On the Balearic island of Mallorca in 1985, Miguel Perikas laid down a synth-injected, jazz funk album entitled Stress En La Ciudad. Although it shared a close proximity to the fabled white isle of Ibiza and was released at a time when the Balearic music scene was coming into it's own, Miguel was uninfluenced by the bubbling movement happening only 100 miles away. The Balearic spirit was instead absorbed through the natural surroundings of Miguels home in Mallorca, with an upbringing on jazz and an eagerness to experiment. 

Fast forward nearly 40 years and Stress En La Ciudad is rightly seen as a Balearic masterstroke. One of it's standout tracks 'Laberinto' is a dreamy hit of sunshine that sums up the sound that has become synonymous with the Balearic isles. Nick The Record and John Gómez included the track on their recently released Tangent compilation, so we thought it would be a great chance to speak to the man himself and delve into Miguel's musical background, what Mallorca was like at the time, how the album came about and whether he was aware of it's subsequent significance.

Hi Miguel, can you tell us a bit about yourself and where you’re from?

I am from Mallorca Spain, and I have dedicated my entire life to music. I started studying at the age of 8, finishing my classical piano studies in 1974, but I have always continued studying through other types and styles of music.

What was it like growing up in Mallorca at the time?

In 1970, I was 15 years old and it was time to absorb and learn all styles of rock music, progressive rock, symphonic rock and jazz. Although at this time only dance music was performed live, the number ones that appeared on the hit lists of the moment, with the preferred music being English music, as well as Spanish music.

When did music begin to excite you? What sort of music were your parents listening to?

My father was a self-taught pianist and I have always listened to music at home, so I was always attentive.

What music were your parents listening to when you were growing up?

My father only listened to jazz on the radio and enjoyed it a lot.

Was there something that drew you to focus on the piano?

No. Only my mother told me that I should be a pianist and not a drummer.

How did you get into performing and recording music?

I finished my classical studies, but at the same time I did not obey the dictatorship of the score and so I began to compose little by little at the age of 15. From 1970 to 1995 I played dance music commercial and dance music with a musical group, but at the same time I was making my own music too. I started composing music without it being my priority - now it is.

What was your musical career like prior to the release of Stress en la Ciudad?

We made dance music, but the bassist heard my demos that I had made by myself with a Teac 4-track and he pressured me to record the album and we found a producer. It had to be titled 'Bailando en la ciudad' [Dancing in the city] and in the end we changed it to 'Stress en la ciudad' [Stress in the city].

What was happening in the music scene in Mallorca during the ‘70s and ‘80s?

In Mallorca at this time you could only play commercial and dance music in hotels and nightclubs until the early ‘80s.

Stress En La Ciudad, the album that ‘Laberinto’ was released on, came out in 1985 when the Balearic scene was in full flow in Ibiza. Were you aware of Ibiza’s Balearic music scene and did you experience it at the time?

I knew something about the music that was made in Ibiza, but it had nothing to do with what I set out to do with Stress en la Ciudad.

It’s interesting to hear that Stress en La Ciudad wasn’t influenced by the Balearic movement, what did you set out to convey with the album? What story did you want to tell?

The truth is that we thought we could make a disco-jazz mix, and something different came out. Several songs on the LP were recorded on a demo from the ‘70s with almost the same arrangement. For 'Laberinto', I was inspired playing and looking at the sea (1984) , and the constant repetition of theme A is reflected, and inspired by the tireless cyclical repetition of the ocean waves.

What other artists were inspiring you at the time of making the album?

More influences have been classical, jazz (Blood S and Tears), symphonic rock, etc.

When, where and how was the album recorded? 

It was recorded in Palma de Mallorca at the end of 1984 and beginning of 1985, with only approximately 10 days of recording.

What type of equipment were you recording the album on?

It was recorded with a table of 16 analog channels. It was used: PROPHET 10, Yamaha electric grand piano CP80 B, Fender Rhodes w Suitcase, Hammond B3 w Leslie, Clavinet H and Yamaha RX 11 R Machine. Fender Jazzbass w Acoustic ampl. Flanger Electro Harmonix and equ pedals were also used. MXR for the Bass drums.

And were there any other musicians involved?

Only one singer to record both voices.

What was the reaction to its release at the time?

There was no great acceptance or success with the LP. Only a few songs were used for Spanish Balearic Television tunes. The truth is that it had no significance. The Madrid producers were not interested at all. The truth is that it surprised me after so many years (38) that Nick, John and Mr Bongo were interested in 'Laberinto'. I recorded it with passion.

So, you were unaware that the album had become sought after in recent years?

I did not know anything and it was a surprise that it had attracted attention.

Are you still involved with music? Do you still write and release your own music currently?

Yes, always with classic rock instruments and synthesizers. I like all kinds of music. I only write music and register it with intellectual property. Sometimes I perform accompanying singers and some jazz concerts in different formats.

Big thanks to Miguel for taking the time out to speak to us for this feature, his track 'Laberinto' is now available to purchase on vinyl LP, CD and digital as part of the Tangent compilation.