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Worldwide FM broadcast the 106th episode of Balearic Breakfast on September 20th 2022. ABOUT THIS EPISODE Autumn was just a few days away, and the Balearic Breakfast Family was about to experience a deep musical journey on this 106th episode. Colleen posted the request line on her socials on September 17th, 2022, with the following message: "Good morning! What would you like to hear this coming Tuesday on Balearic Breakfast on Worldwide FM? Pictured here is a soundsuit by Nick Cave (the African-American artist and not the musician). Swipe to find out more. This is the last weekend of the In the Black Fantastic exhibition at the Hayward Gallery where it's currently on display. I posted about it before - get yourself over there if you can." Ed. Note: Colleen published the penultimate Cosmodelica show on her socials and on her Mixcloud account on September 16th, 2022, saying, "Cosmodelica is now up on Worldwide FM and my Mixcloud with a special guest mix and interview with James Priestley of Secret Sundaze in celebration of their 20th anniversary and their forthcoming Spirit of Sundaze Ensemble album release. And an hour mix from myself featuring music from Mark E, Opolopo, Francois K, Crazy P, Moplen, Peppermint Jam, The Reflex, Z Records and more... Put on your dancing slippers and enjoy!" As always, Colleen's ability to delve into the moment gave this episode a specific flavour, a relaxed but at the same time intriguing feeling, surely enhanced by the fact that Colleen took a much-needed break after a busy summer, as she explains at the beginning of the show, letting herself go to unexpected musical places... To me, the Wow moments include the discovery of Bootsy Collins' 1977 "Munchies for Your Love", James Mason's infectious   "I Want Your Love" , Chayell's thrilling Beach , Be Svendsen's incredible Remix of Henri Texier's "Le Piroguier", and, of course the spacy "Balearic Incarnation" not forgetting here Chilly's totally explosive 1978 "For Your Love" . I often have these songs on repeat in my mind; they have become real friends. I'm sure this also happened to you with other songs played on the show! Last but not least, the intriguing feeling was exacerbated by the fact that we were slowly discovering the tracks that would be included on the next Balearic Breakfast compilation, and we could not have been happier back then! Without the shadow of a doubt, this 106th episode is a favourite of mine... On the same day, a few hours later, Colleen shared the following message on her socials: "This morning's Balearic Breakfast is now up on Worldwide FM & on my mixcloud (please follow me while you are t here a s Balearic Breakfast will continue :) A cornucopia of music from #eastforestmusic #ramdass #carlcraig #toddterje #benwestbeech #hotchip #besvendsen #saucylady #stevelacymusic and much, much more. Thank you as always for your requests. Enjoy!" Listen back to the 106th episode of Balearic Breakfast: THE PLAYLIST ( 2019 ) East Forest with Ram Dass – Nature  ( 1977 ) Bootsy Collins – Munchies for Your Love  ( 2022) Steve Lacy  – Mercury  (1976) Leon Ware & Minnie Riperton  – Come Live With Me  ( 2022 ) Saucy Lady  – Sao Paulo  ( 1996 ) James Mason  – I Want Your Love  ( 1987 ) Chayell  – Beach  ( 1991 ) Mr. Marvin  – Entity (Fitzcarraldo Extasy of Love Mix)  ( 2021 ) Henri Texier  – Le Piroguier (Be Svendsen Remix)  ( 2008 ) Dølle Jølle   – Balearic Incarnation (Todd Terje Mix)  ( 1993 ) Urban Culture  – The Wonders of Wishing  ( 2005 ) Hot Chip  – Just Like We (Breakdown) (The DFA Remix)  ( 2007 ) Ben Westbeech – Hang Around (Aaron Ross Peaktime Mix)  ( 1979 ) Delegation  – Heartache No 9  ( 1978 ) Chilly  – For Your Love  ( 1984 ) Sister Sledge  – Lost In Music (Nile Rodgers 1984 Mix) ANNOUNCEMENTS (From Colleen's presentation) As we have our London Loft Party this coming Sunday, I have a few records that will also get us in the mood, along with a tribute to a member of our community. And if you are in London and would like to join us for the party, our Lucky Cloud Sound System, founded with David Mancuso way back in 2003, yeah, nearly 20 years ago now, head over to loftparty.org  to find out more, and you can also sign up to our mailing list while you're over there. Worldwide FM is taking a little step back, taking a pause, but I will keep Balearic Breakfast going, so please follow me on my Mixcloud and on my socials for archive. Hopefully I'll just be, I'll continue just streaming on Mixcloud Live and Twitch TV every Tuesday. That is the plan. ABOUT THE SONGS (Excerpts from Colleen's presentation) In today's episode, Colleen selected the following songs. East Forest, the Utah-based electro-acoustic musician whose music helps guide one into a blissful state. And that's an album he did with the late Ram Dass , née Richard Alpert , the psychologist, yoga teacher, spiritual ambassador, and author of the 1971 book Be Here Now . Ram Dass was also an associate of Timothy Leary , and together they did a lot of research on the benefits of psychedelic drugs. East Forest recorded Ram Dass in his Maui home and then created music around the teachings, resulting in this album. I've had this next record set aside for months, waiting for the right opportunity to give it a spin. It's by the bassist whose early career included a run with James Brown's band, but his personality was better suited to George Clinton's outfit, and he was a staple in the Parliament Funkadelic Act. At the same time, he was releasing albums with his own project, Bootsy's Rubber Band. This is from Bootsy Collins ' second album, 1977's, ah, the name is Bootsy Baby , co-produced by Clinton and Collins, and featuring band members from both P-Funk and the JBs. It's Munchies for Your Love .   Guitarist-producer Steve Lacy with the song Mercury from his second album, Gemini Rights , released in June earlier this year. A more focused effort from the artist, whose teenage experiments on garage band, or garage band, as you say in the UK, produced an album and collabs with Solange, amongst many others. Gemini Rights was inspired by Lacey's breakup with a boyfriend, and Katie Stringer requested the song Mercury . Ryan J. Harris wanted to hear something from the late singer-songwriter-producer-composer Leon Ware' s 1976 LP Musical Massage, and that was Come Live With Me , a duet with, of course, Minnie Riperton . You can hear those high notes there. It could only be her, whom he also produced, along with other artists like Michael Jackson, Quincy Jones, and Marvin Gaye. In fact, that song sounds very Marvin Gaye-esque. He also co-wrote for the Isley Brothers and Martha and the Vandellas, and early on, Leon Ware was in a band, the Romeos, with the late Lamont Dozier. Leon Ware, a true talent. Recently, I had Eli Goldstein of Soul Clap up on my Cosmodelica radio show, and we did a little feature on dance music in Beantown, which is my hometown. And this next artist is one of Boston's shining contemporary talents, Saucy Lady , a space goddess of funk. The singer-songwriter DJ is a prodigious talent and has released over 70 singles and remixes of her own original work since her debut album in 2011. Matt Raistrick requested this one. A Brazilian boogie viber released this past summer called Sao Paulo . James Mason , I Want Your Love , and it was a song that was supposed to appear on James Mason's second album after his only other album, 1977's Rhythm of Life, but the second album never came out, and James Mason was, of course, disgruntled. Mighty Fine Records released this as a single in 1996, and it was later reissued by Rush Hour. Mason was also in the band Woof Ticket and released a couple of singles on Prelude in the early 80s. A classical tune from 1987, requested by Clifford Truss. The song was by Chayell , who was a Belgian artist, Peter Bonn , and as Shael, he released three singles, and that was the first one called It's Never Too Hot and we Heard Beach . Now, another balearic classic. This one's suggested by Paul Broughton, and it's from the Florida-based DJ-producer Sasha Marvin , who went under the name Mr. Marvin for this single, and a series of single releases in the 1990s. Here is his debut 1991 release, the Fitzcarraldo Ecstasy of Love Mix of Entity . A remix of French jazz double bassist Henri Texier by B. Svensson of a song from Texier's 1976 album Amir. The song was Le Perrogier, which I believe is somebody who helms a canoe, which is apt because this past weekend I did paddleboarding for the first time, and before I finally summed up the courage to actually stand up straight, because I'm so terrible at balancing sports, I was paddling seated, and it reminded me of paddling around in our canoe in the lake when I was just growing up, so I really love that song. It's Danish DJ-producer and musician B. Svensson 's remix of Henri Texier's Le Perrogier, and it can be found on Svensson's album Between a Smile and a Tear , released on Music for Dreams a few years ago. A remake of Jean-Luc Ponty's computer incantations for world peace, this time called Balearic Incarnation by Norway's Dolly Olly , and remixed by Todd Terrier . And here's a little secret. It's being released, reissued on vinyl, on my next balearic breakfast compilation coming out next year on Heavenly Recordings. Next request, well, Rick Van Veen, he's in my good books this week, is has requested a Detroit producer that has long been a favorite of mine, Carl Craig , and this is one of Carl Craig's early releases, which came out in 1993 under the moniker Urban Culture with the song The Wonders of Wishing . Something I picked up over at Flashback last week, DFA and Hot Chip , can't go wrong with that, right? That was James Murphy and Tim Goldsworthy 's 2005 remix of Hot Chip's Just Like We (Breakdown) , and a shout-out to the owner, Mark, and all the staff at the various Flashback locations in London. British soul jazz musician and producer Ben Westbeach , who was first signed to Giles Peterson's Brownswood Recordings, on which he released his debut album Welcome to the Best Years of Your Life . You should always feel that way, by the way, that this is the best year of your life. And the album featured this song, Hang Around , and we are listening to the Aaron Ross peak time mix, and that was a request from Saria Hamilton. British soul group Delegation with the lead single from their 1979 LP Odor Be. We're listening to one of my favorites. This one's Heartache No. 9 , a classic I often featured on my soul school radio show back in the 1990s. Such a sucker. Such a sucker for a great guitar solo. Thank you to Gerard Proudfoot for requesting this one. The lead single from the debut album by German disco group Chili , led by producer Bernd Merle , released in 1978 with a cover of For Your Love , written by 10cc's Graham Goldman , and made famous by the Yardbirds. Think I'll have to put that one in the record bag for our Lucky Cloud loft party this coming Sunday. And again, you can find out more at loftparty.org . Now, our loft parties aren't centered around the DJ or the musical host or the selector. They are centered around the community, and it's like a family. At first you see people come along, you see them as a familiar face time and time again, and then you start to become friendly and start chatting, and then you're building long-lasting relationships, so everybody on the dance floor plays a part. And one person who played a key part at our London loft parties for the last several years was Mark Ward, a ray of light and a beacon of energy on the dance floor. And sadly, he recently passed away, and we will be having a dance for him this Sunday at the London loft party. So I want to dedicate this to his memory. We'll be playing it this Sunday. We'll have a dance for you, Mark. This is Sister Sledge , Lost in Music . And thank you all for joining me here on Balearic Breakfast. Have a great week, and I'll see you next week.

Colleen 'Cosmo' Murphy broadcast the 235th episode of Balearic Breakfast on her Mixcloud on August 12th 2025. ABOUT THIS EPISODE J ust before embarking on her beloved WOH Journey – along with Adam and Ariana, who will be the very first to play at The Love Dancing Tent on Thursday (3-5), right when the site opens – Colleen presented the 235th episode of Balearic Breakfast, allowing the Family to discover the great talent that is Mixmaster Morris (our friend Trevor Levene saying "In my world, this Mix is So good... MixmasterMorris we thank you" )! On the chat, the atmosphere was very joyous, with our friend Popdiscorules perfectly summing up today's vibe, saying, "Beautiful, dreamy show"! Ironically, as SwayoftheVerses shared with us on the chat, we had a double dose of Colleen as Worldwide FM was airing an interview our dear Captain did with Rohan Rakhit, laughs! Did we all lose our heads? Well, for sure we did, as Colleen also shared with us that we'll celebrate the 5th Anniversary of Balearic Breakfast on Tuesday, the 16th September, during one of our beloved Marathon shows! Also, last but not least, we will have a special mix by our pal, Sean-E, next Tuesday! As you already know, Balearic Breakfast is the show that keeps on giving... "Nowhere else will we enjoy stories of kimonos getting tangled in the decks! Top show as ever, Colleen" (CountofMonteChristo)... This morning’s Balearic Breakfast is now up on my Mixcloud (please give me a follow while you’re over there). Today’s show features some new music, requests and also an interview with and an exclusive mix from Mixmaster Morris , a pioneer of The Chill Out Room. I love his musical knowledge and breadth and I’m sure you will too. Heading off to We Out Here tomorrow and I’ll be hosting Balearic Breakfast on We Out Here Radio on Worldwide FM this Friday from 11am to 1pm. If you’re on site, please say hello! And please also join me for the Cosmodelica & Friends in our Love Dancin’ tent on Saturday. I’ll be back on the airwaves next Tuesday, streaming on my Mixcloud Live from the record room catching up on some new tunes and as I most likely won’t have a voice after We Out Here we will also have an exclusive mix from Balearic Breakfast Family Member Sean E from the Mel0maniacs collective. Thanks for listening. Thanks to Marijn Veraart for the pic taken at Houghton Festival. Listen back to the 235th episode of Balearic Breakfast: THE PLAYLIST ( XX ) The Grid – Floatation (Mark Barrott's Ibiza Sunrise 90's Re-Work) ( 2024 ) Sly5thAve   – Exodus ( 2025 ) Hannah Cohen   – Dusty Mixmaster Morris Mix ( 2004 ) Jon Hopkins   – Luna Moth ( 1975 ) Chuck Mangione   – Soft ( 2005 ) Massive Attack   – Two Rocks and a Cup of Water ( 1991 ) Miranda Sex Garden   – Gush Forth My Tears ( 1992 ) Deep Forest   – Sweet Lullaby (ambient mix) ( 2025 ) Bill Callahan   – Riding for the Feeling ( 2013 ) Kuniyuki Takahashi ft Joyce Bowden  – Forest Song ( 1971 ) Les Crane   – Nature ( 1998 ) Weldon Irvine   – Morning Sunrise ( 1974 ) Chico Hamilton   – Gengis ( 2016 ) Jacob Collier   – In the Real Early Morning ( 1985 ) Wim Mertens   – Struggle for Pleasure ( 2017 ) Leftfield   – Melt (Quiet Village Remix) ( 1974 ) Prelude  – After the Goldrush ( 1968 ) Harvey Mandel   – Cristo Redentor ( 2009 ) Boozoo Bajou   – Same Sun ( 2014 ) Moses Sumney   – Plastic ( 1965 ) Nina Simone   – Feeling Good ( 2025 ) Loredana Berte & Dimitri from Paris  – In Alto Mare (Adriatique Remix) ( 2022 ) Ian Vale   – Loft Music (Jezebel's DC Metro Mix) ( 2025 ) Daniel Monaco Band   – Get Naked and Fly ( 2025 ) Phenomenal Handclap Band ft Morgan Phalen   – We Are Worlds Away ( 2012 ) Eddie Palmieri   – Mi Congo Te Llama (Sacred Rhythm Dub Mix) ANNOUNCEMENTS (From Colleen's presentation) This week it's all about We Out Here Festival. We are headed over tomorrow for the sound set-up on our Love Dance and tent and I'm really excited about this year's lineup on all of the days actually. Thursday's programmed by my husband Daddy Ad of Trojan Sound System and joining them on the bill are Don Letts and also Massive Attack's Daddy G. Friday is Mr. Scruff along with the Touching Bass Crew. Sunday is Dingwalls with Giles Peterson, Patrick Forge, Kev Beetle, Coco Maria and DJ Spina is also joining them. And of course, Saturday is the day I program and, for this year's Cosmodelica and friends, I have invited Sway of the Verses, who's been up on the show, Sky Rager, who is Danny from Psych Magic, Ballearic London, Eavesdrop Collective are coming back, my friend Lovey from New York City and also my dear friend Francois K, who's doing both a live stem set and he's also doing a DJ set. I'll be spinning from 10.30pm to 1.30am on Saturday night if you want to swing by. And I'm also hosting a Balleric Breakfast Show on We Out Here Radio on Friday, from 11am to 1pm. So I hope to see you there. [...] And I should just say our next London Loft Party is the 21st of September and it's in a new home on the River Lee in Hackney Wick. And if you want to join us and you're not on the mailing list, please DM me and we'll sort that out. ABOUT THE SONGS (Excerpts from Colleen's presentation) In today's episode, Colleen selected the following songs. Mark Barrott's Ibiza Sunrise 90s rework mix of the 1990 chill-out track Flotation by The Grid . Mark is the founder or was the founder of International Feel. He's an amazing producer and he's worn so many hats and monikers, but over the last few years he's recorded some amazing albums under his own name like Jōhatsu and Everything Changes, Nothing Ends , about the passing of his late wife and I interviewed him for Balearic Breakfast . I want to say it was a couple years ago and he talks about both of those albums. You can find it on my Mixcloud. Mark recently sent over a host of remixes of that Balearic Classic, so keep your eyes and ears peeled. This next one is by Texan multi-instrumentalist, producer, arranger and composer Sly Fifth Avenue or Sly5thAve , which is Sylvester Uzoma Onyejiaka II . He's released some great albums on the label Tru-Thoughts , and his third Liberation was released last year and features beautiful orchestral arrangements, jazz improv and hip hop beats. Following that is a track from San Francisco singer-songwriter musician Hannah Cohen from her latest album, Earthstar Mountain . This next one is a rework of a 1980 tune from Italian singer, songwriter and icon Loredana Berté . She has worked with some of the greats, including Pino Daniele and Ivano Fossati , and has released dozens of albums since 1974 in an array of musical styles. Dimitri from Paris remixed the opening song from her self-titled 1980 LP. And this is the Adria Dic remix of In Alto Mare . Jezebel's DC Metro mix of Loft music by Ian Vale . And yes, that was me sampled talking about the Loft. I remember, I think Ian did send me that way back and I kind of, I don't know, got lost in all the music. And so Jezebel just sent me that one or maybe John Boakum did. In any case, it's really interesting hearing yourself on a record and you didn't even know you're going to be on a record. So thank you for that. The Daniel Monaco Band , which is an international group led by Italian bassist Daniele Labbate . Blending jazz, funk, house and disco with live energy, their debut EP Get Naked and Fly really captures years of collaboration and experimentation. And we heard the title track, and that's coming out in September on Isle of Jura , and you can preorder that on Bandcamp. Phenomenal hand clap band featuring Morgan Phalen with We Are Worlds Away. And that was written and recorded in Stockholm Sweden's Pansamarangon studio with the help of longtime collaborators Fedrik Swan from Dungan and Melody's Echo Chamber and Morgan Phalen of Justice and Drakkar Nowhere . And that is coming out on New Blue Records in early October. So, yeah, that's quite an advanced exclusive there for you. Before I go, I want to pay tribute to a Latin jazz icon who passed to the next realm a few days ago. The late New Yorican pianist, composer and bandleader Eddie Palmieri . The New Yorker of Puerto Rican descent embarked upon a musical journey at a young age. He performed at Carnegie Hall at the age of 11. A few years later, in the 1950s, he played with Tito Rodriguez's Orchestra . And in 1961, he founded his own band, Conjunto, La Perfecta . He explored Latin jazz over the course of around 50 albums and sadly passed at the age of 88 last week. Joe Clausell's brother, Jose, played percussion for Palmieri. I remember hanging out with him at the back of Dance Tracks. And Joe had the chance to remix one of Palmieri's classic tracks for a Fania reissue 12 inch. Here is a Sacred rhythm dub of Mi Congo Te Llama . And may Eddie Palmieri rest in paradise. MIXMASTER MORRIS'S INTERVIEW WITH COLLEEN [Colleen] Okay, Balearicans, up next, we have a mix from somebody that I have wanted to get a mix from for ages, really, since I started Balearic Breakfast. And he's so obvious to have as a guest that it's taken this long to actually get it together. With me in the studio is Mix Master Morris. Hi, Morris. How are you?   [Morris] Good morning.   [Colleen] Good to see you. Thank you so much for joining us.   [Morris] My pleasure.   [Colleen] You know, I was talking about you recently, I was playing the Irresistible Force as a request on the show. And I was talking about your whole role as really an originator and an innovator of the chill-out room. And I mean, you've been doing this for gosh, over 35 years now. Is that correct?   [Morris] Yeah, yeah, really started kind of 89. Because I have to say, I saw Alex Patson and Jimmy Courtney and Youth playing at Heaven. And immediately I thought, I would like to do that as well. I was making tapes already like that. But when I saw what they were doing, which was a which was a shambles, but it was a glorious shambles. And so I thought, okay, that was my inspiration. And I hadn't even been to Ibiza at that point. So I took it like some different places. Because I was on the techno scene for quite a while, because I was working for a Rising High label back then. So I was often, I was more often playing in Germany, and Holland, places like that. So kind of, I had a completely different growing up than a lot of other DJs, you know, who were at Ibiza at that time.   [Colleen] Now, you were also part of the whole free party scene, correct?   [Morris] A little bit. I played with Spiral Tribe a few times. And their very earliest parties were really, really good. But then it got a bit more, I didn't like it later on. But then next time, you can do what you like. And that's what I like, is doing what I like. You know, not having to go very fast all the time. And yes, we did free parties. I was the DJ for The Shaman for a couple of years. And they would put on free parties. And they were always a hoot.   [Colleen] So you've really seen the development of this entire Acid House scene pretty much from day one until now. And you're still involved, unlike, you know, others that haven't become as involved. And also, tellingly, you never sold out. Which gives you a lot of kudos points, you know, because I'm not going to mention names, but somehow have, you know, play music, which is fine. Anyway, play music that is still, you know, for the masses. And I get it. I understand that. But musically, you have always kept it real. Or as Mr. Scruff says, in a sense, you've kept it unreal, because it's quite surreal.   [Morris] I'd rather say I love Mr. Scruff. He's one of my favorite DJs. And if I'm at a festival, I always go and see him. And if I see him walking somewhere at a festival, I always follow him because he knows where the good artists are playing. I was late for my own set at Houghton because I was watching him playing like Marleyan horror music, you know, to a huge crowd who'd never heard it before.   [Colleen] Oh, wow. What's the kind of main difference that you see nowadays when you're going to festivals as in terms of the difference from the old days and the kind of the free party scene that you're doing with people, groups like Spiral Drive?   [Morris] Everything when it starts is more fresh and exciting. And it really was exciting and fresh in the early days. And, you know, it got less fresh. And you just hear the same old records all the time. And I wish people would just dig a bit deeper and look a bit further. And, you know, not just play chart hits all the time, maybe.   [Colleen] The thing is, is you still have such a great passion. I remember over the pandemic, some DJs like us, we had to keep doing mixes and doing things even though we weren't getting hired. You were doing it because it was almost a necessity. And you were doing all sorts of really niche kinds of mixes to really getting in there into a certain genre and really exploring it. What is it that keeps your passion aflame? Well, I always want to hear new music. [Morris] And, you know, there's always something out there you've not heard yet. And it's going to blow your mind. And if you don't look, you're not going to find it. And of course, I had this background that I was working at Mixmag and NME and reviewing for them. So I had to go out digging every week and then find tunes to write about. So for a long time, I only played new music. But actually going to Ibiza, one of the things I learned is you can play old music as well.   [Colleen] I'm on a tip right now where I'm just trying, I'm actually just really into playing new music. I kind of go through phases. I'll go through phases, like a rock kind of phase, and then I'll go through a disco phase. And then now, now I'm kind of like on a new kind of house phase. And I still play a lot of different things like yourself, but there always seems to be something of the moment that I'm really just kind of feeling because I guess I get bored of doing the same stuff. Is that is that how you feel as well? Do you just get bored if you're doing the same old thing?   [Morris] Yes. And I fall in love with an artist or label and I want to support them, you know, and somebody who's up and coming. Like, I've been supporting brain feeder label for a few years. And I've been following Thundercats 15 years and playing his music. And, you know, 10 years ago, people just did not know what it was. But pretty much now the world knows who Thundercats is. Yes, absolutely. Perhaps I could seize that one and move on to somebody else. And in the UK, I've always, at the moment I support labels like True Thoughts. And well, True Thoughts for years, I was going to say First Word is a really good label. And you know, whatever label is pushing the envelope a little bit. Those are the people you want to get behind, you know, people are taking a few risks and they need support.   [Colleen] Totally agree with you. And I'm all for that. There's one label I really like, and they've been doing a lot of very interesting reissues. We release whatever the fuck we want records. Exactly. And I hear that Ollie is reissuing your Flying High and your Global Chillage albums. That is true.   [Morris] And I have a test pressing of Flying High, so I think it's quite imminent. But I can't actually give you a date of when it's going to come out. But that, of course, was my first album. And that's kind of what put me on the map. And it was licensed in Japan and America. So it got me playing in those countries for the first time. So it was, you know, kind of a turning point in my life. And people still love that record. So, you know, it's so long ago. It's an entire new generation. They've been born since it came out. So I hope that they enjoy it as much as the older ones do.   [Colleen] Yeah. Well, you know, it's interesting because my daughter, she's 20 years old. And, you know, I guess kind of like what disco was to me when I started DJing. It was like a generation before, you know, a decade before that I started really DJing. It's kind of like now for these younger DJs, this early 90s, both kind of housey, acid house, chill out sound is really, really doing it for them. How do you feel when you listen back to The Irresistible Force? I mean, this album came out in 1992.   [Morris] I remember clearly making it. Of all people, Lenny D was sitting in the studio with me for a few days and his mind was like totally blank. It was a long way from what he was doing. He was a friend of Casper's. I mean, I'm nostalgic for it because it's a long time ago. I'm actually working on doing it as a live set now because I've still got the two inches and I've just had them digitally transferred. So I'm going to go and do some dates of doing that album live, which I haven't really done, or at least not for 20 years.   [Colleen] Wow. That sounds amazing. And now you say two inch, you mean the two inch tape, which is a multi-track tape. They have to be baked.   [Morris] As you know, certain tapes go in the oven 24 hours before you can play them. So we have to go through all of that.   [Colleen] Yeah. So all those little iron oxide pieces are falling off. I used to be a tape editor at this time that this album came out. So I know all about that. I can edit with razor blade and tape, like, you know, and real hanging all over the studio. But that's great. I mean, and then the next one, Global Chillage, will be coming out after that, I assume. Yeah, I guess so.   [Morris] And we've also just reissued Quiet Logic, which is the album I did with Hosono from YMO.   [Colleen] Haruame Hosono. What a legend of the Japanese pop scene, starting from the late 1960s, before YMO.   [Morris] Absolutely. We have bands like that.   [Colleen] Yes.   [Morris] Yeah. So it's very strange. How did I meet him? He came to one of my shows in Japan. And when he walked in, the entire crowd, like, knelt down. And so I knew who it was. And he was really into an ambient period in the mid-90s.   [Colleen] Omni Sightseeing was the album that he did. I lived in Japan in 1989. And I think that album came out around that time.   [Morris] Right. I went there first in 92, I think, about Yellow. There was a guy called DJ Muki invited me and The Orb and Brian Eno and Robert Fripp. Not all on the same night, but that was like some of the people he had. And also, I think, Terrence McKenna and a number of speakers. Because I used to do Megatripolis 30 years ago, and we would have one room was a chill out and one room was like speakers. We had Alan Ginsberg down there. So that was kind of exciting and new. And, you know, you didn't see that normally in clubs.   [Colleen] No, absolutely. That's wonderful. Oh, my gosh, I wish I was there. I was interviewing people like Robert Fripp and Brian Eno around that time as well. Sakamoto and all that. And this is a massive fan. I think when you and I first met when I first moved over here, we played together in Italy. And we did talk a lot about deep music. Yeah, that was fun.   [Morris] Yes, that's the one where I got hassled by Simon Le Bon.   [Colleen] I thought he was making requests.   [Morris] Well, he was asking for his own record. But I was too late, mate, because I have a plan and I'm doing it. I'm not going to be deflected by any celebrities.   [Colleen] I know. I can't remember whether he requested, but I didn't.   [Morris] He wanted his own record, of course.   [Colleen] Oh, I remember him asking for something different, but I can't remember what it was. I didn't have it in any case.   [Morris] I didn't recognize him, actually. But even if I had, I wouldn't have put Duran Duran on the middle of my ambience.   [Colleen] No, I don't think you would have. I don't think you would have.   [Morris] I would have had to have a large chick to do that.   [Colleen] So you mentioned that you'll be doing some live Irresistible Forest Gigs and you have these reissues on the horizon. What else is going on?   [Morris] I've just done a remix for Kong that came out in Japan that's done really well. He's a very good friend of mine and he met his wife at one of my gigs. Oh, my God. The two of them are big fans of mine. So he gave me a most beautiful kimono from his clan in Yamagata. Yeah, Yamagata. And it's a very interesting kimono. It's not like one I've ever seen before. Not the sort of thing you can buy in the shops, I think. I've been actually doing a lot of gigs in a kimono or a yukata. And as long as you don't get your sleeve caught.   [Colleen] Yes, the sleeves are the thing getting caught on a turntable. I guess if you're doing digital, it's OK. But turntables, that could be painful.   [Morris] Yeah, that's happened before. But if you get a Ryukyu kimono, it has short sleeves or no sleeves. And then your arms are more free. But yeah, I love wearing Japanese clothes. You see, I'm so Japanese, I sit on the floor. I've got it all over my head.   [Colleen] On a tatami mat.   [Morris] That's right.   [Colleen] Well, you have a Calm remix coming out. Anything else you should know about?   [Morris] That's already out. It's a cover of Holkazuka's third book.   [Colleen] Oh, wow. That's amazing.   [Morris] I'm always a big fan of Holkazuka. I got to play back to back with him at his first Sonar, which was wonderful. Then I got to play with Cam in Germany at the gig, which was fantastic.   [Colleen] Oh, that's fabulous. I mean, I've only saw Domo Suzuki perform post-Cam. I got to see him twice, about 10 years apart, a few years apart, too. And what a dynamic performer and what a great band he had. I was just but I never got to see Cam.   [Morris] I never got to see Cam. What this was, in fact, was the Cam solo tour. So each of the members had an hour to do their own thing. And then Domo Suzuki jumped up on stage out of the audience and did a song. He wasn't even on the bill.   [Colleen] Oh, my gosh. Amazing. Well, Morris, thank you so much for this mix. We are loving it. And I really appreciate you coming up on the show. And good luck with the reissues. And I hope I get to see the Irresistible Force live as well. Thank you so much for joining us.   [Morris] Yeah, and hopefully we can hang out in Ibiza sometime. Sounds great. Have a good one.   [Colleen] Thank you.   [Morris] Thank you very much. [Colleen] A massive thank you to Mix Master Morris for a wonderful, thoughtful, evocative mix and interview. He is just such an amazing DJ. Very eclectic. Has a great musical knowledge, a great breadth of musical knowledge, too. And you should follow him on Mixcloud. He does some great mixes.

Colleen 'Cosmo' Murphy broadcast the 197th episode of Balearic Breakfast on her Mixcloud on October 15th 2024. About this episode. – As she was preparing several Classic Album Sundays events (she interviewed Keith Killgo (pic 1), Suede (pic3) and Saint-Etienne (pic2) ) , Colleen decided to step back a bit and dedicate this new episode of Balearic Breakfast to requests she had not had the time to feature previously in the show, of course including some brand new music the Balearic Breakfast Family was happy as ever to discover for the first time! As we shall see in the listening experience part of this post, this episode has a very "Magical" musical soul, a relaxed one, allowing the listener to drift away in a sparkling sonic world... " This morning’s Balearic Breakfast is now up on my Mixcloud for your listening back pleasure (and please give me a follow while you’re over there). On today’s show I catch up on requests and some new music, reissues and re-edits that have been sent my way including music by @seodophy   @cinematic_orchestra   @ishmaelensemble   @djsupermarkt_tooslowtodisco   @favouriterecs   @isleofjurarecords   @dd.mirage  @privatejoyhq @patrice.rushen   @naya.beat   @strutrecords   @richarddorfmeister   @djrocca   @irmarecordsit   @universalcave   @skyrager   @heard_larry   @coflothesoulshifter  @gc_rulin_london @soulfuricmusic @djemmaculate   If you are a regular listener please consider subscribing for £3 a month and for those that already do subscribe, I thank you from the bottom of my heart. Have a wonderful week and I hope to see some of you at Jazz Cafe this Friday when I’ll be spinning with Danny Krivit for the 25th anniversary of Strut Records. Thanks for listening!" Colleen with Brett Anderson and Mat Osman at the R.A.H - Picture by Andy Paradise Listen back to the 197th episode of Balearic Breakfast: THE PLAYLIST ( 2024 ) Seodophy – Dark Nebula ( 1989 ) Van Morrison   – Coney Island ( 2023 ) The Cinematic Orchestra (ft Fontella Bass)   – All That You Give ( 1973 ) Stevie Wonder   – Visions ( 2024 ) Ishmael Ensemble   – Butterflies ( 2024 ) Michael Franks   – Chain Reaction (DOCTORSOUL You Can't Fake It Re-Therapy) ( 2024 ) D.D. Mirage (ft Private Joy)   – Night Time ( 1981 ) Byrne & Barnes   – Love You Out of Your Mind ( 1982 ) Patrice Rushen   – Remind Me ( 2024 ) Turbotito & Ragz (ft Manjeet Kondal)   – Pyaar (Edit) ( 2002 ) The Funky Lowlives   – Inside (Richard Dorfmeister vs Uptight Dub) ( 2024 ) DJ Rocca presents Triorox ft Gianluca Petrella   – Mirrors ( 2024 ) Universal Cave and The Street Road Band   – (Till You're) Back in My Arms ( 1979 ) Edgar Winter   – Above and Beyond (Instrumental) ( NOL ) Ron   – Hai Capito O No? (I Can't Go For That) (Skyrager Edit) ( 1989 ) Mr. Fingers   – Stars ( NOL ) Coflo   – If It Goes (Deeper Mix) ( 2024 ) Gratts, Moody Mae & Jaj   – Nuit de Fièvre (Pellegrino Nottata Stellata Remix) ( 1997 ) Gareth Cooke   – Dynamik ( 2024 ) Gabriel Rene (ft J Soul)   – Spirit (Emmaculate Extended Mix) THE LISTENING EXPERIENCE Some sounds, some textures, a certain frequency response, and well-used audio effects can send you more messages than a word will ever do. In this regard, Colleen was right when she said she stopped writing or reading album reviews. Yet, it is such a thrill to try and catch something from the music you're listening to, because that's what makes the connection and, as a listener, you need to capture a tangible element so that song (or that album) will stay in your mind. Maybe that picture will be only yours, but perhaps you'll also be able to share it with other people and find you're somehow connected... This is exactly what this Balearic Breakfast episode is all about. To me, it has that "magical" touch, a "melange" of strangeness, calm, airiness and expectation, a sense of wonder, like a dream within a dream... you can feel within the first minutes of today's show as Dark Nebula , Coney Island and All That You Give are playing and sending unexpected and wonderful pictures to your relaxed mind. We never had a show where "Magic" was so present, so directly, so it made me smile as I shared this fact on the chat and I just crumbled in awe when I saw the picture Colleen chose for today's episode. Once again, our planets aligned... And, as always, nothing was planned, I mean this is just perfection, and I am so happy to share it with you all, week after week, If only you knew how much you all mean to me... Balearic Breakfast is our Magical Musical Island... Speaking about magic, Colleen is our Magician today as Stevie Wonder 's Visions enter the Balearic Scene... I can't stop smiling through my tear-stained eyes as I picture the joy I felt watching magicians doing their tricks before my wild opened child's eyes... Stevie Wonder's song has that power, undoubtedly... It's the third time the show has made me cry from happiness, I know it hapenned to you too... What a gift we all are to ourselves, aren't we?... ( 2024 ) Seodophy   – Dark Nebula Lithuanian bassist and producer Seodophy with the haunting Dark Nebula, based in Vilnius, Seodophy studied in the UK for three years, and he will unveil his forthcoming Ablutio EP on XVI, or 16 records, in November. Its theme is alchemy, a four-part process featured in four tracks, and Dark Nebula is the opener and the first single. ( 1989 ) Van Morrison   – Coney Island So many Irish people and people of the Irish diaspora like Colleen deeply connect with Van Morrison's music. Coney Island is taken from his 19th studio album, Avalon Sunset , which was recorded somewhat spontaneously in 1989, rehearsed over two days and recorded in two days, leading guitarist Artie McGlynn to comment: "we still don't know if it's an album or a demo for an album". But that's the mysterious and mystical way in which Van the Man often works, and it does work. This request is not in reference to the Brooklyn Amusement Park, but to an island in Lough Neagh in Northern Ireland. – It's interesting to keep in mind what Van Morrison said about his career in 1987, which was well present in this relaxed album "This is all an illusion, it's something that you're making up: you're making up that I'm a performer who's going to go out on stage and put this thing across, so it's a bit like acting. You're taking a hell of a lot for granted. And then the audience is taking a lot for granted as well, because they agree with that way of looking at me. But for me, all I wanted to do was start playing. It was like A-Level material, learning from all these records. It was all very ear-orientated stuff, it wasn't orientated along the lines of 'I'm a personality and I'm going to put myself across and wear these clothes.'" Read More: How Van Morrison Got His Groove Back on 'Avalon Sunset' | https://ultimateclassicrock.com/van-morrison-avalon-sunset/?utm_source=tsmclip&utm_medium=referral ( 2023 ) The Cinematic Orchestra (ft Fontella Bass)   – All That You Give The opening track to the Cinematic Orchestra's 2002 LP, Every Day, the song All That You Give , featuring American soul singer Fontella Bass, known for her work with Ike Turner and Bobby McClure and her own hit, Rescue Me. She was rediscovered by Jason Swinscoe and featured on two tracks on Cinematic Orchestra's second album. ( 1973 ) Stevie Wonder   – Visions From Stevie Wonder's16th studio album, Inner Visions , which was released in 1973, hot on the heels of Talking Book and Music of My Mind, both released in the previous year, and marking the then new incarnation of Wonder, breaking away from his little Stevie past and taking off in full flight as one of the greatest songwriters and musicians of our generation. – As Craig Jenkins puts it, Inner Vision is " almost a lament, a song about the awareness of death, the evil of hate, the power of love, and a hope for a better future" and the glittering instruments add to the magical feeling and conveys directly the message of hope. The Billboard analysis of the song is also interesting: "Visions” is as thoughtful and gentle as it is gloomy. Here Stevie sits back at his piano while guitarists pensively strum and he fantasizes about a place, “where hate’s a dream and love forever stands.” It’s not long before he realizes that the land of milk and honey only exists is his daydreams. This wouldn’t be the only time where Wonder visits another planet to find a little peace of heaven. Three years later he’d travel to “Saturn” on his heralded “Songs in the Key of Life” album." Then, Colleen steps up the rhythm but without ever changing the intellectual connection she established with us from the beginning of the show, I love how she disappears behind the music she plays, she's the only one I know who has that ability, when I listen to her when she plays songs or even when she mixes, I don't Feel her, I Feel the Music, it's just unbelievable, and I know my soul is right if there were something else I would not be able to do what I do here... Let yourself fly as Butterflies take you away... Keeping the magic alive, and waving through rhythms, musical styles and mental representations, Colleen then plays the funky and magical Chain Reaction by Michael Franks . As I already explained, if you want to write about music, you must feel the inner groove of every song or album you're listening to. Being a critic should never be about your point of view, the listener does not care if you liked or not the music, that has no meaning whatsoever. You must write about what you feel, about what the music brings onto the table, even if it doesn't suit your musical taste. Being a critic means you serve the music, not your ego... ( 2024 ) Ishmael Ensemble   – Butterflies Ishmael Ensemble is a Bristol collective led by saxophonist and producer Pete Cunningham , and that's from their latest album, Ritual , which came out last month and the vinyl sold out quickly on Bandcamp, but you can catch them live if you're in the UK as they're playing this week in Birmingham, Leeds, Glasgow, Manchester, and their hometown before heading over to the continent. – In a recent interview detailing the album track by track , Ishmael Ensemble shared: "Butterflies was written in Mexico whilst on an artist residency there, it’s one of the few tracks we made together “in the room”, I put the drums together super quickly, originally as a place-holder, but as the track developed they ended up just staying as they are – sometimes the first idea is the best one. It’s also one of my favourite Holly collabs (ed. Holly Wellington - Vocals, Piano, Synths), her development of melodies and piano voicings really shine on this one." ( 2024 ) Michael Franks   – Chain Reaction (DOCTORSOUL You Can't Fake It Re-Therapy) California Quiet Storm singer-songwriter Michael Franks has been a Balearic Breakfast favorite. German label Too Slow to Disco have a new series of official reworks of the warmer music catalog, which is extensive, as Franks has 16 albums, released over 33 and a third years, weaving together jazz, pop, soft rock, and soul, and his songs have been covered by countless stars, including Natalie Cole, the Carpenters, and even Ringo Starr. This song was given the treatment by Parisian producer Dr. Soul. The magical walk keeps on giving as Night Time starts, bringing a more direct Balearic Touch and somehow making me think about some of Sade's songs, nicely followed by Byrne & Barnes ' Love You Out of Your Mind , these two songs perfectly showcasing the mindest you experience when you walk with your beloved one under a summer's sky with a light breeze running through your hair... Magic is in the lover's air, don't you think? The connection you feel in that moment with your loved one is perfectly present in the following song too, Remind Me . ( 2024 ) D.D. Mirage (ft Private Joy)   – Night Time Lovers Rock from Sydney, Australia, the debut 7-inch from D.D. Mirage, featuring Private Joy, with a dub on the flip, from one of our favourite labels, Isle of Jura, run by Brit Kevin Griffiths, who is now based in Adelaide, and whom Colleen had the pleasure of meeting earlier this year. ( 1981 ) Byrne & Barnes   – Love You Out of Your Mind Muscle Shoals guitarist and producer, Robert Byrne, who followed up his 1979 album, Blame It on the Night, by teaming up with multi-instrumentalist, Brendan Barnes, to record a very rare West Coast classic, featured on their album, An Eye for an Eye , and he later went on to produce artists such as The Pointer Sisters, Patty Austin, Earth, Wind & Fire, Phil Collins, just to name a few. The album was reissued by French label Favorite, and now this single's been reissued , Love You Out of Your Mind, with an unreleased song by Robert Byrne, on the flip. ( 1982 ) Patrice Rushen   – Remind Me Patrice Rushen embarked on her career at the age of 17, when she won a jazz competition and got to play with her band at Monterey Jazz Festival, and then she got signed to the Prestige label 50 years ago. Since then, she's released loads of albums, has been nominated for Grammy Awards, and has had hits as a singer-songwriter, and is a much-in-demand jazz keyboard player, and she was also the music director for Janet Jackson. Much of her catalog has been lovingly reissued by Strut Records (to buy tickets for Colleen's session with Danny Krivit, click here ). – Remind Me is taken from Rushen's 1982 "Straight from the heart" studio album which got very popular (Pitchfork ranked Straight From the Heart #194 on its list of the 200 Greatest Albums of the 1980s and at the time of its release it peaked inside the top 20 of the Billboard 200 chart at number 14) thanks to the inimitable "Forget Me Nots" (a song the label did not like in the beginning!). Remind Me has been sampled many times, most famously by Mary J. Blige. Proposing a more incantatory track with Pyaar (Edit) , Colleen keeps the mysterious part of today's show in the groove by playing (perfectly in rhythm it must be said) the groovy number that is Inside , do you see the magic in this track? According to you, why does this track fit today's show so well, eventually winning the Wow effect ? I could give you the answer, but I'm here to expand the way you listen to music, so find the elements that make this track magic... 😉 Ending the first hour of the show with the slower, yet quite profound and wide-sounding number that is Mirrors , and not being afraid to take us out unexpectedly of a place we started to like a lot, Colleen confirms that she's all about proposing a flow that takes us to an unknown and surprising world... ( 2024 ) Turbotito & Ragz (ft Manjeet Kondal)   – Pyaar (Edit) Turbotito and Rags featuring Manjeet Kondal with Pyaar (Punjabi for love), the edit coming out on Naya Beat Vol. 2, South Asian Dance and Electronic Music , 1988 to 1994. – It features the vocals of the late great bhangra vocalist Manjeet Kondal , the YouTube description of the track explains: "Naya Beat label heads Turbotito & Ragz deliver an original track ‘Pyaar’ (Punjabi for love). A blissed out 90s dub inspired chugger featuring the vocals of the late great bhangra vocalist Manjeet Kondal. This is the first single from Naya Beat’s forthcoming EP (which also features the legendary Mr. Scruff) paying tribute to a forgotten era of late 80s/early 90s UK bhangra influenced by house, dub and hip-hop. Naya Beat’s forthcoming ‘Bhangra House Xtc’ is a scorching bhangra acid house and dub release that celebrates vocalist Manjeet Kondal and producer Deepak Khazanchi and their classic 1986 album ‘ Holle Holle’ which ushered in a new era of dance and electronic music in bhangra and South Asian music in the UK. Turbotito & Ragz deliver a dub tribute that works with Kondal’s vocals from an assortment of tracks from ‘Holle Holle". ( 2002 ) The Funky Lowlives   – Inside (Richard Dorfmeister vs Uptight Dub) London duo The Funky Lowlives, Gary Danks and Jonathan Whitehouse, got together in 1998 and then released a few albums in the early noughties. In 2002 they released the single We Heard Inside. ( 2024 ) DJ Rocca presents Triorox ft Gianluca Petrella   – Mirrors Trio-rox, a new project uniting three prominent Italian music figures, namely pianist Giovanni Guidi, bassist Joe Raymer, and electronic musician DJ Roka, a.k.a. Luka Roka Tagliati. Guidi, a jazz piano prodigy, has recorded for ECM and collaborated with Enrico Rava and Riccardo Villalobos, and American bass player Raymer, now based in Italy, has worked with jazz greats like Bob Mincer, and here they come together with Rocca on a record that's a mix of electronic, dance, jazz, and pop styles with underlying grooves and hints of electro, classical, and minimalism. The second hour of today's show will make you forget you exist. Not content to propose tracks that take you to another dimension ( (Till You're) Back in My Arms ) , Colleen chooses ones that, by the memories attached, bring you back to a place you wish you could have witnessed, like... The Loft ( Above and Beyond (Instrumental) ), of course mixing these two magical tracks in a beautiful perfection and keeping the magic feel alive by then playing the Italian version of a true Classic, Hai Capito O No (I Can't Go For That) (Skyrager Edit) ! ( 2024 ) Universal Cave and The Street Road Band   – (Till You're) Back in My Arms Philadelphia's Universal Cave and the Street Road Band covered Dan Strimer with Insured Sound's cult anthem (Till You're) Back in My Arms, which was originally released as a 45 in 1977. When Universal Cave featured (Till You're) Back in My Arms on Soft Rock for Hard Times Vol. 8 in 2023, they reached out to Dan Strimer (ed. Danny Strimer - website ) to tell him how much they loved the record, and they made a friend as he helped them release a cover of the song 47 years after it first came out, and Dan is still making music to this day, with rumors of unreleased recordings making their way out in the near future. ( 1979 ) Edgar Winter   – Above and Beyond (Instrumental) This song was a cult club favourite in New York and elsewhere. The Texan guitarist and singer-songwriter fronted his band, the Edgar Winter Group . Dan Hartman was actually a member, and he had huge hits with Frankenstein and Freeride, and of course, he is the brother of the late guitarist Johnny Winter. – The Edgar Winter Album (1979) was recorded at Philadelphia's Sigma Sound Studios, where the artist collaborated with dance music pioneer Tom Moulton to create a lively mix of soulful R&B and disco, drawing inspiration from the city's musical influences. The band for this project consisted of Larry Washington on congas, Keith Benson on drums, James Williams on guitar, and Craig Snyder on guitar, all veterans of Philly and MFSB. Alongside energetic disco tracks like "It's Your Life to Live" and "Above and Beyond," Winter also included a rendition of his anti-war ballad "Dying to Live." ( NOL ) Ron   – Hai Capito O No? (I Can't Go For That) (Skyrager Edit) Hai Capito O No?, (I Can't Go For That) by Ron, the Italian singer-songwriter Rosalino Cellamare, and that's the Danny McLewin , or Sky Rager, edit. He sent a bunch of new edits over to me. Danny is one of the deepest diggers that I know, and it's always interesting to see what he unearths. Danny SkyRager has the compilation Traces of Illusion released last year. Followed by the aerial and very Balearic  If It Goes (Deeper Mix) , the dazzling track Stars opens the last minutes of today's episode. Colleen then pays two faster numbers, still owning that Magic high in their spirit, starting by Nuit de Fièvre (Pellegrino Nottata Stellata Remix) and beautifully followed by the well-named Dynamik ! Should you need to hear one last time how magical this episode has been, Colleen chose Gabriel Rene 's Spirit (Emmaculate Extended Mix) to end today's show in a beautiful mini mix, something she hadn't done in a long time... By the way, do you know where we are now?... ( 1989 ) Mr. Fingers   – Stars Chicago House classic released in 1988 by the masterful Larry Heard . ( NOL ) Coflo   – If It Goes (Deeper Mix) Coflo , who is a dancer, a caporista, and a producer based in the East Bay area of San Francisco and California. And he's the founder of Catch the Ghost Records and a member of the Soul Shifters collective . He was raised by Hawaiian and Portuguese folk musicians, which I feel has given a real delicacy to his own music. He's been releasing some beautiful deep house tunes and remixes and recently sent me this one. The deeper mix of If It Goes, which I believe isn't out yet. ( 2024 ) Gratts, Moody Mae & Jaj   – Nuit de Fièvre (Pellegrino Nottata Stellata Remix) Belgian producer and DJ Tristan Jong , otherwise known as Gratz has been releasing some deep and lovely records, including this one released last month on 7-Inch on his Be Strong Beat Free label. Here he is with Moody May Band with Reinhardt Van Bergen on violin and Parisien Jage on vocals. Nuit de Fièvre in a lovely remix from Pellegrino called That Notata Stellata Remix. ( 1997 ) Gareth Cooke   – Dynamik Dynamik came out in 1997 and is by Gareth Cook, called Dynamic, and the flip side has a Don Carlos cut. But it was just reissued on vinyl by Natsukashi Records . ( 2024 ) Gabriel Rene (ft J Soul)   – Spirit (Emmaculate Extended Mix) Gabriel, part of the Ohm Records family, a member of Solstice, also going under the alias Aquanote, released this tune back in 2009 in Sulfuric, but it's just been given a remix treatment by Emmaculate.

On August 13th 2025, Colleen joined radio host Jukka Hätinen for an interview, which was part of Radio Helsinki’s Flow Festival recap. The interview can be heard here: Jukan ja Lotan Flow [Jukka] Yeah, Colleen Cosmo Murphy, welcome to Helsinki, welcome to Flow Festival and welcome to Radio Helsinki. Thank you so much. Now let's start with the radio.  You have a long history broadcasting and DJing on radio. Can you give a couple of highlights on the top of your mind about that?   [Colleen] Sure, I mean it was great starting in the radio when I was 14 years old, we had a high school radio station. But then in the 1980s, I was the first woman program director of WNYU, which was a really big college radio station. And that was just a really magical time in the 1980s, you know, to have like, be broadcasting in New York City, all this alternative music. And after that, I landed a job in syndicated radio. And I interviewed loads of bands. And one of the highlights actually was interviewing Nirvana, the week that Nevermind came out. It was incredible because I was a big Nirvana fan from college radio days, we all got the cassette of Nevermind. So they get the bounce cassette, and you knew it was just going to be huge, went to see them at their last small show in New York, I think it was the Marquee. And then they came over on the weekend to my studio. And it was where I was working out of. And that was just a really incredible transitional moment for radio and America and music in general. So college radio, all of a sudden it became overground, and became more like alternative.  They had a new alternative format. But then I got the club bug, and I started doing a house show and a soul show. And I had loads of guests up, I didn't mix myself. But throughout the 90s, I had people like Little Louis, Rom Anthony, Louie Vega, Dmitri from Paris, Danny Krivet, Francois Kay, Joe Clouseau, David Mancuso, my, my dear mentor also came up and did a show, no interview, because he was too shy. And, and I would say the other major highlight was actually during the pandemic, strangely, because people were trapped inside their homes. And radio is such an amazing way to communicate with people. And it reminded me that I am probably a broadcaster first. So I'm glad you asked that question first. But it was a great way to build community and to have musical conversations with people who were, you know, everyone was pretty stressed out and isolated.  So broadcasting seemed especially important then.   [Jukka] Well, radio is quite old media. But what do you think as a listener? What's the meaning of radio in 2020s?   [Colleen] Well, the thing that's interesting now is that, you know, when I was growing up, it was all terrestrial radio, it was all even FM or AM frequency band. And now there's so many different radio stations, because it's online. So the key, you can be a lot more niche. It's definitely a different way of operating because, you know, on the FM frequency or AM frequency, people could randomly find you, they were just tuning in their car, and they might discover house music for the first time. They weren't looking for it, it just happened to be there. Whereas online radio is a little different, because people are searching out the online radio stations, but it is much more niche, you know, you can really lock into something that's a lot more fine tuned. So it's just a different, a different way of broadcasting.   [Jukka] Well, another format you've known to praise is vinyl. So what is on a 12 inch wax that still fascinates you?   [Colleen] Well, it's interesting. I mean, I do play digital as well. And I also play vinyl. And the thing I love about vinyl is the actual object as part of it, because I have so much love for the object, if that makes sense. Like, I don't have any love for a series of ones and zeros, I might love the song, but I don't love the format. It's not like I go through my old hard drives looking for old tunes. And then once I kind of played it, and it's on a hard drive, and it's kind of gone, whereas my record collections all around me, and I can kind of dig through like, Oh, I forgot about that. Oh, I forgot about that. And, you know, also the tangibility, holding it in your hand, the smell, the artwork, all of those things. And digital nowadays can sound really great. I mean, we are, you know, do 24 bit, we could do higher sampling rates. There's also great DAX digital to analog converters that can really make the digital sound sound more analog. But on the right system, and the right pressing, I mean, there's something about vinyl, it just has a certain kind of esoteric magic to it. Yeah.   [Jukka] Have you done any crate digging in Finland now or before you've been here?   [Colleen] I haven't this time. No, this time I went hiking yesterday in the mountain park. It was beautiful.   [Jukka] Do you think we live in a culture of like devaluation of music happening? Because of the streaming services and stuff like that?   [Colleen] 100% I do believe that I think the artists are really suffering.   [Jukka] Yeah.   [Colleen] And you know, when I was growing up, people would sell so many records that get royalties. And now the streaming formats, they're a great way to discover music, there is a good thing about them. But I have unsubscribed from Spotify, because the you know, the owner is plowing hundreds of millions into AI weaponry. And so you start to think this is what music has become a platform and a means of a way for someone to build weapons. It's crazy. It's like, it's really disheartening. And you know, artists have to work so hard now to make a living. You know, it's all about performing, and they're not getting as much royalties from their sales, and they get next to nothing from streaming. And it's interesting because sometimes people expect music for free, they'll spend five euros, six euros on a cup of coffee. But you know, they could spend four times that on an album. And I think, sadly, partially, that has to do with the invention of the mp3, I think did put music in terms of the artist's kind of remuneration, it kind of sunk us into a hole a little bit, very much so at that time, it's just because, you know, files are traded for free, and then people got used to music for free.   [Jukka] Yeah. Do you have any tips, us music fans and listeners could do to, like, give the respect back to the artists?   [Colleen] I always buy from Bandcamp where I can, because it's direct to the artist and to the independent label. So whenever I can, I always will buy digital or vinyl from there first. And I think this Bandcamp, I think it's fantastic, because it's just a means where artists can communicate or independent labels can communicate directly with their fans.  And, you know, they get to keep the money.   [Jukka] Well, you are releasing Balearic Breakfast No. 4 next month, I think, on Heavenly Records. Tell us a bit about the concept of those compilation albums.   [Colleen] Sure. It arose out of a radio show I hosted for Worldwide FM, in which I continue to host on my Mixcloud Live every Tuesday from 10am to 12, British time. And, you know, Jeff from Heavenly Records is a really great guy.  I mean, he's an independent label owner, he's been running an independent label for 35 years, I have a lot of respect for him. And he's also a music head. And he started following my Mixcloud and got into all the mixes and he wants to do a compilation. But a lot of this older stuff I was playing is all owned by major labels. So I suggested why don't we do Balearic Breakfast because I also alongside the old stuff, I play some obscure old stuff, some less obscure old stuff, I play new things as well. And one of the concepts behind Balearic Breakfast is to reflect all the different kind of musical sounds that come on the show. So it can go from ambient to something jazzy or spiritual jazz to disco to soul to house to more techie stuff to, you know, kind of more dancey kind of rock stuff. There's a lot of different things I try to get a lot of different sounds on. And then I try to look for three or four tracks that may be out of print that are difficult to get on vinyl. And then the rest of it's all new stuff that hasn't come out on vinyl before. So I kind of go through all the records I've played on the show and I go through Bound Camp and I see which artists were only releasing digital because they can't afford to do vinyl. And then I get, you know, we do the vinyl for it. So at least there's a, you know, anyone that is a vinyl lover can have that on vinyl. And then we do the compilation of the volumes on CD as well. So it's all physical format. There's no digital downloads. But I also love the artwork as well. [Jukka] It's beautiful. [Colleen] Oh, thank you. It's a beautiful series. It's Ardnex from Indonesia who does it.   [Jukka] Yeah. How did the fourth edition turn out?   [Colleen] Pardon?   [Jukka] How did the fourth album turn out?   [Colleen] I mean, I'm happy with it. You know, I kind of do something that I've moved on. I mean, I put this track list together probably end of last year.  So now I'm like thinking, you know, I'm already thinking about another volume, which hopefully I'll get to do. And it's the same with remixes and things. I do it, I play it a bit and then I'm kind of on to the next thing. So I'm always kind of looking forward, propelling forward and forward motion. But people seem to really love it that have heard it so far. So, yeah, I'm happy with it. I'm proud of it.   [Jukka] Yeah, there's a remix of Saint Etienne there. Tell us about it.   [Colleen] I think it's really nice because I love Saint Etienne, Fox Bass Alpha when it came out, even though I was living in the States. It was a very British sound. I absolutely loved it. Also on Heavenly Recordings. And they asked me to do a remix and they had put out an ambient album at the end of last year. So in a sense, there was like a wide open, you know, kind of invitation to translate that into whatever kind of music I wanted. And I felt like a samba sound would be really nice. And I kind of went down a Dorothy Ashby trip because a friend of mine, Alina Zizhinska, she is a Ukrainian-Polish harpist and she's a big Ashby fan as well. And she plays beautifully. And I think that Sarah Cracknell's voice has that kind of breathy sound that some of the Bossa Nova singers just doesn't have a big diva voice. Didn't make sense to make it a big soul track, you know, so it made more sense to have more of a laid back, samba-esque, you know, harp jazz kind of thing. And I'm really happy with it because, you know, I just used only a couple of the parts, the vocal and I think one other thing and the rest we all put we put in. And I'm really happy with it. It was something I've never done before. I did one other song that was kind of mellow and samba-esque for Jacob Gurevich, Elevation and Minor, which was a bit similar. But one thing I like to do is lots of different styles. So that was nice.   [Jukka] Yeah. Another track you recently remixed is by The Cure. That you didn't do alone, but a couple of friends.   [Colleen] Yeah, my friends, Joe Goddard of Hot Chip and Al Doyle of Hot Chip and LCD Sound System. And we're working on a project called Electric Eden and making new music, original tunes. But when I got the offer from Robert Smith, I couldn't believe it.  There was a tight turnaround. I already had some studio time booked with the guys of Al and Joe. But I also thought their sound, because they do bridge that indie dance thing quite well, that they'd be the perfect partners to do it with. And, you know, I went in with a load of ideas. And they're really fast and they had loads of ideas. And we really, I would say most of the track was done in one day. And the rest was tweaks. It was just like, yeah. And I love working quickly when you're just fully inspired. And it's not laboring over something like, oh, I don't know where to go. This goes, we had strong, it was a strong move, do it. And I'm really happy with it. I mean, Robert Smith, when I listened to the stems, listening to his voice, he sounds great. And the original, he had drenched in reverb. And then we kept it dry. And when I listened to everybody else's remixes, too, there's so many great remixes on that. Most people kept it dry. Because his voice sounds amazing. Still sounds the same as it did in the 80s.   [Jukka] So what are your plans with the Electric Eden project?   [Colleen] Well, we finished two songs for the most part. We're also working with Alexis from Hot Chip and Lou Hayter. We've had some guests doing stuff, too.  Justin Strauss joined us in the studio the other day. We have two tracks kind of done pretty much. We want to do one more because I didn't want to do one song and then you put it out. And then trying to figure out our schedules to coordinate between LCD sound system, Hot Chip and my own stuff and Joe's solo stuff and Joe's other projects. Hot Chip have a new album coming out, too. There's loads of stuff going on. It's hard to schedule studio time. So I thought, let's just get three things done. And then we can kind of put it out and we can work slower in terms of getting a fourth one. And I don't know where it's going to go. But it's fun because I've just been doing remixes for the last... I stopped making original music maybe 10, 15 years ago. It's just been remixes. And so I love collaboration. I love working with these guys. They're so much fun to work with. They have great ideas. They're also really nice. It's just so lovely. And it's inspiring.   [Jukka] Well, the next question might be a bit difficult because there are so many good songs coming out all the time. But what would be your personal pick for the soundtrack of Summer 25?   [Colleen] Oh, gosh, there's so many. This is one artist I've been playing a lot of. His name is Josh Ludlow, younger producer from the UK. He's also in Make a Dance. And he's also in a group called Pigeon. And in fact, I think the last Balearic Breakfast compilation has one of his remixes of Pigeon, which is kind of long and psychedelic. He's done a lot of great stuff. And I've been playing a lot of his stuff. And there's one song everyone keeps asking about. I think it's called Push It Up. And it's just like a housey track. And it's weird. I go through musical phases and I'm kind of in a house vibe again. I'll go through a disco vibe or I'll go through a rocky vibe, psychedelic rocky vibe. And now I'm back in a house vibe and kind of that classic kind of sounding house, which I was playing as it was coming out 35 years ago or over 35 years ago. So it's really interesting that the younger generation are looking at that as a kind of a classic sound, you know. And yeah, I'm really into that. I'm really, really into it. I always loved Joe Clausell's stuff. So anytime he has something, I think the Fatback Band I've been playing and Far Out Orchestra. And yeah, it's just loads of great stuff.   [Jukka] Yeah. Well, you're hitting the stage here at Flow Festival in a bit and later tonight at Kaiku Club. What do you expect?   [Colleen] Well, I love Kaiku Club. First of all, I love Little Tony. I have so much respect for him. He has done such a great job in Helsinki and he has good taste in sound. So I love the Danley Sound System at Kaiku. I've played there a few times and it's such a great setup  I love it as a club. I don't know what I'm going to do yet. I never know. I have vinyl for that one. You know, you have to read the crowd, you read the room. So it's like, you know, I don't really know.   [Jukka] Last year here at Flow Festival on Friday on the very same stage you're playing, Buddy and Soul played and you're playing today. And my question is, who would you book for next year's Flow to the same spot?   [Colleen] For the same spot, I might book some of the younger DJs like Muscle Cars from New York or Lovey from New York or Tribio or Love Injection, like maybe some of the other artists that are coming through that are kind of the next people in this kind of deep house tradition from New York. That's who I would book because I think they're kind of the new sound of New York.   [Jukka] Yeah. Thanks for your time, Colleen, and have a great festival.   [Colleen] Thank you.

Rohan Rakhit, a London-based DJ, started a series of in-depth, extended conversations, delving into every corner of the world of music. In this first edition, Rohan interviews Colleen "Cosmo" Murphy. CREDITS Broadcast from Shortlist Sound Radio on Rye Lane, Peckham. Production and Video by @ donut.dj Thank you to Worldwide FM , Rohan Rakhit & Colleen 'Cosmo' Murphy Rohan Rakhit on Mixcloud This interview was initially published on Worldwide FM Listen to the episode in its entirety: COLLEEN'S INTERVIEW WITH ROHAN RAKHIT [Rohan] Yes, World Wide Family, you're locked into first light right now with myself, Rohan Rakhit, and I'm so excited to welcome the incredible Colleen Cosmo Murphy.   [Colleen] Oh my gosh, that's such an intro. Thank you.   [Rohan] Was it such an intro? [Colleen] Incredible. my Gosh! [Rohan] I mean, you're someone I've really, really, really looked up to in the industry and followed for a while. We were talking off mic about Love Dancing and what that did in my early 20s, regularly approaching that stage and being inspired by the music that you'd curate and you'd play as well when I've seen you DJ there. So yeah, it's wicked to connect properly.   [Colleen] Oh, thank you so much for inviting me.   [Rohan] Yeah. It's an absolute pleasure. And you're obviously for people, people don't know who you are, but the people that don't know who you are, obviously, DJ, radio host, presenter, founder of classic album Sundays, a former World Wide FM resident as well, we should add. And yeah, I guess the incredible as well to mention that you're a mentee of David Mancuso and like a pivotal part of the loft parties as well. Right. [Colleen] Yeah. [Rohan] I'm really intrigued to touch on all of that and get into that sort of work. How's it been for you since worldwide? Because you stopped broadcasting when the station went on a little hiatus.   [Colleen] Yes. Yeah. Well, I decided to continue because Balearic Breakfast was really or is still it's a community radio show.   [Rohan] Yeah.   [Colleen] And like I live streamed the show as I was doing it, it was happening in real time. It started during the pandemic when people like wanted to see other people as well. So we stream with video and had green screen and really made it into a thing. And people would tune in from all different corners of the world on Tuesdays from 10 a.m. to 12 noon, you know, British summertime or GMT. And because they got, you know, people have their own social habits and they get used to things. And when Worldwide took a pause, I thought, let's keep the show going. I've been streaming live on Mixcloud anyways, so I just kept it going because I wanted it to be the same time, same day, you know, every week. And it just took off, and it's still going strong. And, you know, I'm doing compilations out of it as well and parties. And it's just it's been great because I love Worldwide FM, as you know. But what's nice as well is that just to have the freedom to be able to even book like community members who aren't necessarily DJs, get them to do a mix. And I can play the kind of odd, weird, obscure 80s pop tune without feeling like, oh, does this really fit to the station's format? You know, because the music's all over the place, which I really like. I mean, there's no boundaries.   [Rohan] Yeah. Having your own platform as well and like you're not answering to anyone is that's that that's the pinnacle. Right.   [Colleen] And yeah, I mean, it's very David Mancuso as well. Kind of David's voice was in my head when I decided to do that. I thought, let's just just keep going. Do it yourself, you know, and see how it goes. And now now I wouldn't change it for the world.   [Rohan] Good for you. Yeah. Well, why does I used to listen to your worldwide shows all the time?   [Colleen] Oh, thank you.   [Rohan] Obviously holds a really special place in like, the culture and the history of radio and especially the past like 10, 15 years. Right. So it's cool to see, yeah, new presenters coming through on the station. Also, what you're doing, bringing newbies through on your platform, is I feel like, yeah, you're someone I really look up to in a real kindred spirit in that way. You know, it's just a shame that our shows clash every Tuesday morning. I'm like, yeah, it's such a shame, isn't it? But yeah, that's why. So, yeah, for context, for my listener base. And I know what you mean about consistency being king. Like people, the number of people that I walk around London now and people are like, oh, Tuesday morning, I put your show on my call. Sorted. It's in the office. It's in the gym, whatever. But yeah, what was I saying? I've lost my train of thought now.   [Colleen] Are you talking about Tuesdays, the consistency?   [Rohan] Tuesdays, consistency. Who knows? Anyway, let's move on to something a bit better. This is how it is. It's just rambly. Oh, my God. I know what I was going to say. I was going to say that. No, I don't. We'll edit this all out. I wanted to get you on. And we're airing this the week before We Out Here festival, a festival that is so, so important in the culture, especially inspiring young people, but also providing that space for that intergenerational conversation that sharing that shared love of music, but literally from infancy to heads, which is really beautiful. And a big part of We Out Here for the friendship that Dom and I have cultivated over the years and a lot of my friends and colleagues and peers, whatever you want to call them in the music industry, have been formed in the love dancing tent.   [Colleen] Oh, my gosh, it's really just such an honor to hear that.   [Rohan] Nice. It's wicked. And I wanted to hear more about the origin story of that, you know? Yeah.   [Colleen] Well, basically, Giles asked us to host a tent for the very first We Out Here festival. Yeah. And we brought in our own sound system, the sound system that we use at our London loft parties, actually the same sound system. And we invited people that do other types of sound systems from around the country to come and play as well. So there was Bonsai Hi-Fi in Liverpool, Rotation from Staffordshire, Cosmic Slot from Leeds, you may remember them and a few others as well. My friend Darren from Love Machine. So it was really, really nice. And that was the first year. Having said that, there were a few DJs that didn't really know how to play on three-way horn loaded speakers that were developed in 1946 and or on class A amplifiers. We had one amplifier that burst into flames.   [Rohan] Really? This was the first year?   [Colleen] This was the first year. And then we had another one of our drivers was, you know, blown in one of our Klipschorns. I think that happened a couple of times. Luckily, we had replacements, you know, we always had backup so we could just fix it. I should say Ian Mackey, our sound engineer, fixed it, not me. And thankfully. And we decided the following year to kind of make more amends and also to kind of up the scale in the terms of how the front end worked to make it easier for DJs to play that may not have the audiophile experience using turntables. So we got like really great kind of DACS digital to analog converters for the we use really high end ones, DCS ones for the CDJs. We have great turntables. We have an array of different types of cartridges from Audio Technica from the really high-end ones that I use, which are like the SL760s. But also the loudspeaker, the whole loudspeaker kind of brand change. We started using Danley as opposed to our old Klipschorns, which I think works better for this environment because now that tent has really grown. I mean, we used a bigger space last year.   [Rohan] Yeah.   [Colleen] And that's as big as we're going. Otherwise, it won't feel like a party. You know, we have that. We still have the sides on the tent. We have the wooden dance floor. And it does feel like a party. You know, you have to get in there.   [Rohan] Yeah.   [Colleen] As opposed to open sides, people drifting in and out. But I think with the Danley system, it's still it's still a horn system. I mean, it's just multiple drivers on a single horn. So it's like the Tom Danley was a big fan of Paul Klipsch. So where those loudspeakers, the Klipschorns came from. So it has just more modern technology. And it works, I think, for more modern DJs as well. So we're still retaining the audiophile ethos, but kind of fusing it with the club PA.   [Rohan] Yeah.   [Colleen] You know, and it's been great because we're inviting all different types of talent now as well. You know, Scruff has his day on Fridays. My husband Trojan Sound System has his day on Thursdays. I have Saturdays for Cosmodelica. And then it's Dingwalls on Sundays. All different types of people.   [Rohan] Yeah. And we'll get into the curation, the nitty gritty later on, I think. But what really strikes me and I won't pretend to be an audiophile, really. I obviously am such a deep appreciator of great sound in a dance and have seen firsthand from being behind the decks how you can change people's lives or literally you elevate a crowd to a different frequency. What I love is this inspiration and through line in your career as well. Right. And that influence of the lot and that influence of David Mancuso into that audiophile appreciation, and how that stood the test of time with you. And for the listeners, my listeners who aren't that way inclined, because a lot of people listen to the show from across the world that aren't necessarily tapped in. I have a lot of listeners in India, for example, that aren't necessarily tapped into that stuff. Do you want to talk to me about the history of or a brief history of the loft and David Mancuso? Of course. Yeah, I think it's really great.   [Colleen] Yeah, I think it'd be really good. Yeah. So my friend David Mancuso started these parties in his home, actually in 1968, the year I was born, but formerly in 1970 on Valentine's Day. And he started his party. He was invitation only. It was in his loft in downtown New York. And he had an audiophile sound system. And he would throw dance parties that were they were based on the Harlem rent parties where, you know, black Americans had moved, migrated from the South, went to Harlem. They weren't allowed in the white clubs, so they made their own and people's houses and people would pay money to come in. And that was contribute towards that person's rent. So it was based on the rent parties. So people made contributions, invitation only. And these parties grew and grew and grew. And they influenced so much of club culture in New York, which was really just starting at the time. There was one DJ, Francis Grasa, who had started mixing in like 1969.   [Rohan] Wow. [Colleen] But really, there weren't many places where you went, where you just went to dance unless it was some kind of society place. These were different. This is like, let your hair down. It's part of the whole drug generation, the LSD kind of psychedelic thing that's going on as well. And Dave was very involved in that and the whole Timothy Leary thing. And in fact, based his musical sets on the Tibetan Book of the Dead with the bardos, the different bardos, the different stages, which also related to an LSD trip.   [Rohan] Wow.   [Colleen] So kind of like the take off, you know, the the build up into the middle part, the big kind of peak time, the circus, and then kind of to a kind of reentry period at the end.   [Rohan] Fascinating.   [Colleen] Yeah. So but he was able to kind of really get people into the nuance and immerse them into the music because of his sound system. And he had started getting into audiophile sound in the mid 60s and he had already put together a system and he just kept building and building upon that system as time went on, even to his passing. I mean, my last voicemails from David were weeks before he died. And he's talking about the koetsus, you know, the moving coil cartridges that are handmade in Japan. And he was very worried that we wouldn't be able to get them repaired. And he was asking me to check in on people in Japan. So it was something he was always constantly thinking about and working. But the parties also didn't just come out of his love of sound and music. It came out of his... of social progress, because this is a time when he had the civil rights movement, gay liberation, women's liberation all happening. And it was a really revolutionary period in America. First, it's, you know, for it's at least in a social sense. Definitely, you know, anti-war demonstrations and all these things are happening. He really wanted a place where people could come together from all different walks of life. And for some of my friends like this one black American guy I've known forever, named David Feldman, he was at David's original parties, a black man who worked, I believe it was for the New York Post. And he worked with all these white co-workers. None of them were his friends. He didn't have friends who were white until he went to the loft. And then he actually made real friendships with, you know, people were just mingling together. It didn't matter if you were gay or hetero or bi or black, white, brown or a woman or a man, whatever. It didn't matter.   [Rohan] Yeah.   [Colleen] And that, I think, is one of the strongest lasting legacies. This is something we're still talking about today. And he was so ahead of his time. So he did a lot. And that his party, the loft, inspired a lot of other parties, many of which are well-known, I should say, clubs like Paradise Garage or the Warehouse, when Frankie Knuckles was playing in Chicago. Frankie and Larry Levan went to the loft. They were loft babies. David Morales went to the loft. I mean, all these kind of peoples, a lot of them started their own thing, even Studio 54, believe it or not, even though it's the antithesis of what David was doing. Yeah. The woman, Carmen D'Alessio, who is the original promoter for Studio 54 was a loft head. And she loved how David's parties were very mixed. And she wanted Studio 54 to be mixed. But what happened, obviously, is they became exclusive where people were choosing people. And it was much, much more commercial and flashy.   [Rohan] What was the ethos of the loft in terms of heads and getting people in?   [Colleen] Well, I mean, it was all friends of friends. So you had to know somebody who would let you in. And then whoever, say you brought somebody with you, you are responsible for them. And then maybe if they went a few times, they could sign up and become a member. And there was no membership fee. That was another thing he didn't like, something he didn't like about the Paradise Garage and other places. That they had membership fees.   [Rohan] How much would they be? I don't know.   [Colleen] I mean, I didn't go to the garage, so I don't know. But maybe I don't have no idea how much they were. But David didn't want that.   [Rohan] Yeah.   [Colleen] He wanted to be as egalitarian as possible, as he possibly could.   [Rohan] You know, that words was bringing out, particularly when you were talking about the influence of the 60s in America, actually, it feels I think it takes a special person to like take a step back, look at the times and be like, I know what we need. And it sounds like it was a real. Yeah, and obviously a really important thing for the culture, but also for a whole generation of people.   [Colleen] Exactly. I mean, I didn't start going until he went on a hiatus. He had moved several places in 1992. He was in the East Village and his parties weren't doing so well then. So I was helping him out. He came up on my radio show, and he and I became friends when I started helping him more with the parties. And then I suggested an idea for some compilations because his story wasn't really known.   [Rohan] Yeah.   [Colleen] You know, I mean, we didn't really there wasn't much online. I mean, the Internet had just really started. And just in a couple of books, he had been in not more passing. He had been in columns by Vince Aletti. But again, those columns were long out of print. They weren't collected into a book. So there was more like kind of mysterious whispers about who David Mancuso was. And I really wanted people, the world to know about what he did. And so I suggested the idea of some compilations. And he wanted to do them with me. We did them with NuPhonic in 1999 and 2000.   [Rohan] Of course.   [Colleen] And that's kind of how his story first got, you know, disseminated to the world. And then his party started in New York, started selling out again. And, you know, he was on his way again, which was great. But I met him at a time where it wasn't that popular. But I just loved what he was doing. And I was just really blown away. And I was I love being able to go there alone as a woman and not being kind of, you know, having to look over my shoulder all the time. Yeah, it's great. I felt completely free.   [Rohan] And he became a mentor to you.   [Colleen] Yeah, he did. I mean, I had studied sound. I went to New York University in the 80s. I had been on the radio for gosh, since 1982. I'd already lived in Japan before I met him. But I had studied sound and I did more the recording side. I was actually producing syndicated radio shows when I met David. And I was doing it all on tape. So I was you know, everything was spliced on quarter inch and half inch reel to reel tape. And so I was doing a lot of that kind of, you know, I know how to engineer, edit the old analog way and all that. But I didn't really know about playback audio, the playback audio file side. I, you know, grew. I had a terrible little sound system at home, you know, that what I could afford. So when he asked me to start playing records with him, I was so worried about the cartridges. There were two thousand dollars each and he only had two. And if I did something wrong, he would only have one. And he didn't have the money at the time to fix them. [Rohan] That's a big responsibility. [Colleen] It was a big responsibility. I was like less than 25 years old, you know. And but he taught me piece by piece. And when we started our parties here in London in 2003, he's a lucky. No, it's called the London Loft. I no longer associate with some of the lucky cloud members. Many of us left and David always wanted he knew it was the loft in London. Interesting. And there were some people who will just leave it there. Yeah, that's fine. Different visions and yeah, boys club scenarios. Yeah, I'll leave it at that.   [Rohan] Say no more. Yeah, exactly. And the music industry realness.   [Colleen] Yes, 100 percent. So you so yeah. So we started the loft in London in 2003 with a group of people and many of whom are still with us today. And it was great. It was wonderful to start that here in London. And then we bought our own sound system. And that, I think, was probably. The first starting point for audiophile parties in the UK, possibly Europe.   [Rohan] Wow.   [Colleen] Possibly. I can't say that exactly. Someone could say, oh, someone else did this then. But I don't know.   [Rohan] It's worldwide FM. Someone will.   [Colleen] Exactly. Somebody will. But I just thought, you know, it's also a classic album. Sundays also sort of came out of that as well. My my listening sessions that I started 15 years ago this year.   [Rohan] Wow. Yeah. The anniversary coming.   [Colleen] Yeah, exactly.   [Rohan] And yeah, I mean, that's a whole different conversation, isn't it? And the importance of those. And I'm listening to those back in the day. But yeah, a really useful context about the work and linking it to audiophile culture and sound particularly. And yeah, what I love is this, like, through line again to sound system culture. And we were talking off mic earlier about how many genres and scenes you've been an affiliate of. From being in the States and the house scene to being in the UK and flying the flag for like Broken Beat or House Here as well. But yeah, I think that through line of sound system culture to me and with the audiophile culture and letting songs play and like your style of DJing as well is like really, really inspiring and really unique as well. Oh, thank you.   [Colleen] Thank you. I go through phases to like sometimes I'll be in a more of a disco phase right now. Feeling like house music is really fresh to me again. And I was in a bit of a broken beat phase, but I think I play best when I'm doing all of it together, you know, because also rock is my background as well. So, you know, when we out here, I played a 20 minute version of Rare Earth, Get Ready. Oh, and it went crazy. It was so funny. It was my last song of the night before Ashley Beadle and Rob Mello took over.   [Rohan] Yeah.   [Colleen] And I just started playing it. And then the the generator went out and so it was just silence, no lights, nothing. And it was five minutes to get everything on again. And then when it came back on, I started again. And then the crowd went wild. And so many people thought, did you plan that moment? Did you plan for the generator to actually just turn off? It wasn't planned, but it was like such a moment, a real euphoria. And I'll never forget that. But yeah, I think, you know, when I can mix it up, that's my happy place.   [Rohan] Definitely. I love when you reach that moment in the DJ set where. Yeah, we all know it, when you reach a point where anything you drop, you're like, I've got them, I've got them, they're with me. And you've done that. But with the generator going off there, they're with you still.   [Colleen] Exactly, they were still with me, they didn't leave, you know, they didn't leave. I thought, oh, they're all going to leave the tent now. And they didn't. I was like, wow, I was really thankful.   [Rohan] I've got them.   [Colleen] Yeah.   [Rohan] We out here, we out here in the Love Dancing Tent. We were talking off mic earlier. But for all the listeners, obviously, we've got the Love Dancing Tent, which backs on to Lemon Loundridge. And right sandwich in the middle is Goodness Gracious Feast. Shout out Madhu Aunty's Goodness Gracious Feast. And all of us just hanging out back there, popping, popping in between each stage with a samosa and chai in one hand. I like that is my the pinnacle of happiness in my summer.   [Colleen] It's so great. I love how we back up to Lemon Lounge because I love what George is doing, too. I feel like it's our sibling tent.   [Rohan] Yes. You know, because there's so much sound.   [Colleen] Yeah. The younger sibling tent.   [Rohan] Yeah, I love it. It's really, really cool. I want to I want to touch upon this mentorship thing as well. And I mentioned briefly to you before about how how difficult it is to break into the industry right now as a new voice, as an emerging voice or DJ. And I've been so, so fortunate throughout my career to have some really amazing mentors helping me, namely Errol from Touching Base, Robert Louis from True Thoughts as well. And like, yeah, super inspiring. Yeah, of course. But yeah, how I want to understand this relationship of mentorship that you had. But more importantly, I think there's always there's always a thing I feel, especially that there's a lot of bitterness in this music industry, right? And people can really backstab me. Yeah, really look at and I know people looking at me being like, why you? Why? Why? Why this? Why radio? Why do you still have it today? Yeah.   [Colleen] But yeah, believe me, I still I still get it. You know, even people bullying me up to two weeks ago saying nasty stuff about me. On social media, really? Yeah, it still happens. Again, boys club stuff. Yeah, it's been really difficult.   [Rohan] I think as any sort of minority in the game, I think it really is. Oh, you're there because you're a minority.   [Colleen] Exactly.   [Rohan] As opposed to like.   [Colleen] But, you know, the funny thing is, I wasn't there 35 years ago because I was a minority back then. I mean, if you got one woman on a bill or on a roster.   [Rohan] Right.   [Colleen] That's it. There wouldn't be any others. And I remember even like, you know, trying to get a manager and I or an agent, I think at one point I had just had a daughter and, you know, things went kind of quiet because out of sight, out of mind.   [Rohan] Yeah.   [Colleen] And and it wasn't like today where people who have had children have been encouraged. Like I see Jam Supernova, which is amazing. Ash Loren, which is amazing. My friend, Barbie British. It's great. I'm so happy that they have this.   [Rohan] Yeah.   [Colleen] But for women like Marcia Carr or myself, you know, you had a child and it was like the tumbleweeds, you know, it's like, that's that, you know, there were still people that looked out for me. But like my mentors, Francois Kaye was one of them and David and. I think mentorship isn't it's not really about what to play. We talk about music, but it's how to handle things and also giving people breaks. And I also mentor people as well. Quite a few Tina Edwards, Barbie British, Pritpal Ajamal.   [Rohan] Yeah.   [Colleen] So a bunch of people and I just give advice and try to hook people up with things, whether it's, you know, trying to hook someone up with a label or whatever. I love being of service in that sense because I've had people help me and that's just the way it goes.   [Rohan] Yeah.   [Colleen] Now why people are chosen. I mean, I asked David this one of the last times he came over to the States, to the UK. I asked, why did you ask me to play records when I was only 24 years old? You know, I didn't know how to use a Koetsus. I didn't know about the sound system at that point in time. And, you know, I'd only trust me with that, but also with your crowd, you know, who are very discerning, very discerning crowd. I mean, that is a really discerning crowd.   [Rohan] That audiophile crowd?   [Colleen] Well, it's not the audiophile crowd, it's the loft crowd.   [Rohan] Got you.   [Colleen] Because they've been going on for so long, they knew their music.   [Rohan] Yeah.   [Colleen] And, you know, it wasn't you couldn't play one of these cheap house tracks that sampled every song, you know, the big disco hits. Just play the original.   [Rohan] You know what I mean?   [Colleen] And he said to me about me, he said, it starts with a vibe long before one hits the turntable. So it's established by a trust and a like minded spirit. And you can feel that with people when you're on the same wavelength, whether it's musical, personality wise, morality wise or whatever. And, yeah, there's just a you know, you feel something when you meet someone, there's something there. And, you know, that's that's what I felt with David and what he felt with me when we got to know each other, you know, shortly after I started going there. So I'm really lucky. I'm really lucky. But, you know, it's also brought a lot of resentment towards me as well, which is by a certain groups of people who maybe didn't have that David didn't, you know, choose to kind of yeah, to to to play records or to, you know, to manage his legacy or whatever. So that's that's been a lot of heartbreak, too, as well. So sometimes I think you look at people's lives, you think, oh, they have everything. They look like everything's going great. But, you know, you never really know what's going behind the scenes. And that's the truth for everybody.   [Rohan] Definitely. Thank you for being so honest as well. Yeah, I think a lot of I know a lot of my audience are emerging artists. And the beauty of having this weekly radio show for me and the conversations that I facilitate is like I don't really know what I know what I'm doing. I know where I'm going. I don't know how. So these conversations are so useful for all of us to learn together, you know, especially you like being like, do you know what? Let's talk about bitterness in the industry. Let's talk about imposter syndrome in the industry.   [Colleen] Imposter syndrome is massive. I mean, yeah, I think I held my own self back for quite a while, even though you look at my career and it looks like I did well. I think sometimes maybe I didn't have enough. Like I had to be asked into the studio to become a producer. I was asked in 1997 by Tommy Musto, who has had a label called Suburban. He produced a lot of great soulful house tunes that I played all the time. He came into dance tracks where I was working. I played all their records on my radio show. And when he asked me to produce a song, I actually had been writing songs. I just hadn't done anything with the lyrics, with verses and choruses and chords and all that. And so finally I had the opportunity. And really, I always kind of waited to be asked. And in fact, I'm still sort of like that. And I'm amazed when anybody, any gender comes up and they put themselves out there. I'm like, gosh, that's really cool of you. I I always waited to be asked, which is fun. I was asked to join World Wide FM. I was asked to host a tent. I was asked to do all these things. I was asked to play at Body and Souls, asked to play, you know, at The Loft. I never just put myself out there. Very rarely have I asked for things. There have been a few occasions where I felt comfortable enough where I thought I just got to do it. I was asked to do the radio shows. It was like everything I was asked to do. And I think like if I had. If I had been a guy. Would I have handled all that differently? I probably would have, whether or not I would have been more or less successful, I can't tell you. I don't have a you know, I have no idea, no means of knowing that. Yeah, but I definitely did have imposter syndrome and on many different angles, you know, like I never thought I'd be a touring DJ, I never thought I'd be producing. I never, you know.   [Rohan] Yeah, it's odd. You know, I feel like you're yeah, really talking to me right now as well. I am exactly the same as you. And yeah, like I'm now at the point where labels are asking me to remix things and I'm like, I don't know how to do that. But like one day I'll learn. And like it's cool. You sort of see the cogs turning or like this is the opportunity. This is the road map. OK, maybe I should do this one.   [Colleen] Just do it.   [Rohan] Yeah.   [Colleen] And, you know, it's the thing is everyone is a beginner at some point. And in fact, I think the best producers, DJs or artists are always beginners, is kind of like learning a martial art. You should always be a beginner. Right.   [Rohan] Yeah.   [Colleen] And have that attitude. Like I'm always open to learning new things. You know, I look back, I listen to some of my old productions. I can hear all the mistakes and everything I would change. But I'm so proud of them. I think they still have their own merit and I don't play them. I rarely listen to them, but I'm so proud of them.   [Rohan] Yeah.   [Colleen] And, you know, I'm happier now with my productions now. But still, even then, like I finished production, I played a few times and I'm on to the next thing. You know, it's like almost not looking back too much. You can't.   [Rohan] I feel that way about my radio shows. Oh, yeah, literally charting. God knows how many years I've been doing this sort of stuff. But listen back the other day when I was based in Nottingham. I was telling you I used to radio for a community station called City Beat Radio. And the room was probably probably the size of this sofa, actually. It was honestly a shoebox. There were so many amazing things came out of that. But I listened back the other day and I was like, wow, you did not know what you were doing, bro.   [Colleen] Oh, my. I started when I was 14.   [Rohan] Wow.   [Colleen] And I had I have one tape from my high school radio show. I literally have a Boston accent. And I'm like, WHHB, W, W, W. And I hardly spoke at all. And then when I moved to New York, I started it was like every kind of phase I went through had a different style. And then when I was doing live house shows in New York, it was like, this is Cosmo and ninety one, you know, eighty nine point one FM. And I was like, you know, just it was like the more of a New York accent. And yeah, it was really it's I look back now and sometimes some people have been posting up my old mixes, radio shows on SoundCloud, which has been a trip. Wow. This guy, MJ Tracks, has been posting them up recordings. Actually, I've been loving it. Actually, there's enough distance now. I almost look at that person as my daughter, like not even as myself. I can't even remember. It's me, you know.   [Rohan] Wow.   [Colleen] And yeah, it's really I'm very proud of the work I've done, even if I don't think it's the radio shows I do think are great. I would say my early productions, I did the best I could, you know, and I'd change things, but it's you have to start somewhere. And it's always a growing experience. I could listen to a radio show of mine two weeks ago and think I should have done this differently.   [Rohan] Yeah, I feel that all the time.   [Colleen] Yeah. And that's just the way it should be. You should always be evolving and, you know, pushing yourself forward, you know, and not getting too comfortable resting upon your laurels for real.   [Rohan] And another reason why I really wanted to talk to you. I think we're well, I know I don't know how much you know about my career. And if you know nothing, I love that even more, to be quite honest. But I do a lot of work in programming and curating and both as a freelancer. But the raves going back five, six years now to festival stages, to poetry nights, the Royal Albert Hall, all sorts of things. Which is we'll talk off mic. It's something I'm really, really passionate about and like putting people on and supporting artists as young as me, younger than me, older than me. You don't have haven't been celebrated. We're talking about Marsha Kyle, one of my favorite DJs.   [Colleen] She's fabulous.   [Rohan] Unbelievable.   [Colleen] She's unreal.   [Rohan] I shared a line up with her at Love Supreme Festival last year and just warmed up for her. And I was like completely blown away. I just sat behind her with a beer, just in complete awe and just learned so much.   [Colleen] She can do it all as well. She played for Love at Love Dancing for us. She was on my radio show a few weeks ago.   [Rohan] Brilliant.   [Colleen] And she can just do the whole thing. She can mix it up.   [Rohan] Yeah, completely. I wanted to talk to you about curating for Love Dancing and how that works, because you mentioned earlier in the show, but how you split the sort of days so everyone takes their own day. So what day are you doing this year?   [Colleen] I do Saturday. So it's a Cosmodelica takeover. And Cosmodelica is also the name of an old radio show I used to host on Ministry of Sound Radio, but it's also the name of my remixes and kind of like my remixes, which are all over the place from down tempo to psychedelic, to indie, to house, to broken beats, to soul, all that stuff, disco. I want the lineup to reflect that as well. So on the kind of more spacey side, we are opening up the show, the whole day with Pritpal Ajmal's way of the verses with Indian classical. So I think in the morning at 11 a.m., I think, what do people want? And I love to lay on the floor with some incense, listening to that, easing into the day. Then Sky Rager is from Psych Magic as well. Danny Sky Rager, he's doing more of a psychedelic, you know, not necessarily dance floor oriented. It might be some of it, but kind of building up from there. Then the balleric side is represented by Balleric London, who are a young group of people, which is great.   [Rohan] Out to them.   [Colleen] Yeah, out to them. Really great people. Then there's a great, I always try to feature a lot of women, obviously, because it's something that's really important to me. Usually about half my lineup is is women.   [Rohan] Right.   [Colleen] And Eavesdrop Collective are back. They did a great job last year. So they're back. Yeah. Then the next thing I'm trying to do, which has worked the last couple of years, is to get up and coming DJs from New York City because of my link with New York. So two years ago I had Love Injection. Last year I had Muscle Cars.   [Rohan] Memorable.   [Colleen] Yeah, that was great. And this this time I have Lovey, which is great.   [Rohan] Can't wait.   [Colleen] Then me. And then I always have a kind of more of like a heritage act, I'd like to say. So I had Greg Wilson last year. I've had Ashley Beedle before. And this year I have my mentor, Francois Kay. Crazy. So it's like a nice. And we're also, Francois is also doing a live stems set, which is really interesting. He gets the stems or he creates the stems for different tracks and he live produces a whole set by using stems for an hour. Wow. So that's happening, too. So there's a lot to do. But I try to reflect what Cosmodelica means and what it's like, all those different genres of music and getting up and coming talent to more established talent and really trying to keep it nice and diverse as well. So that's really what my headset is like for the Saturdays.   [Rohan] I'm so excited. But obviously the world does hate us both. You know, I would think we're clashing. I know exactly.   [Colleen] We've got the Tuesday radio class. We've got the reality class.   [Rohan] I'll come. I'll come after for Francois.   [Colleen] Yeah, exactly. Sounds good.   [Rohan] I'll see you with a samosa backstage. That would be amazing.   [Colleen] And some chai.   [Rohan] Yeah, I'll bring you some. I'll bring you some chai. But how does it work with the other people curating the days? Is it are you having conversation throughout?   [Colleen] It's just like, well, my husband does Thursday, so we're talking.   [Rohan] You are talking. That's good.   [Colleen] And we have the bright. He has got the brighter days crew in as well.   [Rohan] OK, cool.   [Colleen] He has Daddy G from Massive Attack because they've been friends for a long time. You know, Trojan style system has supported Massive Attack as well. They have the Fat Freddy's drop. Joey playing. He is playing trumpets, trombone, trumpet. I can't whatever. But yeah, there's a bunch there's a bunch of other people playing his day, too. I'm trying over everybody. But yes, we're in conversation. And yeah, usually Scruff and I, we're all kind of looped in sort of talking. And I'm asked, you know, there's certain people that we want to get in a tent that may not be available. We're always talking. His wife is part of eavesdrop as well. OK, although she's not playing on my day, she might be playing on his day. We're kind of like a family. I mean, I've known Andy since I moved over. Yeah, yeah. I think I stayed with them. I did a benefit of breast cancer awareness for his wife at one point. I mean, before before kids, I'd be like over 20 years ago. Well, yeah, so it is like a family affair. And then Ian Mackey, who is our sound engineer for the London Loft, is also the engineer. He's the prime guy for the sound system.   [Rohan] That's beautiful.   [Colleen] Touching bass are doing a takeover on Friday for Scruff.   [Rohan] Nice.   [Colleen] Absolutely. They were trying to get Lovey and like, no, I already got her. I already got her in December. Get your own New Yorkers.   [Rohan] They did.   [Colleen] It was just great. So the whole it's always, you know, I generally spend most of my time there. And then I start to feel guilty because everywhere is great stuff, isn't it? And, you know, I just on Sunday I tend to move around a bit more, you know, and there's so many things that are clashing that I want to see. I want to see Theo Parrish on Thursday. My husband is playing and it's like all these different clashes. But I am excited to to see Michael Kumanuka on Sunday. I've seen him perform a couple of times before. And I'm very excited.   [Rohan] Yeah, I'm Dom and I are performing on Sunday as well.   [Colleen] Really?   [Rohan] We're DJing together at Brawnswood.   [Colleen] OK, what time?   [Rohan] I can't remember right now.   [Colleen] OK, I'll have to come by.   [Rohan] Yeah, at two. OK, great.   [Colleen] That's my day off. You'll see me floating around with a very happy smile on my face. Hopefully, as long as I did well the night before. It's always like, you know, nerve wracking.   [Rohan] I'm sure it will go incredibly well.   [Colleen] I hope so.   [Rohan] Yeah. Looking back on on Love Dancing and we out here over the years, obviously there's such good problems to have of like the clashes. And what are your some of the like what are your seminal standout moments that like rain and stick in your brain about the tent and over the years?   [Colleen] Yeah, we've had so many. I mean, Dingwalls is great on a Sunday. And we had these dancers last year that just blew my mind. Proper jazz dancers. We have wooden platforms next to the DJ booth. And just watching and hearing Louie Vega, who I've known for a long time as a friend. And I was on my radio show in the 90s, but I always played all his productions and. Hearing him play more of his roots of Latin jazz. I mean, Hector Laveau was his uncle, you know, I mean, he has a real tie with Latin jazz, hearing him to the Latin jazz that was really interesting. This year we have Spina at Dingwalls. So he'll be doing something like something I haven't usually heard him do. I have to say Greg Wilson's set last year really blew me away. He was so sweet. Like, you know, this is the kind of the set that you're kind of dreading and looking forward to and thinking about all year. And he really did a stellar job having like young people like muscle cars. You know, that was such a moment. And I remember coming on the mic with barely any voice saying, this is the new sound of New York. [Rohan] I remember. I remember that moment.   [Colleen] Oh, yeah. Oh, I was just like, oh, my gosh, I really just love that. Eavesdrop had such an energy as well. Just they just it was off the hook. Have seen Trojan Sound System. I've loved Scruff and Charlie Dark's back to back sets as well. They've been really such a highlight. Yeah, there's always love. It's Sunday night, last set and always there for Patrick. Patrick Forge has been one of my favorite DJs. And, you know, understand. Yeah. I mean, I remember getting a modal jazz comp of his right when I moved over and it was in my car and it got broken into in Sheffield in the parking lot after a gig, all my CDs got taken. That was one of them. But I just love his musical sensibility. I listen to his shows as well. And he does all different types of sounds. But I mean, I love when he plays jazz.   [Rohan] Yeah, the dance floor jazz.   [Colleen] Oh, it's so good. It wasn't really a movement in the US. It was a movement here.   [Rohan] Interesting.   [Colleen] So even though there might be a lot of American artists that are being played, not necessarily all, but a lot. It wasn't a movement in the US. And so that's why I really love it and appreciate it, because it's kind of new or newish for me, I should say. And who was over? There was some American DJs over at Muscle Cars, in fact, when they were over last year and they were watching on Sunday, the dancers. I said, see, this scene is a very UK scene, you know. And Louis, Louis knows more about it because he's been coming here a lot longer. But yeah, they were just like, wow, jaws down. Like, wow, I can't believe this. It's a whole different thing that we don't really have.   [Rohan] Yeah, we've we're we're so lucky that we were just tapped into all these little pockets and scenes are just like bubbling up and something I love to rep in my DJ sets as well. That dance floor jazz into Brock.   [Colleen] Yeah, and that's definitely a UK influence. A hundred percent. I mean, there's some artists I played, you know, like Lonnie Liston Smith or whatever. But yeah, that whole going deep and finding all these kind of obscure tunes, it's definitely a UK thing and it's very addictive. I love it. And also I, you know, I noticed some of my sets sometimes I went through like more of a jazzy phase and didn't really want to play anything for to the floor. And. But I think I'm best when I do mix it up. Yeah, it's probably what I should try to do more of, you know.   [Rohan] Yeah, definitely. Colleen, yeah. Thank you so much for joining me.   [Colleen] Thank you. Such a good time chatting to you. Yeah, thank you. That's been great chatting to you as well.   [Rohan] We'll see what we out here.   [Colleen] See what we out here. Yeah. So excited. And I can't wait to listen to your show after the fact because I'll be DJing at the same time. Yeah, I know.   [Rohan] Oh, classic. I'll try. I'm going to try record my set. Are we out here?   [Colleen] Exactly. Yeah, exactly. Thank you. Thank you.   [Rohan] Really appreciate it.   [Colleen] Thank you.

Colleen 'Cosmo' Murphy broadcast the 234th episode of Balearic Breakfast on her Mixcloud on August 5th 2025. About this episode. – With the Festival season in full swing, Colleen lined up a few prerecorded shows for the Balearic Breakfast Family, this new one including Abigail Ward and Family member Barry 'Bearknits' Zehr. Abigail's interview was very interesting to listen to as it drove the Family's attention to how everybody should pay attention, respect and nourrish their creative side, leading Abigail to share the reference of the book she was talking about on the chat "The Artist's Way". We all enjoyed her mix to the maximum and went even happier when hearing what our dear Barry had in store for us! Of course, we'll have both Barry and Kay on the blog in September, so keep it locked here! Also, Colleen will be live on the We Out Here Radio for a special show soon! This week’s Balearic Breakfast is now up on my Mixcloud and features an interview with and an exclusive mix from Abigail Ward of @ghost_assembly_music  . I’ve been a huge fan of her mixes on Mixcloud (give her a follow over there!) and her Ghost Assembly releases. She’s also an amazing writer and I’m blessed to have her liner notes on the forthcoming Balearic Breakfast Volume 4 comp (coming out 29th August on Heavenly Recordings - preorder link in linktree). The second mix is from Balearic Breakfast family member Barry Zehr @bearknits  in Washington DC. He’s been a regular contributor to the show for the last year or so and his requests are always on the mark. I’m sure you will love both mixes! Next week I’ll be streaming Balearic Breakfast live from the record room on Tuesday from 10am to 12noon BST. The first hour will be new tunes that I have been sifting through for your listening pleasure and the second hour we’ll have an interview with and exclusive mix from one of the originators and innovators of the chill out scene - @mixmaster.morris  . Until then, enjoy today’s show and thanks for listening! Listen back to the 234th episode of Balearic Breakfast: THE PLAYLIST Abigail Ward Ghost Assembly Mix : ( 1974 ) Jerry Goldsmith  – Love Theme from Chinatown ( 2011 ) Chrystabell  – Swing With Me ( 1969 ) Julie London  – And I Love Him ( 2012 ) Fats Gaines Band presents Zorina  – For Your Love (Neil Diablo Edit) ( 2023 ) Sven Wunder  – Harmonica And... ( 2024 ) Ali Dada  – Federici ( 1992 ) Vegas  – Walk Into The Wind ( 2020 ) Symptoms of Love  – Foam (Seaside Mix) ( 2024 ) Bryan Ferry  – Right Stuff (Dub Mix) ( 1981 ) Freddie Hubbard feat. Jeanie Tracy  – You're Gonna Lose Me ( 2008 ) Crazy P  – Lie Lost (Maurice Fulton Mix) ( 2013 ) Solange – Losing You ( 2015 ) Jacques Renault – A2 (Let's Get Lost Vol. 26) Barry Zehr Bearknits Mix: ( xx ) Stone Roses  – Fools Gold (Balearic Edit) ( 2000 ) Rose Smith  – Life Changes ( 2002 ) Crazy Penis  – Mind Wide Open ( 2025 ) Flying Mojito Bros  – Shakedown Street ( 2019 ) Izo Fitzroy  – I Want Magic (Dimitri from Paris vs. Cotonete 12 inch version) ( 2022 ) Lady Blackbird  – Lost and Looking (Cosmodelica Dub) ( 2002 ) Blue 6  – Pure (Remix) ( 2011 ) Julius Papp ft. Lisa Shaw  – Way Back (Doruk Ozlen Vocal Mix) ( 2017 ) Tim Deluxe  – Jas (Rhodes Mix) ( 2022 ) Crazy P  – Kari (Hot Toddy Mix) ( 2021 ) Flying Mojito Bros.  – Cosmic Rain AIBIGAIL WARD'S INTERVIEW WITH COLLEEN [Colleen] Good morning, Balearicans. I'm Colleen Cosmo Murphy, hosting a weekly Balearic Breakfast on my MixCloud Live until high noon. And greetings to all over there on the chat group. Thanks for joining me. As I'm away right now on today's show, I have some special guest mixes. First up is Abigail Ward. We have a chat about her ghost assembly project, and she also has contributed an exclusive mix. After that, we have a special guest mix from Balearic Breakfast family member Barry Zare, or Barry Berenitz. So stick around. Okay, Balearicans, I have Abigail Ward from Ghost Assembly here in the studio with me. And hey, Abs, how you doing?   [Abigail] Hi. Yeah, I'm good. I am literally just opening my copy of Balearic Breakfast, volume four. Look at it. Isn't it stunning? Fabulous.   [Colleen] I'm really happy with this one. And gosh, your liner notes are incredible. I read them and I kind of blushed. And then I thought, I wish I could write as well as that. You're a fabulous writer. You're a great writer, a fantastic writer, not only a great DJ and producer, but a great writer. And have you been writing for a long time?   [Abigail] Yeah, I mean, I've always sort of loved writing, and words are incredibly important to me. And occasionally, you know, I get an offer and a challenge like that where I can do something professionally. And I really relish those opportunities. So thank you so much for giving that to me.   [Colleen] Oh, no, thank you. I mean, honestly, I've always loved reading your posts. I love reading just anything you've written for the fanzine. It was fantastic. Your DJ mixes first came on my radar. I started checking them out on Mixcloud . And I was so into them. This is before I even got the Ghost December stuff. And they're so varied. They go, they stretch a lot to a lot of different musical kind of worlds, which is what we do on Balearic Breakfast, from soul to indie to dance music, you know, folk all over the place. And then I was speaking to Jeff at Heavenly, he said, I've just been checking out this person's Mixcloud. Have you heard of Abigail Ward? And I said, Yes, I have been listening to her stuff as well. And then of course, I know your partner, Catherine Dermott. So that's how you kind of landed on my radar as a DJ and musical selector. But how did you how did you get your start? [Abigail] Well, I was always really, really into music, right from being a toddler. And I started writing songs when I was a teenager using guitar and voice. And I was in various bands. And, you know, I found it quite tough being in bands for various reasons. And I gave it a break when I was about 30. And at that point, I started DJing. And I think it just felt a little bit more manageable for me to sort of present other people's music than to present my own. And, yeah, I really loved playing sort of lots of cinematic music. I got my first gig in a local cinema in Manchester called the Corner House. And I played there every Friday for seven years. Oh, wow. With this sort of cinematic bent. And I also really love doing DJ mixes. And I got into doing a little bit of production on them and maybe putting some snippets from films into my DJ mixes and edits and a few effects and things. And that's kind of how I got into production.   [Colleen] Mm hmm. Well, it's fantastic. And I can now hear the kind of cinematic link when I listen to your mix on mixes just because they do have a really good kind of visual aspect to them, too, the way that they're built, how they go up and down. And, yeah, it's absolutely fantastic. Well, I was it was so great to see Ghost Assembly debut a couple of years ago. And, you know, I think you sent it to me and I was really surprised. I have to say not that it was good. I knew it was going to be great. Don't get me wrong. I was surprised because it was so damn sleazy, you know, and, you know, I missed your love as a great sleaze tune. So I have to ask you, Abs, have you spent a lot of time in sleazy clubs?   [Abigail] I'm very sleazy. I'm a very sleazy person. And yeah, I mean, I I sort of I didn't set out to make it sound a particular way. I think the way it sounds is, you know, partly a result of of what was available to me at the time production wise. And also I worked with Bonar Bradberry from PBR Street Gang on on the mix of it. And and Bonner has a Bozak mixer, which is right, right, which he he tells me he he bought it in good faith from a key person on the disco scene in in the 70s. And he believes it was the front of house mixer at Paradise Garage. And he got that through Danny Krivit. And so he sort of mixed the whole tune through that. And I think that gives it some of its sort of hiss and age and sleaze and also a vibrational quality that's that's beyond any of those things that that that comes from that one particular mixer.   [Colleen] Yeah, I'm sure it is from the front of house from the Paradise Garage, as Danny Krivit says. So it's got to be. And, you know, I've had the same mixer. Mine I bought from Joe Claussell just over 30 years ago when I was working at Dance Tracks, and I have the same one. And, you know, I just love the sound of it. And you're right, because the I Missed Your Love does have a classic sonic quality to it. And I do feel the old kind of analog equipment does lend itself, does give that kind of feeling, you know. In terms of the actual productions themselves, you've had three that have come out so far. The first one, I Missed Your Love, I Keep Making the Same Mistake, and the last right, which I can't pronounce in Dutch, I'll let you do it. How do you say it in Dutch?   [Abigail] I don't know. I think it's called De Laatste Rit . But yeah, I looked it up. Yeah, I chose it. It's a tribute to my uncle who died last year. And he lived in Delft. And so that's why I chose a Dutch title.   [Colleen] My condolences to you and your family for losing your uncle. He sounds like he was a special person.   [Abigail] Yeah, he was. He was very playful and mischievous. Yeah.   [Colleen] Sounds a bit like you. But yeah, they all have a real kind of sleaze feel to them, all of the songs. And I like how you are just going for the complete four on the floor all the time as well. Like one of them has a, in fact, the one I just played on the Pride Special, I Keep Making the Same Mistake has a real breakbeat feel to it, has more of an electro kind of beat to it, freestyle as well. You know, that kind of feel. And yeah, I was just kind of wondering how the whole Ghost Assembly project came about.   [Abigail] Well, I've been dabbling in production and editing for a long time as a DJ. And I'd wanted to take it further. And in lockdown, I did a kind of spiritual artistic course called The Artist's Way , which is a book that anybody can buy by Julia Cameron. And I was invited.   [Colleen] My life changed. Yeah.   [Abigail] Wow. Yeah. I was invited to do this book with three of my friends who are artists in different disciplines, photography and jewellery making and film. And together we did this, we went through this book, which if you take it seriously, is quite a deep excavation of the things that may be blocking you from expressing your true self as an artist. And that's how Ghost Assembly came about.   [Colleen] That's so interesting because I went through the same journey and I noticed a lot of the reasons why you may not be achieving what you'd like to do and achieve your goals as your own self and how you're blocking yourself. And I also think as women, sometimes, especially women who work in male dominated professions like DJing, for instance, we often get imposter syndrome and kind of talk ourselves down and don't aim as high. And because it's easier that way, you're not failing and you're not being rejected. Whereas with The Artist's Way , it really made me stick my neck out a bit more. And I have to say it really changed my life. I've recommended this book to so many people. I don't think I've recommended it on air before. But this goes for people who aren't just pursuing creative endeavors as a profession, but also as a hobby. It could be read by everybody because everybody is creative. Everyone is inherently creative. Whenever I hear somebody say, oh, I'm not a creative person, humans are creative. So I highly, highly recommend this book. And then maybe you too could be making sleazy tracks like Ghost Assembly . But I just absolutely love what you're doing. And the latest productions, are they on your own label?   [Abigail] Yeah, I've got a label called Big Strings Attached , which is named after a night. That was my night that I did with the film scores and the cinematic soul. And I called it that because one of my great passions is string arrangements. And I just wanted to see what it would feel like to put things out myself. And so far, it's gone really well. Great. And what's on the pipeline? I've got another EP that's ready to go at the moment. And I'm talking to a couple of different labels about that, because I do want to carry on releasing with labels as well. I had a wonderful time with Rough Dog releasing on Rough Cuts. That's what I miss sort of came out on. So I'm just open to doing it in all sorts of different ways, really. And I'm also doing a project at the moment, which is kind of instrumental music in a bit of a talk talk vein with the producer, JS Saita. I'm supplying some spoken word stuff over some instrumentals that he's working on. So that will sound very different. Ed. Note: Visit Abigail's blog to find out more about her! [Colleen] I'm looking forward to hearing that. So is it more along a poetic kind of track?   [Abigail] Yeah. Yeah, sort of dreamy, you know, kind of moody. Yeah.   [Colleen] That sounds right up my street. I can't wait to hear it. And how about DJ Wise? What's going on?   [Abigail] DJ Wise? I think I'm quite close to having a break from it, to be honest. I've been finding it a bit of a struggle in various ways lately. And I'm mainly knocking back most gigs apart from one, which is a gig I do every two months in a place called Yes in Manchester, which is where you've heard a lot of my DJ mixes. I record them from there. And I play there for six hours and I go all over the place with a real radio sensibility. And the people there know me and understand me. And that's where I feel most comfortable at the moment. But I find that high pressure DJ gigs really take my focus away from producing. And I just want to make music really at the moment. So, yeah, having a little break.   [Colleen] That sounds like a good thing to do. And being, you know, self-aware enough to do that is just highly commendable because I had kind of more enforced breaks, which is still good, though. I mean, when after I had a baby, you know, I didn't really have any gigs, but I have to say it actually was really quite nice. It was nice raising a daughter, but it was also nice just kind of reconnecting with music without any purpose, which is, you know, just everything I do is based around music. So there's always something to do. But just having it just kind of as a hobby again for a little bit was really quite interesting and probably helped my career and my musical sensibility. So this could be what's happening to you. Do you find that the DJ gigs are becoming high pressure because of external demands?   [Abigail] It's well, it's a complex one for me. I have some sensory difficulties with very, very loud environments. And I found that this is becoming more and more tricky for me to navigate. And I struggle with going to lots of different places and playing on gear that I can't necessarily sort of predict what exactly is going to be waiting for me, even if I've supplied a tech spec. And it's just it's difficult for me socially, you know, I'm a quiet person. And I think a lot of the DJ gigs I do, I'm very accessible to people. I'm not necessarily in a booth or people will come and, you know, they'll want to talk to me. And I find that I can't talk and DJ at the same time. And some, some male DJs I know have cultivated a kind of a look to deter people from speaking to them. But I haven't I haven't developed this look yet. I obviously I've got come and fucking tell me your problems.   [Colleen] Written on my forehead. While I'm trying to mix a record. You could keep your headphones on. Yeah, that's the thing.   [Abigail] They still, they still, they come.   [Colleen] Well, are you considering doing any live ghost assembly performances?   [Abigail] Yeah, it's a good question. I've been giving some thought to this and how it might work. And I've been working with a wonderful sound engineer and producer called Joni Newham. And her stage name is Outsider Sound . And what we've been looking at is she's been sort of dubbing out my productions on a mixing desk in a sort of live Dennis Bovell style. And that's been really promising. And that might be something that we look at doing together. But right now, life's been getting in the way. But that's something that's sort of sizzling away on the backbone.   [Colleen] Well, I wish you all the best of luck with it. I look forward to every single ghost assembly release. And I will still continue to check out your mixes on Mixcloud. And thank you so much for joining us today and for providing this exclusive mix for us.   [Abigail] Oh, thank you!

The Balearic Breakfast Day Party is coming back to NTs Loft on Saturday the 13th September and it’s the official release party for the forthcoming Balearic Breakfast Volume 4 compilation on Heavenly. This time around my special guests are Pete Wiggs of Saint Etienne and Danny and Daisy of Heavenly Jukebox! Tickets are now available via Dice. I’ve hosted a few Balearic Breakfast parties at NTs Loft with guests like Joe Goddard, Daisybelle and Zero 7 and each and every one has been fantastic - great vibes with a great view of East London. Ed. Note : Tickets are availiable for purchase on the NT'S Loft Website, right her e and also on Resident Advisor, here . As the next instalment of my BB compilation series marks the first vinyl outing of my Cosmodelica remix for Saint Etienne, having Pete Wiggs join me on the decks along with Heavenly family member Daisy and Danny makes it even more special. Balearic Breakfast 4 double vinyl and the CD of Volumes 3&4 will be released on the 29th August and you can preorder from select independent record shops and the Heavenly Bandcamp. It features music from @troykingi   @bryonyjarmanpinto  @claremont56 @ilyasantana   @tar_blanche  and more. Thank you to all who have preordered - I appreciate your support. I hope to see you on the 13th September!

Colleen 'Cosmo' Murphy broadcast the 232nd episode of Balearic Breakfast on her Mixcloud on July 22nd 2025. About this episode. – The Great French Poet, Alphonse de Lamartine , once wrote: "The book of life is the ultimate book / That you can not close or reopen at your will ; The appealing excerpt can not be read twice / But the fatal page turns on its own / You would gladly come back to the page where you loved / And the page in which you die is already under your fingers" . The first part of today's shows starts with somewhat of a forced smile, in the summertime, but there, sometwhere, in the distance, stands a Totara Tree , under a lonely summer sun and, if you look up to the sky, you should see a few lost blackbirds flying high, turning above your head in an endlessly swirling motion while a tired cry can be heard coming from somewhere... Cajun moon, where does your power lie / As you move across the southern sky / You took my babe way too soon / What have you done, Cajun moon / Someday babe, when you want your man / And you find him gone, just like the wind / Don't trouble your mind whatever you do / 'Cause Cajun moon took him from you / When daylight fades, the night comes on / You can hear the silence of this song / Don't trouble your mind whatever you do / 'Cause he got me like he got you... This morning’s Balearic Breakfast is now up on my Mixcloud and please give me a follow while you’re over there. Today’s show is mainly your requests with a few new nuggets thrown in and we also pay tribute to the late Chris Faiumu. He was known as Mu to fans of Fat Freddy's Drop , the jam band he founded in the late nineties in his native Aotearoa. Last week Mu passed to the next realm and family, friends and fans from around the globe are mourning his loss, but we still have the music - his eternal legacy. Sending big hugs to our friends in New Zealand who worked with him, played with him and who knew him well. Kua hinga te totara I te wao nui a Tane. Next week’s show will feature an interview with and a mix from Café Del Mar resident Ken Fan and a Special Kay mix from Balearic Breakfast family member Kay McMahon. Until then, enjoy today's show with music from Hermanos Gutiérrez   DJ Spen   Kerri Chandler   Kuniyuki Takahashi   Randy Crawford   Daniel Avery   Troy Kingi   Holy Ghost!   Brian Jackson   BBE Music  and thanks for listening! Listen back to the 232nd episode of Balearic Breakfast: THE PLAYLIST ( 1970 ) Ken Boothe – In the Summertime ( 2001 ) Burning Spear   – Travelling ( 2005 ) Fat Freddy's Drop   – Wandering Eye ( 2013 ) Fat Freddy's Drop   – Blackbird ( 2025 ) Hermanos Gutiérrez ft Leon Bridges   – Elegantly Wasted ( 1996 ) Randy Crawford  – Cajun Moon (Cajun Long Trip Version) ( 2025 ) Mudd   – Mahalo (Instrumental) ( 2021 ) Daniel Avery   – Hazel and Gold ( 1977 ) Peter Gabriel   – Solsbury Hill ( 2024 ) ASHRR  – What's Been Turning You On (Soundsystem Version) ( 2020 ) Troy Kingi   – Chronophobic Disco ( 1981 ) Pino D'Angio   – Ma Quale Idea ( 1982 ) Cheryl Lynn   – Say You'll Be Mine ( 2020 ) Longhair   – The Forbidden Dance (Original Version) ( 2018 ) Holy Ghost!   – Anxious (A Tom Moulton Mix) ( 1988 ) Raze   – Break 4 Love ( 2025 ) Brian Jackson ft. Omar   – The Bottle ( 2022 ) DJ Spen & Soulfuledge   – Goin' Home (To See My Savior) (Kerri Chandler Vocal Mix) ( 2025 ) Kuniyuki & Cushty   – Tremor (Kuniyuki Dub Mix) ( 2025 ) Los Twangueros   – Star Guitar ( 2004 ) Fat Freddy's Drop   – Hope (3 Generations Walking Remix) COLLEEN'S PRESENTATION One of Jamaica's finest, Ken Boothe , with his cover of British band Mungo Jerry' s 1970 hit, In the Summertime . Boothe had already been recording with Studio One's Sir Cox and Dodd for the latter half of the 60s, and was already known as Mr. Rocksteady. And then he made the move to Duke Reed's Trojan Records, where he had a slew of hits, including Crying Over You . And a big thank you to Victor Olteanu in Romania for that summary request. Ed. Note: Find out more about Ken Boothe's career and life in this 2 part interview: Part 1 / Part 2 Good morning, Balearicans. I'm Colleen Cosmo Murphy, hosting your weekly Balearic Breakfast until high noon on my MixCloud Live. And greetings to all gathered over there from all corners of the globe right now. Thank you for joining me. Today's show is mainly a request with a few new nuggets thrown in. But first, I would like to pay tribute to the late Chris Faiumu , known as Mu to fans of Fat Freddy's Drop, the jam band he founded in the late 90s in his native New Zealand, Aotearoa. As DJ Fitchy , Mu collaborated with musicians from the Wellington music scene, including singer Dallas Tamaira and trumpet player Toby Lung, and providing the live musicians with beats and bass from his Akai MPC. Mu and his long-term partner Nicole also founded a record label they called The Drop , and released Tamaira's first solo EP, and then a song called Hope that was inspired by an acid trip. The blotters displayed the image of Fat Freddy's cat from the fabulous Furry Freak Brothers comic strip, and because the music makers liked to drop, Fat Freddy's Drop was born. They invited other local musicians to jam sessions that fused reggae, soul, dub, and funk, all mashed with Maori and Pacifica culture. And as a seven-piece, they became known for live improvs, imprinted onto vinyl on their first LP, Live at the Matterhorn . They released several singles, like Midnight Marauders , which was championed by Germany's Sonar Collective, and other international DJs. And in 2005, they released their debut solo album, Based on a True Story , polished versions of their Far Out jams. It went to number one in New Zealand and gold on the same day, and won New Zealand's Album of the Year award. Since then, Fat Freddy's Drop have released eight studio albums, have toured internationally nearly every year to sell out crowds, getting bigger and bigger and bigger. And they've established themselves as New Zealand's most successful independent band. Aotearoa and the international dance music community are mourning the recent passing of Fat Freddy's Drop founder, Chris Faiumu, or Mu. This next set is dedicated to his family, friends, and fans. And this next song is a dedication to the spirit of Mu himself, and to Fat Freddy's Drop band members. From my husband, Daddy Adz, of Trojan Sound System. A very fitting tribute as the band traveled together, and Mu's spirit is traveling now. Burning Spear with Traveling . The title track to Fat Freddy's Drop , third and platinum selling album, 2013's Blackbird , and sending that one out to DJ Hefe or Dan Edwards, who wanted to commemorate the late Chris Faiumu, the founding member of New Zealand's most influential and successful independent band, Fat Freddy's Drop , and lovingly known as Mu , who suddenly passed to the next realm last week. Ahead of that, Wandering Eye from Fat Freddy's Drop's debut album based on a true story . And Adam and I are dedicating that to all our Kiwi friends who are mourning the loss of their dear friend. Kay, Rob, Jen, Glenn, Kyan, Chris Tubbs, Nikki Lucas, the Flamingo Pier crew, Nathan Haynes, Benny, and the New Zealand music community. And also, of course, to all of Mu's Fat Freddy's Drop bandmates, including our personal friends, Joe, Mark, and Scott. And we have a dedication from Scott to his late bandmate Mu later in the show. Kua Hinga Te Totara I Te Waonui Atane . I hope I said that right. And may Mu rest in paradise. Well, I've played Hermanos Gutierrez at Balearic Breakfast before, and they've just released their first English language single, this time with Leon Bridges . The Ecuadorian-Swiss brothers met the Texan soul singer when they were in Nashville for a gig. Bridges heard a song they were trying to finish up, grabbed a mic, and sang over it. And the Hermanos thought he sounded like an angel. As requested by Ana Sancho in Barcelona, here are Hermanos Gutierrez with their first new tune of 2025, this one with Leon Bridges, the song Elegantly Wasted . The ASHRR Sound System version of What's Been Turning You On by ASHRR , who are releasing an album of their own sound system versions of songs from their debut album, Sunshine Low, released last year on 2020 Vision. And you may remember I had the band up on the show for an interview and an exclusive mix last year. You can listen back on my Mixcloud to hear all about them. They're amazing musicians. They've been session musicians, they've played all over, and they're very, very varied in genre, and I just love their work. And this new sound system version album is coming out this week, and you can find it on Bandcamp. And thank you to Barry Bernitz in Washington, D.C. for that request. Ahead of that, a song you probably know, but it seemed to fit in brilliantly on a balearic show, and Gareth Bratman thought so and made the request for Peter Gabriel's Solsbury Hill . And it's from the former Genesis frontman's debut solo album, his 1977 self-titled LP , and that was the first single. It became a top 20 hit in the U.K. and really marked a departure from his early prog roots. Ahead of that, from his fourth album, Together in Static , we heard British DJ and producer Daniel Avery with Hazel and Gold , an acolyte of the late Andrew Weatherall . Avery was first known as Stop Making Me and collaborated with Little Boots, Hercules, and Love Affair. And I should also mention that Daniel Avery did an amazing remix for The Cure's Mixes of a Lost World, and his remix of Drone, No Drone is really one of my favorites on the album. In fact, that song was my second choice if Robert Smith didn't let me remix "And nothing lasts forever" . Avery's remix is on fire. And thank you to DJ Corbian for the requests for Hazel and Gold . Paul "Mudd" Murphy just released a new limited vinyl single on his Claremont 56 imprint, instrumental versions of his forthcoming, of two tracks from his forthcoming third album, a follow-up to his record In the Garden of Mindfulness .The new single was written and produced with regular collaborator Michele Chiaverini, and we heard the instrumental of Mahalo , and the flip is an instrumental of Matane , and there's still vinyl copies around, so be quick. And thank you to Bobby Connell in Sydney, Australia for that request. Okay, another beloved Maori musician and actor and icon in New Zealand is Troy Kingi , who has had a remit of releasing one album per year for a decade, each with a different genre from funk to reggae to soul, and the project is called Ten Ten Ten . He tours the album and then goes back up north to fish for the rest of the year, or at least that's what I heard. I was turned on to his music by Flamingo Pier's Luke Walker when I was in New Zealand last year, and I fell in love with the next song so much that I had to include it on my forthcoming Balearic Breakfast compilation. The vinyl edition of Balearic Breakfast 4 and the CD edition of Balearic Breakfast 3 and 4 is coming out on Heavenly Recordings at the end of August, and I'm featuring a cut from the new comp on every live radio show until its release. This is Troy Kingi with Chronophobic Disco . Ed. Note: Colleen met the great Ardneks a few days ago, and posted the following message on her socials on July, 17th: " @ardneks  popped into town in May and @heavenlyrecordings  Danny & Daisy and I had the chance to meet the man behind the Balearic Breakfast comp series artwork - a fantastic talent AND a great guy. His designs are AMAZING and he puts so much effort into both the vinyl and CD version - each with their distinct design along with inner sleeves and labels. Thank you Ardneks! You can check out and pre-order the forthcoming vinyl and CD releases via my link tree. And a big thank you to @test_pressing_official  for this glorious review (you can read the rest on their website )…" Cheryl Lynn with Say you'll be mine , as requested by Daniel Townes, and that's from the 1982 LP Instant Love , produced by Luther Vandross. He just keeps popping up all over the place now. She got her start as a singer in church, and then she toured as a backing singer for the musical The Wiz , but it was an appearance on The Gong Show . I don't know if you remember that. If you're a Gen Xer, you probably do, and on it she performed a cover of Joe Cocker's You Are So Beautiful , and that landed her a deal with Columbia Records. She was signed and had a huge hit with Got To Be Real, and the rest is history. She's also noted for being an inspiration to R&B singers like Mary J. Blige. Ahead of that, we had Pino D'Angio with Ma Quale Idea  from his seminal Italo disco album 1981's Balla! , which was reissued last year on Pure Music. Ma Quale Idea is still a favorite, and has more than a little bit of a nod to Ain't No Stoppin' us now , and Pino D'Angio released many albums before his passing last year, and thank you, or grazie mille, to DJ Macaroon, or Steve Wakely. We started off the set with Troy Kingy, Chronophobic Disco , which is coming out on the next Balearic Breakfast Vol. 4 compilation. Okay, Longhair is a DJ and production duo from Berlin. It's Marco , aka Homeboy, and Bene from Peak and Swift , and in 2022, they released the album Hotel Solaris , their only album out on Permanent Vacation. But a couple of years earlier, they released this single, requested by our friend Virginia Ziotti in Athens, Greece. It's LongHair with The Forbidden Dance . Tune. Raze with their 1987 proto house single Break 4 Love , and it was written and produced and performed by Raze's Vaughn Mason , and Vaughan Mason led Vaughan Mason & crew , and they had a roller rink jam with Bounce Rock Skate Roll , and of Rediscover Break For Love recently. Played it a couple of times, I think at Pykes and also NT's Loft, and it still sounds so fresh. I also love the female vocal on the flip as well. Thank you to Matt Blythe for that request. Ahead of that, we had the former Brooklyn synth pop duo Holy Ghost with Anxious , featuring Nancy Wang from LCD Sound System on vocals, and we heard the incredible Tom Moulton mix, as requested by David Puzzi. And you know, Tom Moulton is just a force of nature. He kind of really helped define the disco sound along with many others, but his was certainly a hugely significant contribution, and still doing remixes, and that's, you know, electro pop synth dance, and you know, it still sounds great. His arrangements are just absolutely fantastic, and I got to meet him at The Loft once, and I was definitely starstruck, I have to say. I don't always get starstruck, but I definitely was starstruck meeting Tom Moulton. Okay, you've probably heard there's a forthcoming album by Brian Jackson , the former collaborator of Gil Scott-Heron , who released his debut solo album, I think it was a couple years ago on BBE, or no, a few years ago now, I think. But he has a new one coming out, produced by Masters at Work, and it's a great album. It's called, I'm just trying to remember what it's called, it's something that I think Now More than Ever , I believe it's called, trying to remember what it's called. In any case, it's a fantastic album, covering 17 covers of songs that he had formerly collaborated with, with Gil Scott-Heron, but really updating them. And we heard some great, great ones on the show before. He did one of It's Your World with Raheem Devon and Jay Ivey . There's also a great, great version of The Revolution Will Not Be Televised with Black Thought. And this is the next single, a new version of The Bottle , one of our favorite Gil Scott-Heron songs, especially for the dance floor. It's a real dance floor burner. And this one has Omar on the lead vocal. The delightfully, delightfully titled Los Twangueros , who come from the Balearic seaside town of Hastings in Kent, with their version of the Chemical Brothers' Star Guitar , as requested by Matt Raistrick. And Los Twangueros are also fans of the best meal of the day, breakfast, of course, as they have two albums out called The All Day Breakfast Part One and Part Two. Just love that song. I played that original when it came out. Gosh, it must have been 20 years ago, 25 years ago, maybe. I always love that one by Chemical Brothers. And Los Twangueros, such a fun name to say, just did it really justice. Ahead of that, we have Kuniyuki Takahashi and UK bassist Nick Cohen , aka Kooshji, in collaboration, blending live instrumentation and sleek electronic textures with tremor. And that is out now. And Kuniyuki has a signature sound that results in kind of roomy rhythms and great warmth. And I know him from Sapporo in Japan. And Cohen is an acclaimed London session player who's played with Massive Attack, Roy Ayers, and Jimster, just to name a few. And that is out now. Just picked that one up on vinyl and requested by my friend LiZy. Ahead of that, Bert Francois and Brooklyn requested the Carrie Chandler mix of the Gospel House classic, Going Home to See My Savior , the 2021 single by DJ Spen and Soulful Edge. And I hope you got some hand clapping and foot stomping going on for that one. And we started it all off with Brian Jackson featuring Omar with their version of The Bottle. And that's coming out on the forthcoming album, Now More Than Ever, coming out on BBE in September.  And it was produced by Masters at Work. And I'm really looking forward to that one. Okay, hopefully I'll see some of you at the We Are Love Festival in Brighton. It's also hosted by 1BTN and a shout out to them. I'm doing the closing set on the Sunday, I think 10 to midnight, but the lineup for the entire weekend is fantastic. So it's a real honor to be part of that one. Hope to see you there. I'll be hanging out on Sunday. Trojan Sound Systems also playing as well. For the next couple of weeks, I'll be streaming Balearic Breakfast remotely as I'll be away. But we have some great mixes coming up. Next week, we have a mix from Ken Phan of Café Del Mar, and also a mix from our Balearic Breakfast family member Special K, or K McMahon. And the following week, we have an interview with and a mix from Abigail Ward from Ghost Assembly, and also an exclusive mix from our Balearic Breakfast family member Barry Berenitz in Washington, DC. So really looking forward to that. Okay, I'm now leaving you with one last tribute to the late Mu, the founder of Fat Freddy's Drop, who passed the next round last week, a Maori, a Maori and New Zealand icon. And this is from Scott Towers, aka Chopper Reed, the saxophonist from the band and a regular listener and contributor to Balearic Breakfast and also a friend. This is the 2004 remix of Hope by 3 Generations Walking in tribute to Chris Faumu. May he rest in peace. Thank you so much for listening.

Colleen 'Cosmo' Murphy broadcast the 233rd episode of Balearic Breakfast on her Mixcloud on July 29th 2025. About this episode. – After playing at the We are Love Festival , and while heading to the USA, Colleen streamed a pre-recorded episode of Balearic Breakfast, including an interview with DJ Ken Fan and a nice mix from our friend and Family Member Kay McMahon (thanks Kay for the pictures and the videos!). Listen back to the 233rd episode of Balearic Breakfast: THE PLAYLIST Ken Fan Mix ( 2024 ) Tara Lily – Speak in The Dark ( 2025 ) Saint Etienne   – Alone Together (Cosmodelica Remix) ( 2014 ) Germind   – Pairing of Opposites ( 2022 ) Guts Ft. Assan KIF   – Nunca Pierdo ( 2025 ) Brixton Underground   – Don't Feel the Same ( 2025 ) Blank Jones Marc_George   – Lullaby Rediscovered ( 2000 ) LTJ Bukem ft. Elliot Good   – Sunrain ( 2018 ) Dale Anderson, Anil Chawla   – Leftorium (Ambient Mix) ( 1999 ) Dido   – Here With Me (Chillin with the Family Mix) ( NOL ) DJ Day   – VQ ( 2023 ) Be.Lanuit ft. DJ Pippi, Melon Jimenez & Lara Wong   – El Malagueño ( 2025 ) Pig & Dan   – Keep My Thoughts Behind ( 2024 ) Ken Fan & Digby Jones   – Starseed Kay McMahon (Special Kay) Mix ( 2012 ) Kindness   – House ( 2014 ) Depeche Mode   – Useless (K&D Session Remix) ( 2004 ) Atlantic Conveyor   – Nasty Things ( 2011 ) Late Nite Tuff Guy   – I Don't Like Acid ( 2024 ) Alex Kassian   – E2-E4: A Reference to E2-E4 by Manuel Gottsching ( 2001 ) Cadillac Jones   – B'Nai Brown ( 1978 ) The Doobie Brothers   – What A Fool Believes ( 1999 ) Mr. Scruff   – Get a Move On ( 2024 ) Joe Goddard   – New World Flow (Ray Mang Remix) ( 1994 ) T-Power vs MK Ultra   – Horny Mutant Jazz ( 2002 ) Prasie Cats ft Andrea Love   – Shined on Me (E-Smoove Vocal Mix) KEN'S INTERVIEW WITH COLLEEN [Colleen] Good morning, Balearicans. I'm Colleen Cosmo Murphy, hosting your weekly Balearic Breakfast on my MixCloud Live until high noon. And greetings to all over there on the chat group. Thanks for joining me. Whilst I'm away, I have some special guest mixes for you on this week's program, starting off with an interview with and a mix from Café Del Mar resident and Ibiza resident Ken Fan. He gives us the lowdown on his musical background and what he's up to this summer on the White Isle. And that's followed by a mix from our Balearic Breakfast family member, Special K, K McMahon. So keep it locked. Good morning, Balearicans. I'm here in the studio with Ken Fan, who is the resident DJ and the music manager over at the legendary Café Del Mar in Ibiza. And he also plays at a lot of other spots on the island, including Pikes. Hi, Ken. How are you?   [Ken] I'm super. Hello. Good morning. Yeah, full of energy. Happy. Couldn't be worse. Beautiful island.   [Colleen] Great job. Well, you are so busy. I was taking a look at your schedule and oh, my goodness. I mean, you are playing several times a day, sometimes nearly every day. How do you handle this schedule when the summer season starts at Ibiza?   [Ken] Control, balance, lead not into temptation, just hydrate, don't drink alcohol in the daytimes, do things like stretch, yoga, just have a clean mindset. It's a marathon, not a sprint.   [Colleen] Absolutely. Absolutely. I totally agree with you. And, you know, that's what you have to do when you're working really hard. I mean, the thing is, is our work is almost like play. I mean, we say we're playing music. We don't say I'm working music. You just say I'm playing tonight, not usually I'm working tonight. But it is it is it is work. And it's great work and very rewarding work. But it still is work. You do have to take care of yourself, especially with these temptations, as you said, all around you. First, I just want to back up a little bit, rewind. Can you tell us a little bit about how you got into DJing and event management as well?   [Ken] Wow. Okay, so I've been DJing for 34 years now. I started off interested in the hip hop scene, the old DMC type, mixing type stuff. Then I started going to raves, old raves and stuff. Then I was still at school at the time, I was like 14, 15 years old, doing school discos, the local clubs, then local radio shows, then a company called Miss Money Pennies, they picked me up. And they just brought me out to Ibiza every two weeks as a resident, out of, you know, then just escalated to Pasha, a funky room. Yeah, it just escalated from that, really.   [Colleen] Wow. I mean, as I read in your bio, you were going to Ibiza for 18 years before you moved there in 2009.   [Ken] I've lived here full time for about 18 years. My first year here was 1998. Then I started playing here in 2000. But I moved here full time, yeah, 18 years ago.   [Colleen] And what's it like living on the island? I mean, the summer, of course, you're a busy boy, I can see. But how is it like during the winter months when there's not as many people on the island? Do you like it a bit more?   [Ken] Yeah, I do love it. I mean, especially through quarantine and all that sort of stuff. I mean, especially for the producers, it's our time of year where we can just switch off and concentrate, just like make beats, make music, especially collaborating with all the other island residents when we actually meet each other. I mean, in the summer, this is work for us. We just work our asses off. And yeah, even though we do enjoy our job, we're just working. We don't actually get to see the island. We're just like, that sort of stuff. But yeah, the wintertime, we tend to make music, unless you're making music or you're going off touring or you just go on a vacation or something like that. I need to detox or I just need to get away, which sometimes I do as well. Well, most of the time.   [Colleen] That's good. You need to do that. You need to take that kind of balance in your life. I'm trying to look for that myself. So if you have any tips, do let me know. Now, you do a lot of productions as well. You've done productions for Strictly Rhythm and things. Can you tell us a little bit about your productions and what you're working on? What we can expect in the near future from you?   [Ken] I mean, with the house stuff, yeah, I don't really do that anymore. But obviously, these recent years, I've just been doing a lot of ballerics, a lot of chilled out stuff, which is picked up by Music for Dreams. I did a collaboration thing with George Salah. I know you've been playing him. Yeah, Music for Dreams, Disappear from Crisco Cove, New Northern Soul, Bit of Budapar.   [Colleen] These are all great names and names that we featured on Balleric Breakfast. I know our listeners will love this and we'll be digging out your productions, which is great. Cafe Del Mar is such a legendary place. I mean, I worked at a record shop called Dash Track in the 90s and I bought the first compilation when it came in. I didn't really, I kind of even knew where Ibiza was, but barely. I was American, don't forget. So in any case, the compilations were just amazing. I bought every single one as they came out on import and was really amazed by the musical selections. I would bring them to all my gigs because I was DJing six hours as a working DJ. What did it feel like when you were asked to work there? Because, you know, Jose Padilla's shoes are quite big shoes to fill.   [Ken] Yeah, I didn't expect it really, to be honest. A Hong Kong guy from Birmingham filling his shoes. Cafe Del Mar 1998 was the first bar I went to. I bought the CDs and stuff and put the music on after the clubs and chill out, winding down and stuff. I was like, wow, the universe has presented this to me. And I find it's like everything happens for a reason sort of thing. I think it's working a privilege at the time that went sour and then left there. Then I got off of this and I mean, I share the same. My birthday's on June 20th and the anniversary of Cafe Del Mar is also on June 20th. And there's a summer solstice day and I'm like a summer solstice, I'm a sunset DJ. So just everything's just like aligned and what happened. It's like I had no choice sort of thing. It's like automatically turned off or something like that. This is meant to be.   [Colleen] That's great. And so, you know, since you're playing so much like every day, many hours, you have to go through a lot of music to curate your music and to get it all in order. And, you know, it's a lot of work behind the scenes DJing. I mean, DJing isn't just showing up and playing records. It's all the other stuff's the work. When you're actually out there playing, you're playing, you know, but it's all the other stuff. How do you, how long does it take you to go through music? Are you going through music all year? Are you listening to new things every day?   [Ken] Every day, yeah, every day. I allocate like at least a couple of hours a day for it, if I can, if I feel up to it sort of thing. But yeah, I try and allocate that. And yeah, yeah, yeah. It's part of my job. I have to do it, keep it fresh. And like finding, I know, hearing other DJs playing a track, an old track that I might not have, I go, oh, I need to download that, or something like that. Yeah, yeah. So I play like between probably like 10 hours a day sometimes and sometimes like more. Yeah, I've got big playlists. Curating soundtracks is, for listeners, it's different to a club sort of thing. It's people, it's bums on seats, it's curating emotions and stuff like that. A club atmosphere when people, it's making people dance, it's a totally different thing. And yeah, building the atmosphere and the emotions for the sunset and people crying and stuff like that. It's this one thing we try to, yeah, curate for special moments.   [Colleen] Are there certain songs that you really like to play during the actual sunset? I mean, the sunset in Ibiza is such a big thing. I remember being at El Toro once and it was like, wow, people are clapping and it's just really beautiful.   [Ken] Yeah, it's mad. It's like, I don't know, if you're playing football and you're in the World Cup scoring a goal or something, you like a good sunset, you go, hey!   [Colleen] Everyone's like...   [Ken] It depends what we want to go for. An emotional one, want to get people crying or want to get that, yeah, cheer sort of thing. Or if it's a slightly cloudy and there's lots of colours, you can go for a lot like a mystical sort of thing, or you just go for a clean. So it's different criteria for different sunsets and different moods and stuff.   [Colleen] Wow, I never thought of that. I mean, I had to curate, last year I played for the summer solstice here in the UK at the most eastern part of the UK. So the first place where the sun would rise at sunrise on a beach. And I really had to think this out. I mean, I really spent some time thinking of songs that had to do with the sun and the day beginning and having a good sense of energy and imbuing a positive spirit. Luckily, it was actually sunny and not cloudy, which is great here for the UK. But I didn't really think about the whole sunset side in terms of the different types of emotions that it may bring, depending upon the quality of the sunset. That's really interesting.   [Ken] Yeah, there's a technique sort of thing. You sort of like, for probably like about 20 minutes, four tracks before the actual sunset track, you sort of wind it down and get them into sort of like where you want them sort of thing. You sort of like capture them so like, so they're fixed on, fixed on the sunset sort of thing. You're curating the lullaby, shall we say, then yeah, to bring out the emotion that you want. And yeah, there's technique to it.   [Colleen] Yeah, there is. Absolutely. Well, this is all really wonderful. And I'm hoping that I get to hear you play at Cafe Del Mar sometime this summer, because, you know, I really would love to check that out. Before we go, do you have any tips for people that are visiting the island places that they may want to check out? I mean, I know you play at El Chiringuito and you play at Pikes and Cafe Del Mar, but even places like any good beaches or any good like off the beaten track fish restaurants that people should know about?   [Ken] Those are new restaurants and stuff open. 528 Club, as I say, that's owned by Pikes. That looks like the most interesting as a club.I don't really go to nightclubs unless I'm working sort of thing to be honest these days. But that's probably the most interesting big thing for me. Obviously, there's that university that's open, but that's that sort of thing.   [Colleen] Well, Ken, good luck with your crazy schedule this summer. I wish you all the best. I hope I can catch one of your sets when I'm over there this summer.   [Ken] Talk you down, don't worry.   [Colleen] Thank you so much for this wonderful mix. I really appreciate it.   [Ken] Thank you.   [Colleen] Thank you.   [Ken] Take care. [Colleen] Bye, Bye!

Colleen 'Cosmo' Murphy broadcast the 229th episode of Balearic Breakfast on her Mixcloud on July 01st 2025. About this episode. – After playing at Pikes in Ibiza, and despite what seems to be a sinus infection blocking her right ear, Colleen managed to air a brand new episode of our favourite show today! This episode was very refreshing knowing the curent state of the thermometers in Europe (we reached 38°C here in Paris while 34°C have been reached in London) as it had a viby, cool, slowly evolving rhythmic pace, letting the listener feel a "letting go' vibration for most of the songs played, of course enhanced by Colleen's incredibly perfect mixes! Without the shadow of a doubt, the first two songs of today's episode are a Wow Moment! Of couse, as often, today's show resonnated with me as I felt that if you're not being appreciated somewhere, and If all you could give was never enough to someone, be it at work or in your private life, one of the solution was to adapt your thinking mind and let things go. We should never force things, let alone allow anybody to pressure our personality to meet their expectations... Try listening to today's show with that in mind, and you should be able to meet me quite quickly somewhere along the musical and Balearic Way... This morning’s Balearic Breakfast is now up on my Mixcloud and for the most part is all new tunes, including several coming out later this summer by Soul 2 Soul, Ron Trent, Sven Wunder, Sons of Sevilla, Feel Fly, Turbotito, Lou Hayter, Black Science Orchestra, Hot Toddy, Space Grapes and much more. Each weeks leading up to the release of Balearic Breakfast Volume 4, I’m spinning one of the compilation’s tracks e and the choice for today’s show was by Claremont 56 outfit Paqua. You can pre-order the comp on the Heavenly Recordings bandcamp and independent record shops and thanks to all who have already done so. I’m also hosting another Balearic Breakfast party at NTs Loft in London this Friday – this time a soirée from 7pm to 2:30 am – maybe more like a Balearic Breakfast Supper. I’m joined by Virginia Tzioti from Athens and Daisybelle whose productions I have been spinning as of late. Tickets are available presale on Resident Advisor and on the door. I hope you can make it. And thank you to everyone who joined me at Freddy’s at Pike’s on Sunday night – that was an amazing party! I’ll be back one more time before the season’s end – celebrating the release of Balearic Breakfast Volume 4 on Sunday, the 28th September. It has been a real pleasure hanging with the Pike’s team too. Well aside from a raging sinus infection and blocked ear canals, that’s what’s happening in my musical world this week. If you see me on Friday with my heading hanging to the side, please know it’s the only way I can hear with both ears at the moment. Baffled. Thanks for listening. Listen back to the 229th episode of Balearic Breakfast: THE PLAYLIST ( 2024 ) Infradisco – Beyond the Caduca (Hear & Now Remix) ( 2025 ) Torn Sail  – Mud People ( 2025 ) Sven Wunder  – Scenic Byway ( 2025 ) Mama Terra  – A Mind Supreme (Joel Hamilton Remix) ( 2025 ) Potatohead People & Slippery Elm ft Bahamadia  – Up Close ( TBR ) Sons of Sevilla  – Butterfly ( 2025 ) Paqua  – Akaliko (from Balearic Breakfast Vol 4) ( 2025 ) Lou Hayter  – Wish You Were Mine (Black Science Orchestra Vocal) ( 2025 ) Jéroboam  – See The Light (Space Grapes Vocal) ( 2025 ) Francis Bebey  – Sanza Tristesse (Josh Ludlow Remix) ( 2025 ) The Cool Notes  – You're Never Too Young (Moplen Remix) ( 2025 ) Peter Green  – Proud Pinto (Jona’s Mac Fleetwood Edit) ( 2025 ) Turbotito  – Time Starts Moving Slow ( 2025 ) Fatback Band  – Chillin Out (Kons Cool Out Remix) ( 2025 ) Jazxing  – Memories ( 2025 ) Feel Fly  – Sole (Radiomarc Remix) ( 2025 ) Lakeshouse  – Renate’s Dans (Hot Toddy Remix) ( 2025 ) Tubbs & Burns  – Drums Are Dangerous (Todd Modes Full Moon Mix) ( 2025 ) Soul 2 Soul  – A Dream's A Dream (Ron Trent Mix) ( 2025 ) SHAF, Ahmed Saad & Ya Man  – Hawah COLLEEN'S PRESENTATION Beyond the Kaduka by InfraDisco , a project by DJ Mark B and musician producer Alberto Benatti . And the original is from their debut album Aqua Capta , released last year on Archaeo Recordings. But we just heard the very chilled out remix by Perugia-Italy duo, Hear & Now . Good morning, Balearicans. I'm Colleen Cosmo Murphy, hosting your weekly Balearic Breakfast until high noon on my MixCloud Live, and streaming live from a very hot record room. It's beautiful out. It's very, very hot, but it's sunny here in London. I think it's one of the hottest days of the year so far. Greetings to the family gathered over on my MixCloud Live and thanks for joining me as always. I just got back from Ibiza where I played at Pikes and we had a great shindig in Freddie Mercury's bedroom on Sunday night. And thanks to all who joined us. And I'm back at Pikes on one more date this summer at the very, very end of summer, the 28th of September. And I'm really looking forward to it. I've had such a great time there, not only spinning, but also hanging out with the Pikes crew. They've been so lovely to me. Now, sadly, you can probably hear it. My sinus infection still hasn't improved. And because of the flights, my right ear is blocked. That's really irritating. Hopefully it will repair itself soon. I mean, if I tilt my head to the right, it seems to clear it up to look a bit strange. So thankfully, you can't see me, but I'm really hoping it clears up by Friday as I'm back at N.T.'s Loft in London , this time for an evening party with Balearic Breakfast family member Virginia Tsiotti and also guest DJ Daisy Bell , whose tracks I've been playing a lot as of late. N.T.'s is in East London and tickets are really cheap, which is really nice on the pocket. So you can head over to Resident Advisor to secure them . And I'm sure there'll be some on the door as well. I'm also playing at some festivals this summer, Homestead in Bristol and We Are Love Festival in Brighton in July . In August, I'm heading to Helsinki for Flow Festival and then I'm back for Houghton , this time playing on a Sunday for the first time in the Stallions tent . Of course, I'll be hosting the Love Dancing tent at We Out Here with the Cosmodelica takeover on Saturday. Then I'm back to Ireland for the second year in a row on the eve of my birthday, strangely, this time for the If You Know, You Know Festival . And then I'm heading to Italy for Jazz Refound at the end of August . So I have lots to look forward to and I hope to see some of you when I'm playing at those festivals. Please say hi. I'm also looking forward to sharing a load of new music with you on today's show. Nottingham producer, musician and songwriter Huw Costin has a band called Torn Sail and they've been releasing music for nearly 15 years. Their debut single was on Paul Mudd Murphy's Claremont 56 label. They also have released two studio albums and their third, Steady Weather , was released last week on Costin's label Delia Recordings . And it's an ambitious offering, a double album beautifully packaged with a booklet. And the whole album demands attentive listening as the songs reflect on how the positive nature of humanity has the power to transcend all kinds of borders. The connection between landscape, memory and family, the passage of time, aging and the beauty found in simple domestic moments. This is Torn Sail with Mud People . Butterfly by the Sons of Sevilla , who are actually two blood brothers from the north of England, Henry and Reuben Smith . They started making their double debut album Lullabies for a Wildcat during the pandemic and it was released on Ubiquity last year. It was a great album, great album. And they have a new one on the horizon called Street Light Moon and Butterfly is the third single. And also Sons of Sevilla will be touring in the U.S. throughout the autumn . I really love their debut. I hope they come over to the U.K. sometime soon. Ahead of that, Up Close by Potatohead People , which is Canadian hip hop electronic production duo Astrological and Nick Wisdom , along with MC and singer Slippery Elm . And that track also featured special guest, the Philadelphian ledge Bahamadia . It's from their forthcoming album Emerald Tablet , which will be released on the 11th of July on Mystery Box Records. And you can preorder it on Bandcamp. Ahead of that, we heard Mama Terra , the jazz soul ensemble led by Glaswegian pianist and composer Marco Cafola . And they've just released a remix of a track from their 2023 debut, The Summoned . We heard A Mind Supreme , given the remix treatment by the Grammy-nominated Brooklyn-based producer, engineer and musician Joel Hamilton , which came out just a few days ago on Acid Jazz. Before that, Swedish musician and composer Sven Vunder with Scenic Byway . It's the second single from Sven Vunder's upcoming fifth full-length album, Daybreak , which is coming out at the end of September. And Vunder is, I should say, it's his first, it's his fifth full-length album. Sorry, my ear is really bothering me. I feel so unbalanced. And that seamlessly continues the progression of his musical oeuvre. It takes the listener on a vivid maritime expedition, beginning the moment the first rays of light break the darkness of the night, and embarking on a lush journey through the early hours of the day and far beyond. And I'm really looking forward to that. And we started it all off with Torn Sail with Mud People . Now, as you probably know by now, the next release in the Balearic Breakfast compilation series, Volume 4 , will be released on the 29th of August, alongside a double CD of both Volumes 3 and 4. And you can pre-order via the Heavenly Recordings Bandcamp . And pre-orders are also available at many independent record shops. You can find out more via my linktree on Instagram. And thanks to all those who have pre-ordered already. This comp features recent tunes from contemporary artists making a vinyl outing for the first time, along with some of my favorite classics that are quite pricey to get on vinyl. As is the custom, I'll feature a tune from the comp each week until it's released at the end of August. And this is the first one, an old favorite of mine from the Claremont 56 label by Paqua . This is the title track of their album Akaliko , which came out over a decade ago. And it's quite expensive to find secondhand on vinyl. So it's coming out on Balearic Breakfast, Volume 4. Danish Yugoslavian musician Turbotito with Time Starts Moving Slow from the forthcoming The Sunset Manifesto, Volume 2 by DJ Supermarkt . And Supermarkt's guiding logic for this second edition of contemporary mid-paced magic is a house blend of adult-orientated sunset beats with a little, we could all use a little joy right now on the side. And that's certainly true. And along with Turbo Tito, the compilation features some of my other favorite artists, Wolfie vs. Projections, Poolside, and Young Gun Silver Fox. So look out for that. Ahead of that, a lovely edit of Peter Green's Proud Pinto . And that original track is from the Fleetwood Mac founder's incredible solo album, 1979's In The Skies , a longtime favorite of mine. The edit is called Jona's Mac Fleetwood Edit , and it just arrived in my inbox this morning. So thank you, Jona . I'm not quite sure who it was. Ahead of that, Brit soul-funk outfit The Cool Notes with a Luca Moplin rework of their single, You're Never Too Young , from their 1985 LP, Have a Good Forever . The Cool Notes had a reggae number one back in 1978 with My Tune . And with this single, You're Never Too Young , they cracked the UK charts as well. I'm a big fan of Moplin's reworks and remixes. Great sense of arrangement. I've really also been getting into Josh Ludlow ' s remixes and productions more and more. Featured his mix of Pigeon on The Last Balearic Breakfast Vol. 3 comp. We heard a remix of Sansa Tristesse by the late Cameroonian singer, musician, composer, musicologist, sculptor, and writer, and all-around talent, Francis Bebe . Look him up. Africa 7 released a vinyl comp of remixes of Bebe's work . And along with Ludlow, there are reworks by Psych Magic, Turbo Tito, Voila!, and Red Axes. And you can order the vinyl. It's a vinyl-only release on Bandcamp. Ahead of that, See the Light , the forthcoming single by French live outfit Jéroboam , coming out on the 11th of July. A lot of records coming out on the 11th of July. This one on Space Grapes. And it's a loose-limbed, synth-splashed, boogie burner that builds on their Cult 2022 debut on the same label. We heard the Space Grapes vocal by label heads Danilo Pleso , a.k.a. Motor City Drum Ensemble , and Bobby Van Putten . And it's another analog transmission, beamed straight from the jam room. And you can pre-order that now. And starting it all off with Lou Hayter , the Black Science Orchestra vocal mix of Wish You Were Mine . Okay, I was really honored to be part of the Spring Revisited project with my remix of The Street People . The project was put together by Sweden's Cosmos Music and Acid Jazz and includes remixes from the 70s New York City label Spring Records by artists like Joe Clausell, Dave Lee, Dimitri from Paris, DJ Spina, The Reflex, Opolopo, of artists like Fatback Band, Garland Green, and Millie Jackson. This is a beautiful, jazzy, summer-sounding remix of Fatback Band' s Chillin' Out by Boston native Khan on Balearic Breakfast. This sounded really good at Pike's on Sunday night. Soul to Soul , A Dream's a Dream , the Ron Trent remix . And the original features Victoria Wilson James . The original's from Soul to Soul's sophomore album, Volume 2, 1990, A New Decade . And Ron's remixes are coming out in August, and you can pre-order the vinyl on Soul to Soul's Bandcamp. I already have. And it was great seeing Ron Trent bust some moves to his own tune, Street Wave, at the London Loft Party a couple of weeks ago, too. So great to see him. I had to add a little something-something from yesterday's inbox from New Zealand duo Tubbs and Burns , my old friend Chris Tubbs and Eden Burns . You may remember the single I played of theirs, Where Were You in 92 . Well, their forthcoming EP features a new remix of that by Colter Carson , which is great. And it also features the new tune that I played, the Todd Modes Full Moon mix of Tubbs and Burns, Drums Are Dangerous . Ahead of that, Scandinavian outfit Lakeshouse with their forthcoming single Renate's Dans out next week on paper recordings. And it was given the remix treatment by Hot Toddy , which is Chris Todd from Crazy P . Ahead of that, we had Feel Fly , who is the Italian DJ and producer Daniele Tomassini , also from Perugia, like here and now. And Manu from Archeo Recordings has just sent me that release, which is coming out in mid-July. The Radio Marc remix of Feel Fly 's Sole , which means sun in Italian. And we had the forthcoming single from Jazxing on Higher Love called Memories. And it's a progression from the Polish duo's already great debut LP, Pearls of the Baltic Sea . And it's musicians, producers and DJs Jakub Sautycz and Mateusz Filipiuk . I hope I got that right. I probably didn't. They formed Jazxing in their hometown of Gdansk, Poland, and they integrated with the wider Balearic music scene. And they're part of a growing group of colorful Polish artists , clubs and labels who want to share and inspire music with their passion for these sounds. Well, I certainly love sharing my passion for sounds and songs with all of you people.   And thanks for joining me again for Balearic Breakfast. I will be back next week streaming live and I think we should do another request line. So I'll aim to do that this weekend on my socials where you can request tunes for next Tuesday's show.   I hope to see some of you at N.T.'s Loft this Friday where I'm DJing another Balearic Breakfast party. This time a night party, this time with Virginia Tsioti and Daisy Bell. I'm going to leave you with something very interesting that I also received yesterday.   It's by Middle Eastern DJ and producer and Billboard hitmaker Hassan El-Shafei returning under a new alias, SHAF . And this is a collaboration with Egyptian singer and actor Ahmed Saad titled Ya Man Hawa , on which they joined the dots between North African and Middle Eastern sounds and Afro tech. And it's a love song that translates as my love for her elevates her while it humbles me. Thank you so much for listening. Have a great week and I'll see you next Tuesday.

The Polish duo Jazxing, formed by Jakub Sautycz and Mateusz Filipiuk, is, as we like to say in English, "Something else". I asked them a few questions; let's dive deep! Jazxin g songs have been featured on mixes crafted by The Balearic Ultras and played both on Balearic Breakfast and on Balearic brunch . When Colleen features an artist more than once, you'd better beware: this is a very good sign. Laughs! Being myself Polish, I could not resist the temptation. I asked Jazxing if they'd share their story with me here on the Balearic Breakfast Blog. And they accepted! I'm over the moon to have them here; turn the lights off and the sound as loud as you can; we're drifting away immediately. 1) Hello to you, Jazxing! Thank you so much for joining me here on the Balearic Breakfast blog! Can you tell us how your shared musical journey started? Hiya! Thank you for the invitation, Artur! Kuba and I met at the local club in Gdańsk – La Dolce Vita years back (circa 2010). We were playing as DJs on regular club nights at this small but legendary place and got along with each other straight away. Since day one, we noticed that we share a lot of similar influences and musical likings, so we knew that we should make music together. Luckily, it turned out that our intuition was right, and we started to develop our own sounds. 2) I read on your Bandcamp page that " Jazxing is part of a growing group of colourful Polish artists, clubs, and labels who want to share and inspire people with their passion for these sounds." Could you please share your musical plans with us? We are constantly writing new ideas for compositions and trying to put them in the right places - right now, we are starting two side projects along with working on the new Jazxing material. The first one – Nagar for more dark, EBM, new beat, post-punk, slowed down chugger grooves – it will be a live act mainly by just the two of us, more synthetic than organic. The second one is Fahrlust – a 5-piece band with some of the greatest local musicians, for more kraut, afro cosmic, Balearic vibes based on a pulsating trance. 3) Colleen featured Your music on Balearic Breakfast and on Balearic Brunch, clearly showing that you have a musical "Balearic Touch". According to you, is this peculiar style of music harder to work on? How do you approach the remix process? Making remixes for other artists is something that we both love to do. There is something special and fun about twisting somebody's material, transforming the compositions as you hear them in your mind or using specific parts of the song that bring new ideas. So I would say that for us, this is the first, most important step in doing remixes – to find the element that gives you a perspective of adding new sounds, thus creating a whole new picture. 4) Your brand new album, Pearls of the Baltic Sea , has been issued on "Higher Love Recordings". What was the most challenging part when working on the album? Could you share with us your fondest memories while working on it? I think that the best moments of working on the Pearls Of The Baltic Sea were each of the recording sessions with our brilliant guests. To name them – Tati Vaitovich with her unique timbre; Paweł Nowicki on vibraphone (Kobiety, Kwartludium); Michał Jan Ciesielski (Immortal Onion, ńoko, Quantum Trio) laying the spacious saxophone parts; Kamil Kozłowski – a voice of W Uścisku ; Krzysztof Filipiuk – Mateusz brother that was invited to record guitars on Vijnana and Vojto Monteur with his amazing ambient guitar work in Hyacinth! The release is called Pearls Of The Baltic Sea to honour the talent of these great musicians. The most challenging thing was mixing and combining the sounds in the way we wanted.  5) Which part of your musical journey brings you the most pleasure? Is playing live for an audience as great as working in the studio? We love both working in the studio and playing live, but not many things are as rewarding as having a chance to share emotions performing our compositions for an audience! It can be really moving when we see people reacting to our music the way we wanted it to affect them and hear the sound we wanted to achieve. These inspiring moments reward all the effort we put into the live band and motivate us to work further on evolving the sound and mastering the arrangements of the songs! Thank you so much, Jazxing!

Colleen ‘Cosmo’ Murphy breathes new life into Crazy P’s Stop Space Return with a pair of cosmic, acid-tinged reworks. We spoke to her about the remix, her connection to acid house, and honouring the spirit of Danielle Moore. E. Note: This interview has been originally published on Knights Of The Turntable's website and is reproduced here with their permission. Colleen ‘Cosmo’ Murphy is a true steward of the dancefloor. A lifelong music obsessive, her journey began as a teenage radio host in Massachusetts, before moving through the undercurrents of New York’s club scene and into the inner circle of Loft legend David Mancuso. Few selectors today carry the same gravitas, technical fidelity, and spiritual connection to sound. Now, in a powerful moment of alignment, she returns with a pair of extraordinary remixes for Crazy P’s ‘Stop Space Return’, a package that lands via 20/20 Vision as part of the label’s 30th anniversary celebrations. Originally released in 2008, ‘Stop Space Return’ has long been a centrepiece in Crazy P’s storied catalogue: a cosmic, rolling slice of UK nu-disco that still hits with emotional force. Yet, these latest versions arrive with added weight. Danielle Moore, the band’s radiant vocalist and magnetic heart, sadly passed away in 2024. Though this release was not designed as a tribute, Colleen’s remixes now feel like a deeply resonant offering, vibrant with life but dialled into a higher frequency. Her Cosmodelica Remix reimagines the track as a slow-burning acid house ritual. Built on trippy percussion, warped 303 lines and filtered disco euphoria, it brings Danielle’s vocal into a new light: ethereal, untethered, almost devotional. The accompanying dub takes things deeper, twisting the TB-303 into wilder shapes and letting the rhythm breathe and spasm in signature Cosmo fashion. It’s a bold, beautiful trip, part sonic séance, part dancefloor sermon. Colleen is no stranger to the deeper philosophies of sound. Through her long-standing radio work, Classic Album Sundays and years spent as Mancuso’s protégé, she’s been a fierce advocate for intentional listening and the transformative power of music. But she’s also remained grounded in the visceral joy of dancing, the pure, physical energy that makes acid house, disco and soulful grooves such enduring forces. With this remix, Colleen doesn’t just rework a classic. She reframes it, allowing both grief and celebration to coexist in a shimmering, slow-release dancefloor moment. It’s a reminder that the best DJs are not just technicians or tastemakers, but emotional translators. In her hands, ‘Stop Space Return’ becomes an ode to legacy, to love, and to the alchemy of sound. You can purchase the release here . We caught up with Colleen to talk early inspirations, the legacy of acid house, her remix process for ‘Stop Space Return’, and how she continues to navigate the intersection of fidelity, feeling and the fierce joy of dancing together. THE INTERVIEW Career & Early Influences 1. You began DJing and hosting radio shows at just 14 years old like “Punk, Funk and Junk”. What was your earliest memory of falling in love with music? I was in love with music from the get-go,but hearing David Essex’s ‘Rock On’ pulse from the transistor radio whilst sitting alone in a dark room with an illuminated ultraviolet ‘Easy Rider’ poster at the age of five is forever etched in my memory. That bassline! 2. How did your time in New York’s underground scene shape your outlook as a selector and curator?  New York is one of the world’s greatest music cities and there is so much on offer all day every day after I moved there in 1986 partially because its many musical subcultures were beckoning. I was heavily into the indie and hip hop scenes and went to loads of live gigs including The Butthole Surfers, The Sugarcubes and Tackhead at the Ritz in the East Village, The Residents and Diamanda Galas at Lincoln Center, The Reverb Mutherfuckers at CBGB’s, Public Enemy at the Harlem Apollo and hundreds of others. I also partied with the Queens at The Pyramid in the East Village, discovered house music at clubs like Tracks (where I saw Adeva), got sweaty on the dancefloor at the Shelter and Louie Vega’s Underground Network Party, grooved to acid jazz with Groove Collective at Giant Steps, experienced the city’s undercurrent at murky afterhours spots like Save the Robots and of course, got into the psychedelic family vibe at The Loft parties held by my friend David Mancuso at his home on East 3 rd  Street. These bands, DJs and venues greatly inspired me but then nearly everything influences me and not just music but also art, film, books and nature. 3. You’ve worked in both radio and live club environments. How do you approach each format?  Everything is about context – time, place, atmosphere and what is expected of you. Hosting a morning radio show (such as my Tuesday morning Balearic Breakfast) requires a completely different tone to a Cosmodelica dance programme hosted on a Friday night; broadcasting to 100,000 people in Japan (as I did in 1989) required a voice different to the one I used on the syndicated indie music magazine shows I hosted in the early 90’s. Similarly, playing an opening set in a club is different to doing a peak set, a closing set or playing from beginning to end. The type of space influences the selections as a big dancefloor and a festival set on the other side of the spectrum to a small intimate party. DJ-ing on a Saturday night is different to DJ-ing on a Sunday afternoon. The main thing is to take in your surroundings and know the audience: Who is listening to the radio and what are they doing right now? Who is on the dance floor and what’s their vibe? How one delivers is down to intuition and experience.   4. You’ve often spoken about your love for vinyl. How has that passion evolved over the years, especially in the face of digital culture? Digital culture gave me a greater appreciation for vinyl but that isn’t because I feel either format is ‘better’ quality than the other. Digital formats and hardware are getting better all the time. But many moons ago, when I embarked upon my radio & DJ journey, everything I played was on vinyl as there wasn’t another option. CDs then came in and were great as I could play unreleased tracks gifted from other DJs. USB sticks and hard drives have allowed me greater choice as I could never pack that many tunes into a record bag. But I think these formats have also further endeared me to vinyl as it’s become more ‘special’. I feel a tangible and visceral connection with a record I have played for decades; I’m not only in love with the music, but also the object held in my hand. I have never felt that way about a series of ones and zeros. Playing vinyl also requires more skill in terms of setup, optimum playback and mixing (which is much more fun on turntables as CDJs display the BPM). Vinyl requires investment and not only monetarily although that is a hefty consideration. It requires time and personal investment and practice and the skills that are well earnt are the ones that are most significant.   Acid House & Underground Culture 1. Acid house rarely gets mentioned in your interviews. Can you tell us about your personal connection to it? When acid house culture exploded in the UK, I was living in New York but connected with it via osmosis. Between 1991 and 1994 I interviewed dozens of British artists for Music View, a weekly nationally syndicated radio show I produced and hosted at the time. I interviewed Aphex Twin, Orbital and The Orb, and also crossover bands like Primal Scream (for  Screamadelica ), New Fast Automatic Daffodils and The Shamen. Hearing these albums, reading  NME  and  Melody Maker  articles and chinwagging with the artists gave me a good insight into what was happening in fields, festivals and clubs in Britain. At the same time, I was going out to clubs in NYC, but the places I truly connected with were more populated by Black and Latin American DJs, dancers and music. There are many records that were big on the British acid house scene that didn’t really make it over onto those dancefloors. But there were a lot of crossovers and in fact, the first time I heard the still fresh sounding ‘Plastic Dreams’ by Jaydee was at the Shelter and Timmy Regisford played it twice! I spent all day Sunday locating a copy and got the last import pressing in the city at Eightball Records. Acid house resonated with me because it unified the indie rock world with the dance world and at that time, I had one foot firmly planted in each. 2. What were some of the first acid house tracks or nights that really made an impact on you? Mr Fingers  Introduction  is still one of my favourite albums of all time. In fact, all of Larry Heard’s work – ‘Can You Feel It’, ‘Moonglow’, ‘Washing Machine’ – hugely impacted me. The aforementioned ‘Plastic Dreams’ by Jaydee still rocks a floor and is so darn funky. David Mancuso turned me onto Psychotropic’s ‘Hipnosis’ and ‘Only for the Headstrong’ and I fell in love with its deep psychedelia. And the italo-house tunes that really resonated with me was Soft House Company’s ‘A Little Piano’ and K Tronics Ensemble ‘Calypso of House’. 3. How do you think acid house aligned or clashed with the ethos of The Loft and David Mancuso’s musical philosophy? They both align on social values. I read  Dreaming In Yellow, The Story of the DiY Sound System  and felt the free party early rave scene certainly matched with David’s ideal hippie values and its quest for egalitarianism. Probably best not to compare the sound systems 😉 4. What’s your take on the resurgence of interest in acid house sounds among newer DJs and producers?  It’s kind of like the resurgence of disco when I started DJ-ing in clubs and the resurgence of 60’s acts like Velvet Underground when I was on college radio. I longingly looked back to those eras and wished I had been part of their blossoming music scenes. It’s funny because now younger audiences and my 20 year-old daughter are getting into 90’s house and I actually not only experienced it while it was in play, but was part of it as I was DJ-ing in New York and beyond, worked at the legendary record shop Dance Tracks and I also hosted a weekly two and a half hour live mix show called Club 89 on 89.1FM. Recently I started listening back to some of these shows including one in which my guest was Romanthony and our excitement about the unifying aspect of house music really shone through. I’m glad younger audiences are discovering it and am proud to have played a small part.   5. Your new remix & dub of “Stop Space Return” by Crazy P is a real Acid-tinged affair, can you talk us through your remix process for this release? It’s definitely acid-tinged but I was also inspired by electro, freestyle and broken beat. Crazy P are some of the best nu-disco producers out there. They are geniuses at crafting a slinky sexy 4-to-the-floor groove. My philosophy when doing a remix is to offer something different. Crazy P’s original version of ‘Stop Space Return’ is the definitive disco-house version (and their recorded live version is incendiary). It’s still one of my favourites so rather than reinvent the wheel, I just took it into another direction that would give the dancers a funky rhythm that’s different but fun. I also like to challenge myself and don’t have a cookie-cutter production style. In the last few months, I’ve remixed The Cure (indie-dance), The Street People for the Spring Revisited series (uptempo disco-house), Saint Etienne (downtempo samba vibes) and Santino Surfers (mid-tempo Balearic chugger). My Cosmodelica remixes are varied and reflect my multi-faceted musical styles. 6. The world lost an icon and a true visionary in Danielle’s passing, you’ve spoken before on your own grief, nearly a year later, how have you channelled or dealt with the loss of Danielle? I’ve lost a few more friends since Danielle’s tragic passing and it has taught me not to take anything or anyone for granted. Danielle was one of a small group of women from my generation who are still spinning and performing in the disco-house arena and she was an ally. We shared many festival stages, and I had enormous respect for her – she just wowed me with her presence. The last time I saw her perform live was at Gala Festival and she floored me with her cartwheels and the audience adored her! We also DJ-ed on the same bills and she was a great DJ, too. She was on top of her game, but you never know what somebody is dealing with internally and that goes for all of us. We lost a great one and I miss her talent, compassion, and humour. Sound, Legacy & Philosophy 1. As someone who prioritises high-fidelity audio, how do you approach more raw or lo-fi genres like acid house? Good question as once I got into high fidelity audio, some of my old records didn’t sound so great! In the 90’s, many dance 12-inches were cut very loud, often distorted and had too much bass. We only had vinyl and record labels and mastering engineers wanted the records to sound bigger and louder for the dance floor. However, once you have a great system and train your ears accordingly, very annoyingly you hear the sonic flaws. Sometimes I prefer playing an AIFF of an old house track if I feel it doesn’t sound great on vinyl. But I also try not to be snobby about high-fidelity as I know sometimes lo-fi is a sonic choice and I came up through the indie scene. 2. David Mancuso once said you were one of the only people he trusted with both the music and the equipment. What did that trust mean to you? It meant the world to me and still does. I started playing records back-to-back with David in my early twenties and not only did he trust me with the music and dancers but he also entrusted me with his incredibly fragile and expensive Koetsu moving coil cartridges which at the time, over 3 decades ago, were $2,000 each. If I broke one, he would have to do the party with one turntable. Decades later I asked him why he trusted me at such a young age to musically host at The Loft and he replied, ‘It starts with a vibe long before one hits the turntable.’ 3. How does your experience at The Loft influence the way you build a dancefloor journey, especially when playing something like acid house? I draw from all of my experiences when DJ-ing for a dance floor and although I may play songs I wouldn’t necessarily play at The Loft, the one thread that runs through everything I do is tapping into the healing force of music and how it can elevate people’s life energy and vibration. That’s what I endeavour to do with every club set, radio show and Classic Album Sundays event. I want to lift people’s spirits. 4. Do you think contemporary club culture has lost some of the values of intentional listening and sonic quality that pioneers like Mancuso and yourself championed? Honestly, I feel things are getting better as I feel David’s philosophy that ‘good sound is a human right’ is becoming more widespread. In 2003 when we started the Loft parties in London together, it was the only audiophile dance party in the UK and most likely Europe. It then inspired other sound systems like Rotation in Staffordshire, Bonsai Hi-Fi in Liverpool and Cosmic Slop in Leeds. Now there are travelling audiophile-club sound systems like our Love Dancin’ system we use at We Out Here and Floating Point’s new sound system. And British clubs of all sizes are focussing more on the sound, improving various elements and doing the best they can with whatever their budget and space allows. Good sound has become a goal and I’m very happy to see modern club culture evolve in this way. 5. Are there any modern artists or collectives who you feel are carrying the torch of acid house in a meaningful way? Acid house for me is an older term so I just say house as it encompasses more. I love what I call the new sound of New York: musclecars, Lovie and Toribio are all part of that gang and I like featuring up and coming DJs at our Love Dancin’ tent at We Out Here. In the UK we have fresh young collectives like Brighter Days and some of them come to my gigs, as well. These younger DJs inspire me with their fresh sounds and perspectives, and I try to champion them the way people like David and Francois K championed me when I was coming up. Classic Album Sundays & Broader Impact 1. Classic Album Sundays has become a global phenomenon. Did you ever imagine it would resonate so widely? I felt it was something that had to be done but I had no idea it would have the impact it has had. When I started the event and content platform 15 years ago, the vinyl renaissance and the listening bar trend hadn’t yet happened. Classic Album Sundays brought the threads of my entire musical vocation all together – music journalism, DJ-ing, event hosting and my knowledge of sound which I gained through my mentorship with David and my university studies. In 2010, I felt that listening habits had changed and not for the better as people were ‘consuming’ music via MP3s which reduces the original audio by 75-95%. Shuffle culture was in, and album listening was out. We also weren’t listening communally but isolated from others on our headphones. As I had a great audiophile sound system, an extensive record collection and the musical knowledge gained from over a quarter of a century working in music, I felt it was a duty. I wanted to allow people to fully immerse themselves in an entire album, gain a new experience and hear details in the recording they had never heard before. The BBC Arts Editor David Sillito came to the third Classic Album Sundays session at the Hanbury Arms and featured it on BBC Breakfast and loads of other platforms and then my phone didn’t stop ringing for two weeks. I then knew it had legs. 2. You’ve hosted some incredible sessions with artists like Nick Mason, Laura Mvula and John Grant. What have been some personal highlights? After every interview I feel that particular one has been the highlight, so it is difficult to answer. When I interviewed Nick Mason of Pink Floyd that was a real moment as for those of us who grew up in the 70’s,  Dark Side of the Moon  was ubiquitous – you heard it everywhere and it sounded amazing (it was engineered by Alan Parsons). Having the opportunity to explore the album with Nick Mason for a surround sound event at the V&A Museum as part of Pink Floyd’s ‘Their Mortal Remains’ exhibition was a true pinch-me moment. Nick enjoyed it so much he asked if we could do another session, so we went up to Suffolk and hosted a CAS session featuring his personal favourite Pink Floyd album,  Saucerful of Secrets , at the John Peel Archive. It was so lovely as Nick hadn’t seen John’s wife Sheila in decades and they had been good friends. Another memorable CAS was also held at the JPA in which I interviewed Julian Cope about Teardrop Explodes – probably one of my most wild interviews as it was a real feat keeping up with his fast-moving and expansive mind. His wife said I handled him well. 3. You’ve worn many hats including DJ, producer, radio host and curator. Which role feels most “you” at this stage of your journey?  Musical curator and educator ticks the box of everything I do whether it is Classic Album Sundays, my remixes, my radio shows and/or my club sets. I want to turn people onto music both from the past and the future. It’s what keeps me going.