Breakfast Volume 4 release party will take place at Pike’s in Ibiza this Sunday, the 28th September where I’ll be playing all night long at Freddy’s and the night before – this Saturday the 27th September I’m heading back to Napoli for the first time in over 2 decades (last time was with Francois K at Angels of Love in 2001!). I hope to see you on a dance floor and thanks for listening. ANNOUNCEMENTS Over the next few weeks here is where you can catch Colleen: 27th September All Night Long at Neuhm in Napoli, Italy 28th September at Freddy's at Pikes, Ibiza 3rd October Arkestra in Istanbul, Turkey 25th October at Public Records, Brooklyn, NY 31st October Halloween at Pikes, Ibiza 11th December, Wonderfruit 2025, Thailand THE PLAYLIST (1991) Kirsty MacColl – Walking Down Madison' (6am Ambient Mix) (2021) Arooj Aftab – Mohabatt (1985) Love & Rockets – Saudade (2023) Rhythm & Bliss – Song of Earth and Sky (2023) Elisapie – Taimangalimaaq (2024) Cleo Sol – Desire (1996) James Mason – I Want Your Love (1981) Teena Marie – Portuguese Love (1971) Roberta Flack – Go Up Moses (2004) Linkwood Family – Miles Away (1979) Alfredo De La Fé – Favorite Things (2020) Hillside – Walpole Days (Cosmic Arts Version) (1976) Ned Doheny – Get It Up For Love (1983) Flayer – Wanna Get Back Your Love (2012) Crosby Stills & Nash – Dark Star (Ashley Beedle Heavy Disco Edit) (2012) Shawn Lee's Ping Pong Orchestra – San Diego (Tour Werks After) (1982) The Who – Eminence Front (2024) Alex Kassian E2-E4 Mad Professor's Qantas Crazy Remix) (2019) Chris Rea – It's All Gone (Pete Blaker Edit) (2021) Bad Business Club – Flip Me Over (Summer Sunshine Version) (2022) Residentes Balearicos – Juno's Dream (Gold Suite Remix) (2013) Solange – Losing You (2025) Trip Tease & Alain Vice – Sex Having Disco (Prins Thomas Diskon) (1988) Kriss – Hey Mister Mister (2025) The All Seeing I – The Return of the Crooked Cat (2014) Friendly Fires & The Asphodells – Velo (2022) Maxine – Alien (House Mix) (2009) Arthur Russell – Wax the Van (Yam Who Rework) (2023) Parbleu – Elios (2024) Nicola Conte – Into The Light of Love (Joaquin's Spirit of the Dance Version) (2021) Secret Night Gang – Captured (Cosmodelica Remix) (2025) Far Out Monster Orchestra – Black Sun (Joe Claussell Classic Mix) (2022) Stim Dzyl & Mark Francis – Kilimanjaro (Eye Candy Mix) (2004) Scott Grooves – The Journey (2023) Lady Blackbird – Beware the Stranger (Ashley Beedle) (2025) Mighty Zaf & Linkwood – Yokai (2024) Opal Sunn – Elastic Phase II (1986) Michael Shrieve/Kevin Shrieve/Klaus Schulze – Transfer Station Blue (1992) The Moodswings – State of Independence