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

Colleen 'Cosmo' Murphy broadcast the 243rd episode of Balearic Breakfast on her Mixcloud on October 21st 2025. ABOUT THIS EPISODE On Monday, October 20th, David Mancuso would have celebrated his 81st birthday. Colleen shared a beautiful yet short message celebrating this special day on her socials: "Happy Heavenly Birthday David. Remembering one time when I drove you back to your Brick Lane hotel. You got out of the car, walked a few steps and turned to me and said (in that earnest way of yours), ‘I love you Colleen’. I responded, ‘I love you David’. From that day on that is how we said goodbye. I love you David. And I miss you terribly." Of course, the openning song of this 243rd episode of Balearic Breakfast was dedicated to Colleen's friend. Before embarking on her travels, Colleen pre-recorded today's episode and also the next one which will be streamed by Adam on October 28th. We all had a great time discovering DJ Supermarkt mix and interview, a proper Balearic Moment indeed! Listen back to the 243rd episode of Balearic Breakfast: D’Angelo created only 3 studio albums during his lifetime but each was a game changer and ‘Voodoo’ was my personal favourite. I was blown away when I first heard it as it sounded so fresh and modern but still with that classic soul twist - even caught him on the Voodoo tour at The Brixton Academy. I pay tribute to D’Angelo on this week’s Balearic Breakfast (now archived on my Mixcloud) through choosing the most Balearic song from each of his albums. This week’s show also features a fabulous one hour mix from DJ Supermarkt from the label Too Slow to Disco which has been a favourite on the show. His mix has that sunset disco/yacht rock feel and is incredibly smooooooth! I know you will love it and please swipe for the tracklist. Thanks for listening! THE PLAYLIST Colleen Mix: (1981) Pat Metheny & Lyle Mays – September Fifteenth (1995) D'Angelo – Cruisin (Wet Remix) (2014) D'Angelo & The Vanguard – Really Love (2000) D'Angelo – Spanish Joint DJ Supermarkt TooSlowToDisco Mix: (2025) Leisure – Welcome To The Mood (1994) Die Fantastischen Vier – Tag Am Meer (Instrumental) (2024) Ships & Hardships – Flou (2022) DJ,,S' – Sweet Love (2021) Marco Magrini – Moments of Love (2025) Lexx – Cruisin (2025) Michael Franks – Monkey See, Monkey Do (Jack Tennis Rework) (2024) Monsieur Van Pratt – No Te Perderé (2023) Joel Sarakula – Hands Of Love (Ben Jamin Rework) (2025) Turbotito – Time Starts Moving Slow (2025) Gold Suite – Other Side (2012) Cadillac – Too Long (Daft Punk Cover) (2022) Georges – Karma (Turbotito Remix) (2013) Toro Y Moi – Rose Quartz Colleen Mix: (2025) Sofia Rubina – I'm on My Way (2025) Ten City – He's a Friend (2025) TJM – Small Circle of Friends (Moplen Remix) (2025) Charles Stepney ft Kitty Haywood – You Make Me High (Terry Hunter & James Poyser Club Mix) (2024) Trinidadian Deep – Moments of Sounds (Cee ElAssaad Remix) ANNOUNCEMENTS (from Colleen's presentation) Our next Winter Loft Party in London is on Sunday, the 17th of December, and it's by invitation only, so you have to be on our mailing list (loftparty.org). I'm playing at Public Records on Saturday night in Brooklyn. I hope you can join me. And the following week will be my last time on the White Isle this year, on Halloween night at Pike's. So next week, I'll still be streaming remotely. I'll be bringing some new tunes. And we also have a one-hour mix from my friend Bex in the City. It's a gorgeous mix that she has put together for us. ABOUT THE SONGS I (from Colleen's presentation) Pat Metheny and Lyle Mays with September 15th, and that's from the guitarist and keyboardist's 1980 album, As Falls Wichita, So Falls Wichita Falls, and I'm dedicating that to my mentor and dear friend, David Mancuso. Yesterday, if he was still with us, he would have celebrated his 81st birthday, and David loved Pat Metheny's work, and he often played songs like Are You Going With Me and The First Circle at The Loft, and also this album, all of which sounded incredible on his sound system, the audiophile sound system that David carefully and meticulously assembled and tweaked over decades and decades. David was obsessed with sound, I mean, so much so that he could even remember the first sound he heard, and I'm not going to tell you what that sound was, but you can find out in an interview that he did with my friend Chris Menist. Chris interviewed him for the Loft compilations that David and I put together for New Phonic Records, and part of that interview is on our London Loft website, so if you want to listen, head over to loftparty.org and to the Music Is Love page, and you can scroll down and listen there. And while you're over there, if you want to join us for our Loft Parties in London, join our Friendship Train. Our next Winter Loft Party in London is on Sunday, the 17th of December, and it's by invitation only, so you have to be on our mailing list. Thank you, David, for everything. Ed. Note: There is a beautiful interview David gave back in 2003 to Niall O'Conghaile's Discopia fanzine where you can really feel who he was and how he reacted to things, the transcription is great, read it here. Good morning, Balearicans. I'm Colleen Cosmo Murphy, hosting your weekly Balearic Breakfast until high noon on my MixCloud Live, and greetings to all over on the chat group today. Coming up in the show, some of my new favorite dance floor songs, along with a one-hour mix, an interview with DJ Supermarket of Too Slow to Disco. It's all on the way. But first, along with my friend David, I'd like to remember another artist who had a tangible influence on music, the late D'Angelo. He was a pioneer of the neo-soul movement, first as a songwriter and producer for Black Men United, and then he came into his own as a musician and performer in his own right, changing the course of music in only three albums over two decades. And each album had a finely crafted new sound, and it's crazy to think he released only three albums, but maybe he set the bar so high for himself and put so much time and thought into his next musical endeavor that that was all we needed, three albums. I loved Brown Sugar when it was released 30 years ago and was so happy to hear soul music. The soul music I so loved. It was revived with a contemporary twist, but it was Voodoo that really knocked my socks off. I mean, it sounded so fresh, so modern in 2000. And for me, it was the apex of the Soulquarian movement and records from that era, Common, Erykah Badu, The Roots, Most Deaf and More (Ed. Note: see also here). I went to see D'Angelo live on that Voodoo Tour at the Brixton Academy, and it was incredible. And now I can relive it as I just discovered it's on YouTube, so I think I'm going to do that later on. So today on Balearic Breakfast, we remember D'Angelo, who sadly passed to the next realm, and I've chosen one song from each album, starting with the wet remix of his first single, a cover of Smokey Robinson's Cruisin'. D'Angelo with Spanish Joint from Voodoo. Really love, ahead of that from Black Messiah, and the Wet Remix of Cruisin' from his album Brown Sugar, which came out 30 years ago this year, his debut album. May D'Angelo rest in musical paradise. Okay, coming up towards the show, I'll share some of my favorite new groovers with you. But first, we have a mix from DJ Supermarkt from Too Slow to Disco, which has released some great records that label, including reworks of Michael Frank and the Sunset Manifesto comps that feature contemporary Yacht Rock Sunset Disco tracks. And he's taken a lot of time to put together a great mix, which he calls Welcome to the Mood, of which he says: "I tried to tell a story here like I always do, of freedom, paradise, alternative lifestyles, islands, especially Ibiza, finding peace in troubled times and more. I included my favorite new Balearic Sunset Disco tracks alongside a little look at the past, present and future of that infamous Too Slow to Disco sound. Altogether, I thought I'd make a mix where even the specialists need a bit to find some of the music included, so I hope that worked. And I threw in some unreleased Too Slow to Disco premieres in there for music lovers to discover". Here is DJ Supermarkt. DJ SUPERMARKT INTERVIEW Okay, coming up towards the show, I'll share some of my favorite new groovers with you. But first, we have a mix from DJ Supermarket from Too Slow to Disco, which has released some great records that label, including reworks of Michael Frank and the Sunset Manifesto comps that feature contemporary Yacht Rock Sunset Disco tracks. And he's taken a lot of time to put together a great mix, which he calls Welcome to the Mood, of which he says, I tried to tell a story here like I always do, of freedom, paradise, alternative lifestyles, islands, especially Ibiza, finding peace in troubled times and more. I included my favorite new Balearic Sunset Disco tracks alongside a little look at the past, present and future of that infamous Too Slow to Disco sound. Altogether, I thought I'd make a mix where even the specialists need a bit to find some of the music included, so I hope that worked. And I threw in some unreleased Too Slow to Disco premieres in there for music lovers to discover. Here is DJ Supermarket. [Colleen] Well, Balearicans, I have DJ Supermarket, who is Marcus Liesenfeld here in the studio with me. He's also the man behind Too Slow to Disco. We've been playing a lot of releases on that label, on Balearic Breakfast, over the last few months. Hello, DJ Supermarket. [DJ Supermarkt] Hello. I'm actually saying hello from the south of France, so it's, it doesn't, I'm a bit more Balearic than you probably today. [Colleen] I think you probably are. I mean, I was Balearic up until midnight last night when I was on the White Isle, but yeah, definitely, I think the south of France is more Balearic than London. But you are usually based in Berlin, correct? [DJ Supermarkt] Yeah, that's my main place. Right. [Colleen] And how did you get, you started doing these kind of mixes about 2008, you've been doing these great reworks of classic kind of Balearic tracks and unknown kind of delights. How did you get your start in all of this kind of re-edits and reworks? [DJ Supermarkt] It's like many times in my life, I was in a crisis. I was an electro DJ playing more big rooms and more monotonic music, and I got really fed up and I just didn't want to do it anymore. So I just stopped. And the music that really helped me out of this burnout kind of thing was the West Coast sound of the late 70s and early 80s, the yacht things and the Balearic. And so it was more like a life saving thing. And at first it was only for me. And then it was fun, actually, when I went to airports, when I had DJ gigs somewhere abroad, on airports, you often meet other DJs. So it was the time of Soul Wax, you know, the electric. And we all talked about how stressful it is to do it, but we all liked it. But then everybody said the next morning, the music you need to soothe your soul to get back down was the West Coast music and the Balearic music for all of them. Really, all of them. You know, it was a time when when you said that you love Toto Africa, you were killed, actually. [Colleen] I know, because the electric class movement was kind of like cold wave and quite, you know, I loved it, too. I played a lot of stuff like that. [DJ Supermarkt] It was a great vibe at the time, but there was so much soul missing for me. And yeah, I started doing it listening to on my own. I did these small mixes and then more people actually started to love it when I shared mixes and everything. And then I thought, like, maybe it's time to rediscover the bands and the music that is behind Toto and all these. And so I started re-releasing late 70s, early 80s, mainly West Coast music. And it was the time when Neptun Haney suddenly became like a household name in the music specialist world. So it was an exciting time because before, actually, when I say you were killed when you talked about Toto Africa, it's actually quite true. Fleetwood Mac were the uncoolest band in the world. And after the edits from Late Night Tough Guy and Flight Facilities, suddenly they were played in big rooms. And so it was a nice development. I was part of it. There were many others also part of it. So it was a great time. [Colleen] Yeah. Well, I remember I think you first came on my radar a few years ago when Michael Nesmith from The Monkees passed away, because you did a great edit. Yeah, from Capsule. And I think I got in touch with you. I think I found it on SoundCloud and got in touch with you. I must play this in tribute to the late and great Michael Nesmith. He was, you know, I think my favorite monkey, actually, out of the Monkees. Yeah, I mean, he was a great songwriter, you know. [DJ Supermarkt] Yes. [Colleen] Yes. And it's great. You have been re-releasing, reworking and re-releasing tracks by Michael Franks. Do you want to tell us a little bit about Michael Franks for those who don't know? [DJ Supermarkt] Late 70s, early 80s was the big time for him, also like for so many of these artists. He's one of these soft soul jazz musicians that actually, how I found out, I thought he would be more popular actually nowadays. But when I have these projects and I have a contact in Warner Brothers in L.A., David Ponak, who is one of the most important people in Too Slow to Disco because he helps me with everything. And he once said that Michael Franks and his management are the coolest, most relaxed people. [Colleen] So they're so Californian. [DJ Supermarkt] It was. It is. It totally is. It totally is. So I asked my the people around me that work with Too Slow to Disco, the edit guys, the rework guys, I asked them, you can choose a Michael Franks song and you can do a rework of it. And half of them didn't even know Michael Franks. And normally they know everything. You know, they're these diggers and specialists. So Michael Franks kind of went under the radar, I think a little bit. And I'm trying to change that. And so yeah, there's some 12 inches with remixes coming. And then next year there will be a full compilation with all. I have 24 remixes and I don't know how to choose. So it's difficult. There's so many of these reworkers who when they looked for his work were like, how, how, how do I not know Michael Franks? [Colleen] I was turned on to Michael Franks by my listeners. And then I just kind of dug a bit deeper and I've been picking up his albums when I've been seeing them in secondhand shops. And his discography is fantastic. And he really enjoys the remixes and the reworks himself. [DJ Supermarkt] He does, which is great. Yeah. [Colleen] Now, can you tell us a little bit about the Sunset Manifesto compilations you've been putting together? [DJ Supermarkt] After concentrating on the old West Coast, Balearic stuff, I kind of discovered that there were so many new artists who embraced parts of it for their music. And I thought it would be interesting to introduce them. So it's now the second volume we reached. And it's great fun. It's a different work because most of the 70s people are untouchable. You know, I can't talk to them. It's really difficult. But with the new musicians, it's like you talk to them and you see like, it's a bit like you. I don't know you personally until now, but you look like a really relaxed person. So people, yeah, it is. And people who like that music are mainly relaxed people and just a little sophisticated. And it's fun. It's fun to work with them. [Colleen] Yes. Well, a lot of people think I'm from California, but I'm actually from the East Coast, which isn't as relaxed. What does the future hold for a DJ supermarket and Too Slow to Disco? [DJ Supermarkt] As I said, working on the Michael Franks compilation, which will take me... Too Slow to Disco is just one person and people helping. So it's a lot of work. So it will take until next year. And the next thing will be like a Sunset Manifesto, but mainly with French artists. So like a French Sunset Manifesto with all the new modern French electronic smooth artists like Utek. I discovered so much French music because I'm in France a lot. They have these beaches and they have the sun. And so it kind of reflects in the music, I think. It doesn't happen in Germany a lot. [Colleen] Well, that's great. I really look forward to hearing that. That's really interesting. There's also so much great music coming out of Italy as well, like Napoli and that whole area, the Mediterranean vibes. Yeah. [DJ Supermarkt] Yeah, definitely. [Colleen] Well, thank you so much for taking your time out to chat with us during your holiday. I really appreciate it. And thank you for this wonderful mix that we're listening to right now. [DJ Supermarkt] Thanks for your support all the time and do continue doing it. Not my support, but continue doing your music choice! [Colleen] Well, thank you so much, Marcus! Thank you. And enjoy the rest of your holiday. Take care. [DJ Supermarkt] Take care. Bye bye. [Colleen] Bye bye. ABOUT THE SONGS Ii (from Colleen's presentation) This next song came out last month on LRK Records and it's by the Estonian soul powerhouse Sofia Rubina, a song she wrote and performed to celebrate her 40th birthday. A song about the freedom to love yourself, embrace your sensuality and just to have pure fun. And it also draws inspiration from some of the best soul sirens from Chaka Khan to Angie Stone. Here is Sofia Robina with I'm On My Way. One of my favorite house acts of all time, Ten City, who are back with a new album called The Next Generation, released last month on Nervous Records. The project features original member Byron Stingily and producer Immaculate, and includes new vocalists like Maneri, Unequa, Drama, and Ovious. And I have to say that Stingly sounds great covering that Eddie Kendrick's classic. We heard Ten City with He's a Friend. The Italian producer and DJ Luca Moplen with his remix of Small Circle of Friends by TJM, which stands for Thomas Jerome Moulton, and is the title of Tom Moulton's own 1979 LP. And Tom Moulton was on fire in that decade. He was behind the first continuous album side, Gloria Gaynor's I Never Can Say Goodbye, produced Grace Jones' early albums and loads of incredible remixes by artists like The Three Degrees, First Choice, and F.S.B. & More. We heard Moplin's remix of Small Circle of Friends. A glorious Chicago collaboration from Mirrorball Recordings label head, DJ and producer, Terry Hunter, along with James Poyther. They delved into the vaults of the soul visionary who passed at the peak of his career in 1976, the legendary Charles Stepney, a vibraphone player and a genius arranger and producer. He was discovered by Chess Records, Marshall Chess, and he put him in charge of Rotary Connection. And Stepney also produced Minnie Riperton's debut Come Into My Garden. We just heard Terry Hunter and James Poyther's club mix of You Make Me High by Charles Stepney with Kitty Haywood on vocals. I'm leaving you with this one from Trinidadian Deep, the moniker of the Trinidadian-born and UK-based DJ and producer Damian Lee, with Moments of Sounds, with a great remix by the Moroccan producer and DJ Cee ElAssaad. Thanks for listening.

Colleen 'Cosmo' Murphy broadcast the 252nd episode of Balearic Breakfast on her Mixcloud on December 30th, 2025. ABOUT THIS EPISODE This past Saturday, Colleen published the last request post of 2025, saying, "Good morning! This Tuesday I’m streaming the last Balearic Breakfast of the year on my Mixcloud Live from 10am to 12 noon GMT and to mark the occasion will be hosting another Request Show. For our last show before the new era let’s set our intention for 2026 to music. Please request songs that will help manifest dreams or celebrate a new horizon. See you Tuesday!". Of course, the Balearic Breakfast Family got together and posted songs with a positive message for the coming year, hoping 2026 will be a good one for everyone! Today's episode had a few twists and turns, but there is one thing you could feel all along these 3 musical hours: Colleen's delicacy. It made me think about how much she "owns" the songs when she plays them. Have you ever paid attention to the way Colleen experiences music and how she shares it? It is so much different from what other DJs do. She rarely throws her hands in the air, yet the way she plays the songs, the way she feels them, and the way she behaves onstage allow the dancer to connect with her. And you can feel that while watching her, but you can also feel that in the way she mixes the songs; it's a clean and precise mix, and she always allows the songs to breathe, especially in the beginning (for a beautiful example of this quick analysis, see Colleen live here at Boiler Room). And I also thought about how much Balearic Breakfast has been a lifeline in 2025 for so many of us, and how much being part of this loving and caring community means to us! On the chat, the vibe was as strong as ever, with our Family members sharing memories whenever Colleen played a song. When "Staying Alive" popped in, our friend Robertoegg wrote: "I visit a construction site on a week and the site manager has staying alive in his ringtone... Consequently, I haven't stopped humming/whistling it in the last 9 months - so thanks for giving me my fix during the holidays lol!" Also, when "Touch me in the morning" played, our friend Builderguy shared "Chills from last year's WOH on this one", and Colleen answered, "I remember that moment @builderguuy and the record skipped because the engineer accidentally hit the turntable when he was setting up for Greg Wilson. True vinyl moment!" Of course, we also shared our love for the show and our community, with Rick Van Veen saying, "Thank you for the music, your shows and the community. 2025 wasn't easy but you helped me get through. Have a great New Year, and remember..." And I want to thank my friends for supporting the blog too! More to come in 2026... 😍 Colleen concluded by saying, "Happy new year to all of you. Thanks for being on the Balearic journey with me in 2025. We have shared so many great memories together and I know next year will bring many more. Lots of love to all of you. x" So, here is to us, here is to our Captain for 2026: Huray!! Listen back to the 252nd episode of Balearic Breakfast: After a week-long break, today is a music day as I hosted the last Balearic Breakfast of the year (now up on my Mixcloud) whilst pulling records for tomorrow night’s New Year’s Eve party at Mare Street Market with Voices Radio. This morning’s radio show is an all-request show featuring songs that set an intention and mindset for 2026 – three hours worth of optimism and beauty – just what we all need. 2025 has been a rough year for many and of course, each year has its challenges, but this year has been incredibly intense on a global level. But as always, there’s a lot to be thankful for - often closer to home: family, friendships, walks in nature, laughter and course, dancing and music. I’m not going to do a recap of photos of 2025 as frankly I don’t want to spend more time on social media that I absolutely have to, but I do have a lot to be thankful for. 2025 highlights include Cosmodelica remixes for Saint Etienne, Crazy P, Street People, Santino Surfers and THE CURE! I’m also thrilled with our London Loft party’s new home and our incredible team – trustworthy and positive individuals who want to uphold David Mancuso’s wishes and legacy – thank you! The Cosmodelica take-over in our Love Dancin’ tent was also a highlight (the full set is up on my Mixcloud) and also my residency at Pike’s in Ibiza. Much fun was had. And @classicalbumsundays has continued hosting a series of great events with artists like Wally Badarou, Incognito, 808 State and Level 42 (podcasts are up on the CAS website). And of course, it has been a joy to share Tuesday mornings with the Balearic Breakfast family. Thank you for sharing music, being a friend and for your continued support. You make me so happy. Next year’s resolution? Leaving behind emotional baggage and to open myself up to a new world of possibility and writing my musical memoir. Oh – and stretching out my hamstrings, too. Wishing you a peaceful 2026 filled with great music. Thanks for listening. THE PLAYLIST (1970) Donovan – New Year's Resovolution (1965) John Coltrane – A Love Supreme: Acknowledgement (2024) Reggae Disco Rockers ft Tina – What the World Needs Now (2017) Lord Echo ft Mara TK – Whoa! There's No Limit (2026) Chronixx – Survivor (1980) Adrian Gurvitz – New World (1992) The Beloved – Sweet Harmony (Come Together and Consolidate Mix) (2019) BeeGees – Stayin' Alive (The Reflex Revision) (1978) Pointer Sisters – Happiness (2015) Cerrone – Hooked on You (Reflex Revision) (2024) Bryony Jarman-Pinto – Moving Forward (Cosmodelica Remix) (2025) Mocky – Music Will Explain (1982) Exodus – Together Forever (1982) Donald Fagen – New Frontier (1990) Chuck Jackson – All Over the World (1980) Earth Wind & Fire – And Love Goes On (2014) Hokis Pokis – Find What You're Looking For (1970) Curtis Mayfield – Move On Up (1993) Gerideau – Take a Stand for Love (Blaze Mix) (1980) Two Tons O' Fun – Make Someone Feel Happy Today (1999) Critical Point Ft Vikter Duplaix – Messages (2025) Auntie Flo – Joy Mantra (2025) Soul II Soul – A Dream's A Dream (Ron Trent Remix) (1979) Marlena Shaw – Touch Me in the Morning (2025) The All Seeing Eye & Crooked Man – The Return of the Crooked Cat (1983) Jah Wobble/The Edge/Holger Czukay – Hold On To Your Dreams (2024) Bill Withers – Lovely Day (Studio Rio Mix) ANNOUNCEMENTS (from Colleen's presentation) Francois Kevorkian and I will be playing again back to back in the new year, on the 13th of February at Le Ban in New York City, and the following night on Valentine's Day he and I are playing back to back in Toronto at standard time. So hopefully you can make that if you're in New York or Toronto. And if you're in London and are looking for some late New Year's Eve plans well I'm playing over at Mare Street Market with Voices Radio such a great radio platform. I'm playing with Maria Hamlin and Helena Starr, and it's going to be a lot of fun. Our friend Ian Mackey's coming down on his driving from Glasgow with the Danley loudspeaker, so we have great sound. So looking forward to that as well. And I'm looking forward to another year of Balearic Breakfast in 2026. I will be away for most of January, touring and holidaying, so next week the show will have some mixes. We have some mixes and interviews coming up next week, we have the secret DJ up an exclusive mix from him as well as his thoughts on Ibiza. He's been living in Ibiza now for a few decades, he was really good friends with Alfredo as well, so he talks quite a bit about him in the interview. And we also have Balearic Breakfast guest mix from Gina Lapsley which is great, and then the following week we have Jay Cribb up on the show. We also have another taste up on the show in advance of their new album which is coming out in February and other Balearic Breakfast family mixes. I think Steve Clark hopefully is doing one, we have Angel Mel Selector, and also Pookie from Bonsai Hi-Fi. So I'm not going to leave you high and dry, I would never do that Balearicans. I mean once in a while I have to take a week off, but I won't be taking any weeks off in January. I'll be streaming remotely, and I'll have one live show, I think around the 20th of January, and that night I'm also hosting a Classic Album Sunday session with Greg Wilson over at Hidden Grooves Hi-Fi in London. I think there's a few seats left if you want to grab a free ticket over on Resident Advisor. No plans yet for NYE? We’ve got you covered. We’re handing the keys to the first floor over to our friends at @voices_radio for their famous New Year’s Eve takeover at Mare Street Market King’s Cross. @colleencosmomurphy takes the lead on a specially installed Danley system engineered by Iain Mackie - the kind of setup that feels like a warm hug on the friendliest dancefloor in the city. Joining her upstairs are @helenastardj @mariahanlon and Cara Crosby, with a full crew of Voices residents running things alongside them. A proper NYE send-off, top to bottom. Expect balloons, midnight surprises, legendary DJs, delicious cocktails and snacks courtesy of MSM and a room full of people ready to bring in the new year properly. All ticket holders get 20% off food with a COMPLIMENTARY glass of fizz on us to kick off the night. Just show your ticket to redeem. 🥂 Let’s bring in 2026 the right way. ABOUT THE SONGS (from Colleen's presentation) New Year's Resovolution by Scottish singer-songwriter Donovan, and that's from his 1970 album Open Road, his eighth album and his first time recording with a band rather than solo. And in fact, his plan was to tour the world on his yacht. Now, that's a great resolution, and the band met up on the Mediterranean Isle of Crete to prepare the ship, rehearse material and document their time there for the film "There Is An Ocean", and I guess this intention is somewhat crystallised on this song, the last song on the album. And I just love the lyrics "do what you've never done before/ see what you've never seen/ feel what you've never felt before/ go where you've never been" . And that's a great intention for 2026, and thank you to cool cool cool beans for that request. Now, sometimes when I need a reset I just sit down and listen to an entire album from beginning to end, and in fact there are even days when I start the day with an album. And when I was touring in Japan this past spring, I was inspired by an elderly Japanese woman who runs a jazz Kisa, or a listening bar, and when she wakes up she listens to John Coltrane every morning. So during my tour, I started each day with the entire four-part suite of John Coltrane's A Love Supreme, and I have to say it certainly cast an empathetic and kind of lofty light over the rest of my day. It really just opened me up to a world of wonder, whisking me away from the incessant rumination or over planning that I'm often subject to by myself. So it's a real meditative experience, and this past year I also had Ganavya's version of a love supreme, her album daughter of a temple on repeat, and it's been all over the world with me. I listened to it all the time on my headphones when I was traveling. Now, John Coltrane's life was not only a musical quest but also a spiritual one, and he once said "I believe that men are here to grow themselves into the best good that they can be". A love supreme is the only composition that he formally prepared, most likely channeled, and I wrote a piece about it on the classic album Sunday's website if you want to go in a bit a bit deeper. Now, Rob Calcutt requested the first movement of the four-part suite saying "I could write a million rambling esoteric phrases about why, but this is a four-fold suite and sacred transmission tailored for those with the ears to listen". Now, we don't have time to play the entire album, but both Rob and I recommend you do sometime in the near future, it's a spiritual masterpiece. Japan's reggae disco rockers with What the world needs now which came out last year, and the song is a classic. It came out I think 1965, goodness so 60 years ago, and that was written and composed by Hal David and Burt Bacharach. And the two most famous versions are the recording by Jackie De Shannon and later Dionne Warwick who became something of a muse to the songwriting duo. I mean she could really interpret their music beautifully. Now, a fun fact: Hal David wrote in his autobiography that this song featured the most difficult lyrics he ever wrote. It took him two years to come up with the lyric "Lord we don't need another mountain", so there's an inspiring example of perseverance! Ed. Note: Davstod shared with us on Colleen's Instagram the following fun fact: "There is also a very poignant and thought-provoking 1971 remix (yes you read that right) by Tom Clay which mixes What The World Needs Now with Abraham, Martin and John news footage from the time, as well as a moving interview with a young girl..." Whoa! There's no limit by the enigmatic New Zealand producer Lord Echo, or Mike August, who also wears the hats Mike fabulous in DJ craps, and on vocals is Mara TK which is Mara Te Kahika, and he's the son of Billy TK, who is considered the Maori Jimi Hendrix. Whoa! There's no limit is from Lord Echo's third album Harmonies and that was requested by DJ Chris 45 and Professor Funk Dog of Sunday Sessions, as they are looking for some optimism in 2026. Survivor by Chronixx, the Jamaican artist who's been singing and songwriting since the age of five, and he started his recording career when he was 11. When he was 14 he started producing, so that's certainly some inspiration for you. He's now a billboard chart topping reggae artist and also a member of The Salt Collective and Survivors on Chronix's latest LP Exile, and thank you to Fiona Callum for that request. English singer-guitarist Adrian Gurvitz has had an eclectic musical career. He's the son of Cliff Richard's manager. He was a songwriter for the Eddie money hit The Love In Your Eyes, a member of The Buddy Miles Band after Jimi Hendrix's passing. He also formed a band with Ginger Baker and he penned a song for the England squad for the World Cup in 1982. So that's just the tip of the iceberg. He's had a fascinating life, very varied things going on, and David Puzzi requested a song of his, and the title kind of says it all, really. It's certainly what I feel we need, from his 1980 LP Il Assassino it's Adrian Gurvitz with New World. Ed. Note: Ginger Baker was a friend of the late Zoot Money, and he notably played in the well-known Graham Bond Organization. It's really interesting to delve into the 60s and 70s UK blues/rock scene if you have the time! The beloved Sweet harmony the Come Together And Consolidate Mix and that's the band's 1992 single, and that's from the John Marsh helm the beloved, and the remix is by the socio-political American trio Consolidated. And that was a request from Danny Broderick who wrote 'morning all really a song of intent for the world sweet harmony the beloved we can get through this together'. Mad race trip suggested this last week on the Mixcloud live chat is a bit of a joke, initially. But then, ultimately decided he was gonna go with it. But he requested this, The Reflex revision of the Bee Gee's Stay Alive, so hopefully it doesn't come off as cheesy. And I'll be honest with you, I absolutely love the original version. In fact, I love the entire Saturday Night Fever soundtrack, and for some of us it may be tongue-in-cheek, staying alive is an intention, but for many on the planet the pure act of staying alive is a real goal, whether it's due to illness, famine, war, and we must keep these people in our thoughts. Love that one that I want to share a little story too. You know sometimes I do like to play songs that are quite commercial, and I I do it in an uninhibited way, you know, I break a lot of new music as well as play some things we all love, and my friend David Mancuso did the same thing at the loft. And one time when he was hosting a London loft party, you know he'll play some songs that people know, including a song by sister sledge. And there was some smarmy guy on the deep house page, or the underground house network, whatever, it was this kind of chat group, you know about 20 something years ago, that said "oh I wonder what Dave is gonna play next at the loft party in London you know sister sledge we are family". David didn't say anything because he's out, he was actually on the page, he read it and then the next party he dropped we're family by sister sledge, and I just loved him for it. So yes, Bee Gees staying alive the reflex revision and I have absolutely no qualms about playing it. Our friend David Stoddard always comes up with some soulful goodies and this next one is one of his requests. It was written by Alan Toussaint and was frequently played by Larry Levan at the Paradise Garage. In fact he helped popularize the song, it's from their 1970 LP, 78 LP I should say, LP energy, the Pointer Sisters with the song Happiness. And David wishes everyone a safe healthy happy and loving 2026 to bring in the new year and he'd like to build on last year's theme of love and happiness. He also just wrote on the chat that he's been reading about the Chinese animal years and apparently 2025 is the year or was the year of the snake where one sheds those aspects of life which no longer serve us well whether it's habits or relationships, and 2026 is the year of the horse which signifies dabbling ahead and making bold progress. Ed. Note: The song was famously covered by the great Sylvester and notably during his live concert at the Opera House in 1979, which was recently reissued! Cerrone, Hooked on you (ed. Note: featuring the great Jocelyn Brown on vocals), the 1981 single by French disco Don Cerrone, and given the revision treatment by another French disco Donna reflex and it was requested by Rob Eggleshaw who wrote that "this is the year that I'm going to focus more on me and my wife now that the kids are getting a little older. I remember that a few years ago actually the same thing that we did a couple years ago. Rob says I requested this a while back but it's a moment from when we were traveling free before we settled down, and it captures that lazy carefree vibe we all look for. May you all find more peace and acceptance in 2026. Forget the bad news don't even listen to it rejoice in your friendships your family and the things you can control in front of you". Very good words of advice there from our friend Rob Eggleshaw. Shedding our skin and Moving Forward. Kevin Fleming requested this song, my Cosmodelica remix of British soul folk singer, songwriter, musician, Bryony Jarman Pinto. And yes, the lyrics are all about moving forward. And that's exactly what I intend on doing in 2026, dropping the baggage and moving on, which is really a lot harder to do than to say. And I hope that you're able to do that as well. I have to say meditation really helps. I practice nearly every morning and it helps to not identify with your own thoughts. So highly recommended for 2026 to help you move forward. Ahead of that, Sarone hooked on you, the 1981 single by French disco Don Sarone and given the revision treatment by another French disco Don, The Reflex. And it was requested by Rob Eggleshaw, who wrote that "this is the year that I'm going to focus more on. Sorry, I'm gonna focus more on me and my wife, now that the kids are getting a little older". I remember that a few years ago, actually, the same thing that we did a couple of years ago. Rob says, "I requested this a while back, but it's a moment from when we were traveling free before we settled down. And it captures that lazy carefree vibe we all look for. May you all find more peace and acceptance in 2026. Forget the bad news. Don't even listen to it. Rejoice in your friendships, your family, and the things you can control in front of you". Very good words of advice there from our friend Rob Eggleshaw. A suggestion from our friend Virginia in Athens Greece for a Los Angeles artist Mocky, who is a performer, producer, songwriter, composer, and multi-instrumentalist. He's released 10 solo albums, two movie scores, and various singles and a series of digital mox tapes. He's worked with Feist Jamie, Liddell Chili Gonzalez and many othersn and he also released an album in 2025. Here is Mocky with the title track from his most recent album, Music Will Explain. The 1981 single Together Forever from Exodus, another Loft and Paradise Garage classic, and I'd like to dedicate that to our London loft family. And that song was requested by Steve Clark who wrote "it's been a tough one we've lost people along the way 2026 I'd like to hear music we can all dance together too so I'd like to hear together forever and imagine us all dancing with joy in our hearts". And I also want to congratulate Steve as he is a stroke survivor who swam 105 kilometers in November and raised 1700 pounds for the stroke association via his swim for stroke, and he also encouraged two other stroke survivors to get into the pool to support their recovery. So he is a real beacon of light and someone that we can be inspired by for 2026. Steely Dan's Donald Fagen with New Frontier from his 1982 album Night Fly, and that was requested by Paul Fisher, and I have such visceral memories of riding in the back seat of the car with my parents in the front, and this song blasting out over the airwaves, and I remember turning our daughter on to it for the first time too, I think we listened to it about five times in a row, and danced around the kitchen, and yes we are ready for a new frontier. A request from Keith Yearsley, who calls it 'a true lifter for 2026'. It's the late American soul singer Chuck Jackson who launched his career in the 1950s. He moved to the Motown label in the late 1960s and then other labels. He also did the duet If I Let Myself Go with his friend Dionne Warwick. And for the Bowie fans, the song I Keep Forgetting on Bowie's album Tonight is a cover of Chuck Jackson. Here is an original from the man himself Chuck Jackson with All Over The World on Balearic Breakfast. And love goes on, the 1981 single from Earth Wind and Fire, from the album Faces. And they are such a spiritually forward-facing group, I mean you can pick up any of their albums and listen to it for some emotional and spiritual therapy. And thank you to Sioux Forest for that request, and also the Earth Wind and Fire Experience are touring the UK and the USA in 2026. Find what you're looking for by Hokis Pokis the 1970s soul band from Nassau County New York, and they only released singles from the mid-1970s through to the mid-1980s. It was all compiled on an album, I think about 10-15 years ago, and that was a request from our friend Bert Francois in Brooklyn. Move on up by Curtis Mayfield from his 1970 solo album Curtis and that was requested by Chris Lee. Curtis Mayfield was known as the gentle genius, and he was able to make hard-hitting socio-political commentary through beautiful soul songs, and he also encouraged his fellow Black Americans to lift themselves up and to take pride in themselves and the Black community. A true genius. And we all need to move on up in 2026. Bert François discovered this one on my 90s house mix show Club 89, and it's a true house classic with a remix by Blaze. It's by Newark New Jersey soul singer Gerideau, and it's his second single released in 1993 the Blaze mix of Take A Stand for Love on Balearic Breakfast. Make someone feel happy today by Two Tons of Fun, which was Martha Walsh and Isora Armstrong. They were both backing singers for Sylvester and later formed the Weather Girls with the classic It's Raining Men. And making somebody feel happy is a great piece of advice for 2026. And thanks to Matt Jacobs for requesting. He wrote, the song has an incredible punchy punch right from the start, a banger that has a joyful message wrapped in gospel force aiming for more joy in 2026. Critical Point featuring Philly soul singer and songwriter Vikter Duplaix with the Masters at Work remix of Messages. That came out in 1999 and was a request from Terry Fincham. Also sending that one out to Barry Bairnitz who requested another Masters at Work Victor Duple track, In the Real World. Another great track that came out in 2025 by Brian D'Souza, who is Auntie Flo. And he released his seventh album this year, Birds of Paradise. And this is the instrumental Joy Mantra as requested by Rick Van Veen in the Netherlands. A cut from Soul II Soul's second 1990 album, but recently given a remix by Chicago house pioneer Ron Trent, and the single has been nominated for a Grammy award, and I'm wishing both Ron and Jazzy the best of luck. I'm so excited for them, and thank you to Jason Canonici for that request. Marlena Shaw with Touch Me In The Morning, and this 1979 remix is by Boston, Massachusetts native John Luongo and thank you to Artur in Paris for that request. Ed. Note: Touch Me in the Morning was initially recorded by Diana Ross. The website Songfacts shares: "In this song, Diana Ross gives her lover the boot the morning after a night of lovemaking. It's not because she just wants to love him and leave him, it's because she has a real emotional connection to this guy but knows they can't go on. Instead of dragging it out, she asks him to leave so the memory will stay intact. The song was written by lyricist Ron Miller and songwriter/producer Michael Masser specifically for Ross, who left The Supremes three years earlier and was establishing herself as a solo artist. Miller explained his thinking: "I had already dreamed up this title, 'Touch Me in the Morning,' but I didn't have the vaguest idea what it meant ... So I analyzed Diane as a person. I said, 'Well, this girl is out on her own now. She's an adult and a movie star. She's also a contemporary woman and ... much more liberal about expressing her sexual values. Whereas once upon a time, only a man could say something like that, now a liberated woman like Diane could. However, though she's ostensibly a sophisticated woman, she's still crying inside to be touched in the morning.' It was just a very cold, calculated and wonderful job of crafting." Still, if you listen closely to Marlena Shaw's version, although the main message is the same, the whole vibe is different. The original version is softer; it's a plea, it has a lot of variations, it searches for tenderness, although you feel the message is straight. And the lyrics clearly show that as well. As Songfacts states, "The song's lyricist, Ron Miller, was impressed with Michael Masser's pop composition but worried a pure pop record would alienate Ross' fans, especially since her label boss at Motown Records, Berry Gordy, was demanding a hit in case her performance in Lady Sings The Blues went sour. For some added soul, Miller borrowed from one of Ross' earlier hits. "I didn't want Diana to lose her base so we ripped off a riff from Ashford and Simpson," Miller explained in J. Randy Taraborrelli's book Diana. "One part is straight out of 'Ain't No Mountain High Enough.' And then we had her talking in parts, all of which we did to keep the identity she established with 'Mountain' and to add some soul to the record."" On the contrary, Marlena Shaw's version is more direct; it has more power, it emphasises the secret pain and depicts a strong woman accepting her fate. And this shows in the rhythm of the song, which is quicker. Okay, well this song playing there just in the background is something I played at Pikes and it reminds me I have a lot to be thankful for in 2025. My residency at Pikes spending a lot of time in Ibiza this summer, having a lot of fun with the Pikes team of course my We out here set at the Cosmodelica takeover in our love dancing tent is very memorable. The London loft parties have just gone from strength to strength, and are really at their best yet especially since David left us so long ago. And I have to say our new home, and also our team it's there's just makes it so much better, and so elevated. It's the most trustworthy, loving and positive team I've ever worked with on the loft in London. All the remixes I did this year including Saint Etienne, The Street People, Santino Surfers and of course The Cure, The Balearic Breakfast 4 compilation of course and the Balearic Breakfast parties, and I want to thank all of you for spending time with me on a Tuesday morning, thanks for joining me. This is a request from Dan Edwards or DJ Jefe, who says 'this song shoots from the hip and manifests all that I love about music a trippy groovy bouncy journey happy new year'. It's The All Seeing I on Crooked Man with The return of the Crooked Cat. Oh I love this song so much it's been a long time favorite of mine. Jah Wobble, The Edge, Holger Czukay, Hold On To Your Dreams, also has Jackie Liebesit the late can drummer and lyrics by Arthur Russell, and also produced by my friend Francois K. And it was the 1983 single from them and it was requested by Susan Chan who says "Wishing you all a joyful meaningful and healthy new year thank you Colleen Cosmo Murphy and Adam for another wonderful Balearic Breakfast year may we all find peace despite everything that's going on in the world". And yes, a great kind of intention for 2026 is to hold on to your dreams, to manifest them, and as I mentioned, that was produced by Francois K. I thought I'd leave you with one last request which will take us to the top of the hour, and it's by Bill Withers it's a great Studio Rio mix of his song Lovely Day which was requested by John Perry who says 'brings me happiness after a very testing 2025' and I think we all feel the same way bring on 2026 and a lovely year. Thanks for listening!

On June 23rd 2024, Colleen played a beautiful set at the "First Light Festival". I had to share it here as it perfectly highlights Colleen's sensitive way of mixing... About this mix. – Between two "Balearic Breakfast" episodes, Colleen plays festivals during the summertime. On June 23rd 2024, she was featured during the "2024 First Light Festival" (more info on their Facebook page and their Website). When sharing the picture she took during the festival, Colleen wrote: "A lovely snapshot of the last week’s summer solstice weekend at @firstlightlowestoft - turns out I not only love sunset sets but also sunrise sets! Must be the lark in me. I’ll post it up soon :)" Lowestoft is the most easterly point in the UK, and Colleen was asked by Hemingway Design to play a DJ set on the beach to welcome the sun on the summer solstice weekend at the city’s annual renowned festival. I wanted to share this mix on the blog because it is absolutely Balearic, of course, with music flowing freely and visiting many corners of the genre's spectrum, but also because it nicely demonstrates Colleen's musical ways... When listening to the opening track, I immediately thought about The Moody Blues 1967 studio album 'Days of Future Passed'... and I had a great laugh when I heard Colleen actually played "Dawn: Dawn is a Feeling" right after the opening track! All in all, this is a beautiful set. In fact, it is a "Soul Awakening Mix", where every song is like an opening, a fresh start, "a heliocentric selection of music that heralds in a new dawn". Interesting idea, don't you think? I'm leaving you here on this reflecting note... Enjoy... Listen Back to Colleen's Set at the 2024 First Light Festival: PLAYLIST (2022) Sault – Air (1967) The Moody Blues – Dawn: Dawn is a Feeling (2002) Chris Coco (feat. Nick Cave) – Sunday Morning (1998) John Martyn – Sunshine's Better (Talvin Singh Remix) (1978) Light River Band – Light of Day (1973) The Isley Brothers – Summer Breeze (2022) John Carroll Kirby (feat. Laraaji) – Dawn of New Day (1972) Ronnie McNeir – In Summertime (2024) Marcos Valle & Leon Ware - Feels So Good (1978) Leo's Sunshipp – Give Me the Sunshine (1975) Harold Melvin & The Blue Notes – Wake up everybody (1977) Bill Withers & Studio Rio – Lovely Day (1991) Chris Rea – Looking for the Summer (2021) Cantoma – To the Sea (Hear & Now Remix) (1971) Nina Simone – Here comes the sun THE LISTENING EXPERIENCE As I said, when I heard Sault's "Air", it immediately struck a chord and made me think about the 1967 album by the Moody Blues. Even though, volume-wise, The Moody Blues' "Dawn is a Feeling" is slightly too loud, on the rhythmic side of things, the timing is absolutely perfect. Also, both tracks share almost an identical sound (the orchestra), although The Moody Blues' recording has a broader soundstage and is less anchored. But that intention I suspected hapenned, and it made me laugh so much, reinforcing my attachment to Colleen just a tiny little bit more! She's all about the Intention, about the Feeling of the moment, you can easily picture the beach on the left side and people partying, with these huge Statues lurking somewhere in the Background... The next track nicely prolongs what just happened musically. Keeping the same tonality, Colleen chooses to play Chris Coco's (feat. Nick Cave) "Sunday Morning". The sound quality of the set is off the hook; there's a lot of realism throughout the set, although we know that Mixcloud compresses some of the high frequencies. From this very moment, I couldn't let go of the Idea that every track was like a new beginning, like a flower forever blossoming, a sun forever starting its new journey... And this is precisely what happens with John Martyn's Sunshine's Better (Talvin Singh Remix); it's another excellent example of Colleen's perfect musical choices; she keeps the flow rhythmically and opens up the sonic spectrum, the bass here being more present and the tonality more open to new winds, less restricted if we can put it that way. The marching goes on, and on, and on, as the sun appears in the sky, oh you shy star, where are you heading to today? Will you tell us? The answer will find you; it's all in the music as Light River Band's "Light of Day" slowly starts (hear the sound of the keyboards on the left side, oh so realistic, seems like a Fender Rhodes piano to me, btw)... There's a rhythmic change here as The Isley Brothers' Summer Breeze starts, indicating another part of the set, it seems... This second part of the set confirms its absolute freedom and its ever-renewing movement with John Carroll Kirby's (feat. Laraaji) "Dawn of New Day" followed by Ronnie McNeir's In Summertime and Marcos Valle & Leon Ware's Feels So Good. Take the time to notice either the perfect rhythm keeping or the small rhythmic changes, enhancing the mix's "forever new starts" feeling! Colleen never loses one beat here, always keeping us on the verge of discovery... Now, as Leo's Sunshipp's Give Me the Sunshine starts, we're going to do something here... Close your eyes, come on, close them, and let your head go up and down, following the music's groove; a light head-banging to enter the music's realm is something I absolutely adore to do, it brings freedom and a sense of absolute well-being, allowing you to concentrate on the music, its groove and letting your mind plunge into is waves... Try it now, close your eyes and let your head go up and down following the groove... You can also make variations, up, down and then left to right grooving in small motion waves... Who's feeling better now? ^^ There you go. Just as you entered music's realm, Colleen changes the pace, but it's not harsh. Did you notice that you're still banging your head as Harold Melvin & The Blue Notes' "Wake up, everybody" started? We're in heaven, right? ^^ And we'll stay right there because as Bill Withers (accompanied by Studio Rio) sings, it's a Lovely Day (another song dealing with new starts, btw), a promising summer day... Such a strong message shared here by the incredible Chris Rea with Looking for the Summer, also showcasing what is a "Balearic DJ", one who plays songs with an intention, a meaning, a groove... taking you to places you didn't knew you liked or you needed, and here, right at the end of this very track, happens the absolute Wow Moment of this very mix, with Colleen perfectly mixing Chris Rea with Cantoma's "To the Sea (Hear & Now Remix)" and ending this incredible sunrise set with Nina Simone's cover of the Beatles 1969 Classic "Here comes the sun"... "One of the Finest sets I've heard from her' (Rick Van Veen)

Sometimes, you're listening to your favourite show, and you hear a song that catches your attention. Stay On Top is a universe in itself. Let's talk about it with Jonra! 1) Dear Jonra, I’m over the moon to have you here as “Stay on top” is an absolute favourite of mine. Discovering it thanks to Balearic Breakfast was a real treat! But first things first, can you tell us more about “Living in ghosts”? How did that project come about? Eric and I started Living in Ghosts out of a need to create a moniker that could facilitate the slower, more musical dimension of our sound. We have been making music together for over two decades and have explored many different styles and vibes throughout the years. The slower tempos were always something we enjoyed creating, but we are only now beginning to release this side of our music to a wider audience. 2) “Stay on top” has a very dark musical palette; it is quite a frightening track, actually! Still, the lyrics are quite positive... Intellectually speaking, it creates a very motivating piece of music, perfectly representing a kind of “rage of despair” . How did that song come to you? Our first single, "Stay on Top," was a collaboration with longtime friend Simon "Woolfy" James. He brought his upbeat lyrics and musical sensibilities to the table, which really helped take the song to another level. Along with our live analogue jams, Simon's quirky lyrics, and Dan Hastie's masterful guitar riffs and production, "Stay on Top" was born. 3) There are several remixes of the song that recently came out. Can you share with us how these versions came to life? After sitting on the shelf for quite some time during COVID, we finally decided to start promoting the track, and it quickly caught the ears of people I shared it with through social media. Andrew, aka Lovefingers, was one of the first to hear it. He gave us amazing feedback, some great advice, and suggested we share it with Sean Johnston, who he felt would really connect with the vibe. Sean ended up playing the track at ALFOS prior to its official release. This eventually turned into a friendship and ongoing conversations about the tune, leading Sean to deliver two timeless mixes: the Hardway Bros ALFOS Dub and the Extended Mix. Soon after, I shared the track with Doc Martin, who later contributed a remix that is now out as the "Doc Martin Subwarp Mix." Doc's remix carries that classic Doc Martin sound with a raga-dub twist that reminds me of the old Bay Area Wicked crew sounds we all grew up on, but with a modern-day edge. Last but definitely not least, Emachinery delivered a disco acid remix that tied the entire package together perfectly for the cosmic acid recombination. 4) You also issued the track “Cars that go boom slow” which still has that dark touch, also keeping this hypnotic feel that you seem to love so much! What is the message behind this song? The last track we released, "Cars That Go Slow," was an edit inspired by Le Tigre's "Cars That Go Boom," the classic Miami bass tune. That one was simply something fun we felt naturally fit under the Living in Ghosts moniker. 5) Will we have to wait three more years until your next release or do you have new tracks coming out soon? As you can feel it we’re not at all excited by what you do (laughs)! We currently have a new EP taking shape featuring a collaboration with sax player John Juster, along with a new collaboration with Woolfy that we also remixed, plus several original tracks in the works. Rather than flooding the project with massive amounts of music, we want to remain highly selective and release music when it truly feels right, not simply to feed the industry machine. We are not interested in being on a treadmill where we feel pressured to release constantly. We want each record to have the proper space and time to breathe as it finds its audience. Thank you so much, dear Jonra, for this great interview! Thanks for having me, Artur. Stay on Top has been included in the Halloween Mix I posted a few years ago. You can find the post here. If you wanf to listen to the mix quickly, I added it just below, close your eyes and enjoy the Spooky but very Balearic Vibes...