---
title: "Good Morning, I Love You"
authors: ["nikomas.md"]
abstract: "Our newest show on Barking Cats Radio"

---


Mind Control was fun, it was an excuse to dig deep into my library, to exhaustively use everything I had been collecting for years, I was reminded of a lot of great music, and the ritual of recording sets weekly or bi-weekly was great. However, somewhat auspiciously, as the 24th week of Mind Control came around, thus the 24th hour of music, an opportunity presented itself to move slots, from Thursday night at 10pm, to Sunday morning. I think it is fair to say that if people know me as anything, it is as a “ soft DJ “ as some have put it,  an after party DJ, and in fairness the majority of the sets I have played were after-after hours. Sunday was the day Barking Cats had originally suggested to me, for this reason, but I was in a loop of thinking that if I keep being the morning guy, I will not develop in the necessary areas to get club or rave bookings at night, so I actually said no, and asked for a night time slot, and so began the process of arranging and recording 24 hours of night time minimal sets.

As I say, the opportunity came up again to move, as the slot before me was also changing, meaning we could brush it off as a change to the whole evening. So while it was fun, Mind Control has finished, 21/24 sets are available to listen to continuously on Barking Cats Radio’s soundcloud. In its place, we will be running “ Good Morning, I Love You “, a 2 hour Sunday morning vibe check from 10am ‘til noon, modeled on what we missed about the glory of sunrise. This time things are different though.

As the music theory of CDCY develops, and as we write more essays and texts about music, we want the label and platform to evolve with it, and the transition from “ Mind Control “ to “ Good Morning, I Love You “ is a part of that. Our publications often talk about the socialisation of music, and our current orbiting of Deleuze & Guattari makes it tempting to discuss a certain depersonalisation of DJs and artists, where somehow we can recognise an artists talent, while recognising that we are made of each other, and all music played is music found, which is music distributed, and music sourced, and music composed. Our ideas are the same, sourced or channeled, and for this reason we are testing something with “ Good Morning, I Love You”, primarily concerning the dissolution of the artist. Each of us is many, so we are already quite the crowd. So goes the famous proverb. Each of us is many.

“ Good Morning, I Love You “ is filed under “ Unknown Artist “ for good reason, it is not the set of “ ɴɪᴋᴏ ᴍᴀꜱ “. Sure, he may do some of the recording, but this is not about niko, for who is niko anyway. The show is about “ you “, and about “ us “, and about the love of and in sunrise. In an ancient time when surviving the night was truly about survival, the rise of the sun was a daily thrill, a moment of intense gratitude. Sometimes the sunrise of rave can feel like a ritualistic recreation of this emergence from fear into gratitude. None of the music you will hear could be presented without the nexus of diggers and distributors that make up our local, translocal, and global scenes, so it doesn’t always matter who recorded it, or who mixed it, it is music sourced, selected, and mixed by multiple multiplicitous people with “ You “ and “ Sunday morning “ in mind.

An example of this came in the recently uploaded “ episode 6 “ of “ Good Morning, I Love You “, a unique recording that was planned but 5 hours before it aired. One of the guys from the Radio played at the Club, and it sounded fun to head straight to the studio from there and go live for the first “ Good Morning, I Love You “ special edition. We warmed up for a little bit then went live at 9am and played through until 2pm. You’ll never know who exactly put each track down, because we wont remember, it was just a Sunday morning jam session from an anonymous group.

If you would like to be involved in any way, just contact us. You can record sets, send us music, or, if you like, we can arrange to head to BCRHQ for a live jam.

N.B. We are not against crediting artists, we are just entertaining the theory by trying something anonymous. We know that a lot of the radio’s value comes in the archive of sets they are building, so while we hope what we present on Soundcloud remains anonymous so as to contribute towards a specific anonymous listening experience, we have no contention with crediting contributions if wanted. It’s not about secrecy, it’s about ambiguity and uncertainty.
