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Wider Circles of Rising Appalachia at The Top Hat Lounge

Written By Dick Barry Edited by Taylor McAnally

The harmonious sounds of Rising Appalachia came to the Top Hat Lounge in Missoula, Montana Friday, June 18, 2015. Playing to a crowd of about 400, sisters Leah Song and Chloe Smith’s voices and performance complemented each other in an way that lit up the whole stage.

Bouncing all over the country on their “Wider Circles Rail Tour,” the quartet, with Biko Casini playing percussion and David Brown playing the stand-up bass and baritone guitar made for an engaging arrangement. Song and Smith have played with a variety of different performers throughout the years and this four seemed to feed off one another. No matter which of the many instruments they played, they had a smile on their face and a bounce in their step.

Starting off their show, they dove right into their new album, Wider Circles, by showcasing Song and Smith’s voices in their track “Bright Morning Stars / Botawak.” It was soft, yet powerful. Kind of felt like something you would hear from back in the day when slaves worked the fields or convicts dug holes with a pick axe.

After that, they picked the pace up a bit more with “St. James Infirmary,” the first song off of their 2010 album, The Sails Of Self. This was where Casini and Brown also got to showcase their musical talent a bit more. The tempo those two kept with Brown on his guitar and Casini on his drum was awesome.

Eight of the next 11 songs they played were a shuffle from their new album including "Lean In," "Synchronicity," "Spirit's Cradle" and "An Invitation." In “Fall On My Knees,” the third song they played, the sisters began to play instruments too. Song with her banjo and Smith on her fiddle. They played strings as well as they could sing.

When they played “Medicine,” one of the more popular singles off their new album, Casini played this crazy looking drum, the "Barra" that Song mentioned in an earlier interview we had. It looked like an old tribal conga, but with a giant round top, like half a medicine ball or half a tan globe. It had a real deep bass sound that came from it. He played this for many other songs too, but it seemed to stand out here.

The eponymous song from Wider Circles was a lot of fun. Everyone but Casini, who played percussion, was playing a different type of guitar and the song just had a really good pace to it. It was the kind of song you woke up the next day still running through your head. The audience was hooting and hollering.

Rising Appalachia used up as much time as they were given and played more songs then they put on albums. It was their first time in Missoula, but they seemed to have a really good time and the fans fed off of that. Even after the show, there was a line at the merch' table with fans trying to thank them and ask them to come back.

To see more photos from the Rising Appalachia show, follow this link.

#Top Hat

Rising Appalachia: The Folk Music Message Bearers Come to Missoula.

Rising Appalachia, the quartet folk band from New Orleans, is headed west on the second installment of their “Wider Circles Rail Tour,” to promote their latest album, Wider Circles. Among their stops, they will be performing Friday, September 18, 2015 at the Top Hat Lounge in Missoula, Montana.

In a phone interview from their tour van, Leah Song, co-front woman of the group, spoke of their newest album, what to expect of their show and the activist efforts on the road they call the “Slow Music Movement.” Her voice was soft and comforting and it held a joyous passion for everything she said.

“This show is an honest representation of our new album,” Song said. For this tour, it’s the four base members of the group including Leah Song and her sister, Chloe Smith, who both sing play fiddle, guitar and banjo. Song also is a poet and plays kalimba, bodhrán, and percussion. They have Biko Casini on percussion and their newest member, David Brown plays guitar, double bass and banjo. “We are going to give them a dance party, politics, whiskey songs, love songs and heartbreak all in one show,” she said.

“Without bias, this is our strongest album yet,” Song said, “but they all tell a story about our creative process in our careers.” She called this record, “a cultivated work.” They had no deadline and no outside pressure to get finished, which for them is pretty common. They self-published and crowd-sourced funds through places like Kickstarter, which gained them capital to raise their production value up higher. “We are very thankful for people power funding,” she said.

Throughout the years, Rising Appalachia has worked with many artists and collaborators. In 2010, they started the Rise Collective after a brief name change to RISE. The fans rejected the change and they listened, but it gave way for a new outlet to their creativity. “It’s a platform to give a voice to collaborators and showcase the many moving parts of our work,” Song said. It has included acro-yoga, aerial performance, fire spinning, sound workshops, yoga, meditation and youth education.

“Can a grandmother pick her favorite grandchild?,” Song said, when asked to pick her favorite song on Wider Circles. She said she loved them all, but was able to point a few out. She named “Spirit's Cradle” for its political message, “Stromboli” for its double fiddle, “Lean In” for its horn and of course, “Wider Circles,” the title track, are some that she likes a lot.

She said she was excited to have Brown playing for them on this latest album. “He brought a lot of great new sounds, which added a mixture of folk music sound to it,” she said. Casini also added a “Barra” to their list of instruments. “It’s a very beautiful deep bass. A kind of a pulse comes from it. We call it the heart beat. It gives a more nuanced folk sound,” Song said.

While on the road, Rising Appalachia doesn’t just play music, they try to bring communities together. They call it the “Slow Music Movement” and it has several different facets to it. To begin with, they try to lighten their impact on the Earth caused by their transportation, accommodations and food. This tour actually started on a train, hence it’s name. That’s not possible for every stop and the group tries to be open minded when it comes to their ideals. That way they aren’t restricted on where they can play. In the past they have tried to be creative about their tours though. They’ve biked, hiked and even did a veggie oil tour, where they drove vehicles that ran on used, filtered vegetable oil. One day they also hope to have a horse tour. “It will happen,” Song said.

While stopping in towns, they try to reach out to local movements and community farms as well. They give free tickets and their rider, the contract with the venue, even requests farm fresh foods in their green room. They normally use venue connections, word of mouth and facebook to set this up and so far, have yet to hear back from anyone in Missoula, but they have high hopes. This is how they make close, long lasting friends all over. “We want to collect stories from local communities. We are the storytellers and message bearers,” Song said.

If you are a part of a community movement or farm and want to reach out to Rising Appalachia, find them on facebook. You may be able to help each other out.

Tickets are $12 in advance and $15 at the door, and are available at the Top Hat, Rockin’ Rudy’s, and online.

#featured #Top Hat

The Summer Solstice Vortex at Sonic Bloom, 2015 - Review Pg. 1

Next Page>> Full Review Pg. 1 2 3 4 5

Written by Dick Barry Edited by Taylor McAnally Photos by Brian Rapaport

Dinosaurs roamed the mountains of Colorado, June 18-21, 2015, for the 10Th anniversary of Sonic Bloom: The Unified Field. Over 6,000 people came out to the four day festival on Hummingbird Ranch in Spanish Peaks county. It was one of the most beautiful experiences to be had this summer.

Not only was there the some of the best electronic music that the industry has to offer, but the focus on raising conscious awareness through art, education and an overall sense of community was a festival experience like no other.

Part One: The Venue This year's venue was absolutely beautiful. Located right up next to the Front Range mountains of southern Colorado, the site was a combination of open pastures surrounded by trees with nearby meadows that had semi arid conditions, which was the only downside to this location. It got very hot and dry, and there were random cacti hidden at grass level, so if you didn't watch your step, you would get a sharp surprise.

Inside the venue itself was a very nice setup. After passing through the front gate, the path brought you right to the Bloom stage, one of the two main stages, where some of the biggest acts played. This was also where the main bar was and the path leading to the food vendors.

One of the many things that Sonic Bloom did right was the amount of attention they paid to the design of the layout and how everything fit together. The art, vendors, stages and the paths between them all were very stimulating.

As you walked away from the Bloom stage, heading to the smaller of the three stages, the Hummingbird stage, art installations instantly appeared. There was stone stacking, artistic hangout areas and different types of giant displayed sculptures placed nicely in the opening that the L shape perimeter that the many types of vendors made.

From there, you had two options to make your way to the Hummingbird stage. You could go through the maze on the side or you could walk straight through the trees. The maze was made of pastel colored dancers fabric, soft to the touch, and if you went the wrong way, you found a hidden piece of art.

One time in the maze, we ran into a young girl, sitting cross legged with sage burning, looking like she was praying to a Hindu god in a painting, and she was dressed for the occasion too. It was a great place to get away from the crowds as it was sort of hidden from the main path of travel. That sometimes made this way faster, even though it was less direct. It was a pretty easy maze and after a bunch of people had gone through it, the main path of travel was pretty obvious.

Traveling through the trees was chaotic and visually stimulating. As you entered, the canopy was all lit up with an array of different colored lights and had different types of art hanging from above. Vendors selling stones and glass art lined the walkway covering the ground to the left, and behind them was a stone stacking garden made by Gravity Glue about 20 to 30 feet in diameter.

At this point, there was a fork in the road. If you went straight, it would lead directly into the Hummingbird stage. This stage was the smallest of the three and the worst lit. In the day time, this wasn't much of a problem, but at night, getting pictures was near impossible.

The Hummingbird stage had multiple levels to it and glowed different light colors of white, blue and red. It completely blocked the performers from chest down, and behind them, there was a stencil of Sonic Bloom's logo, the hummingbird drinking from the flower. From 2 to 4:20 A.M., this stage was also where they had the silent disco, live performances through wireless headphones hosted by Silent Frisco.

If you took the fork to the left, things got tricky. The trees were filled with hammocks, and there were more of them every day. A lot of them probably came from the hammock vendor near by. At first, it wasn't too hard to get through, but as the weekend went on, it became complicated to make your way through. For the longest time, I thought this was the maze the site map was referring to.

After the hammocks, all paths converged and it was were many of the live painters were located. There was more than ten of them all creating art at different times. Some were working together while others worked solo. Some was fractal artwork, while others were a composite of many different environments in one situation.

The artists also had their own art exhibit, a giant dome that was filled with displays of one to three large pieces by the different painters that were at the festival. Some of the favorites we heard talked about were by Android Jones, Krystleyez and the couple, Morgan Mandala and Randal Roberts. Most of them were for sale too with prices ranging from $100 to $5000 depending on size, intricacy and creator.

Down the hill from there was the D'om, pronounced with a pause after the “D” and a long O, like in a prayer. This is where many of the workshops were located throughout the weekend, including where Jamie Janover spoke of the unified field theory. According to Janover, that’s the science of the universe and how all the pieces work together. The D’om was a giant framework . . . dome, lined with many different colored fabrics giving it very nice lighting in the day time. This was a place where people could sit, relax and absorb new knowledge, expanding their mind, body and soul.

On the other side of the trees was where the third and second biggest stage was located, the Sub.Mission stage, even though it didn't seem much smaller than the Bloom stage. This area was a little more closed in than the Bloom stage and had less art, but was still pretty spacious. The vendors lined the remaining three sides in a giant horseshoe shape.

One of the only, but coolest art installations on this side of the venue was an enormous VW Bug. It looked like something somebody would make for Burning Man. If it was in a Mad Max film, it would have crushed all other vehicles, minus the train and maybe Mack truck. It was lit up with LED rope lights all over and had comfortable seats on the inside.

At one point during Blue Tech, it looked like one of those games to see how many people you could fit inside a phone booth, also called phonebooth stuffing. Person after person kept going in. There had to be over a dozen people inside of the Bug with over a half dozen on top, all dancing or sitting on each other. The car just shrugged it off.

Next Page>> Full Review Pg. 1 2 3 4 5

Orgone

A Nation of Funk at The Top Hat Lounge

Written by Dick Barry Edited by Taylor McAnally

“The healing power of love” was The Nth Power's slogan for their Saturday, June 27, 2015 co-billed show with Orgone at the Top Hat Lounge in Missoula, Montana. In their third to last show of a ten stop tour, the combination of East and West Coast funk played to a crowd of over 400 and was a night of great soulful music.

Both bands were touring to promote their most recent albums, Orgone's Beyond The Sun, released last April, and The Nth Power's first full album, Abundance, set to drop in September. They were sharing the spotlight by rotating who headlined. This show, The Nth Power, from New Orleans, performed first and they were a lot of fun.

Originally formed in a jam session during a jazz festival, the group was made up of some amazingly talented musicians. On drums was Nikki Glaspie, who used to play for Beyonce and Dumstaphunk. Nate Edgar, from Groovechild, crushed the bass. On percussion was Weedie Braiham who brought his abject cheerfulness to all the music. Finally, Courtney Smith was on the keys, operating many devices including a Moog synthesizer.

Lead singer Nick Cassarino had an unusually high pitch voice like he was straight from an 80's soul group. It was surprising at first, but quickly became a perfect attribute to the group's style. He was able hit those required high notes when they covered songs like Marvin Gaye's 1976 hit, “I Want You.”

They began the show with “Spirits” from their 2013 EP release, Basic Minimum Skills Test. It was a light song that showcased their harmonious style and ability to jam out. When they all sang, it sounded like a new age version of Yes.

During their song, “Only Love,” they got the audience to help sing and they promoted their group's message, asking everyone to join their crusade and text “Love” to 30321, and become part of The Nth Power family. Also in this song, Glaspie and Braiham did some drum dueling, as they played back and forth, taking turns matching each others style.

Most of their show had a mellow funk and jazz feel, but at times they brought the tempo back up and got every one's blood pumping. Each band member had their own cool jam session throughout the performance. A chance to strut their stuff musically. It was captivating when Cassarino started banging on his guitar with his fists, creating a unique sound and beat for his solo.

Orgone, from LA, had a completely different style of funk, but equally impressive. The eight person group sounded more like a soundtrack for a Shaft movie and their lead singer, Adryon De Leon, had the charisma to match.

Sergio Rios on guitar was a sight to see. At one point he jammed out so hard he knocked off his glasses. Dan Hastie on the keys, Sam Halterman on drums and Dale Jennings on bass were all really smooth. Will Phillips on percussion was fun to watch. His hands were all over the place from congas to tambourines to his collection of plastic caps and pieces of wood on string that all made noise when he shook it. For extra spice, they also had a horn section with Darren Cardoza on the trombone and Paul Chandler on the trumpet.

They began their show with a heavy instrumental in “Meat Machine” and “Cali Fever.” Then Leon took her mic and let loose in “Do What You Came To Do.” She sang with incredible soul and did a great job of getting the crowd jumping.

Though Leon has an amazing voice, the band seemed to focus on the talent of their musicians and having fun on stage. In the song, “Funky Nassau,” They had a different solo section for each band member. It felt a bit like watching old school P-Funk do their thing.

Just like The Nth Power, Orgone had their own installment of love. In their song, “Don't Stop,” they got the audience helping with the chorus, singing, “Love is the answer.” Leon had a way of pumping up the energy in the room.

The end of the night became a big collaboration of both groups. Baiham and Phillips were sharing the Congas while Smith was jumping in on the keys. It was a whole lot of fun and everyone in the audience was getting down.

Orgone and The Nth Power was a night of cool music and a lot of very talented artists. It was a sampling of American funk spanning the nation. Two funk powerhouses under one roof, and it looked like everyone had fun. Hopefully they come back soon.

To see more photos from Orgone and The Nth Power, follow this link.

Sonic Bloom: The Unified Field - 2015

My Body Sings Electric

My Body Sings Electric performing at Original Festival, 2014 in Butte, Montana. Photos by Wyatt Arledge

Sonic Bloom Teaser Gallery

Sound Remedy

Sound Remedy performing at Original Festival 2014 in Butte, Montana. Photos by Wyatte Arledge

The Road to Sonic Bloom

Written by Dick Barry Edited by Taylor McAnally

Sonic Bloom's 10 year anniversary, dubbed the “Family Reunion,” is quickly approaching. It has come a long way and after years of growth through venue changes, over coming calamity and fostering some of Colorado's up-and-coming electronic music talent, this year's summer solstice event at the Hummingbird Ranch in Spanish Peaks county is shaping up to be one of the best years yet.

“It really is the best site we have had in our ten year history,” said Jamie Janover, Sonic Bloom's Director and longtime promoter. Starting June 18th through the 21st, the festival has announced a giant lineup with two sets of Sound Tribe Sector9, members of String Cheese Incident, The Motet, Shpongle, Emancipator and many, many more.

The inspiration for Sonic Bloom comes from the mind of Janover, a talented musician that has performed all over with groups like “PRAANG (w/ EOTO & Steve Kimock), ZILLA (w/ Michael Travis from SCI and VibeSquaD) the Everyone Orchestra (w/ a revolving lineup) and shows with Karsh Kale.”

His most recent "duo (is) Janover & reSunator with vocalist, lyricist and keyboard player Lezlie Sunshine, who sings “in both English and Chinese,” according to his bio on facebook.

Through his vast experience touring and being an avid festival goer, he drew much of his inspiration for Sonic Bloom from the larger West Coast festivals like Burning Man and some of the larger electronic music festivals.

Though Colorado had a lot of great festivals, Janover said, he saw a lack of “alchemy of zones.” He brought that concept home and helped to create some of the festival culture that we see regularly today.

“It's almost a given at this point in my mind that a festival is not just gonna be the music part, that there is gonna be a lot more, covered with people, and it's the art of how you combine those things through space and time to create super magical environments that makes people want to take their own experience to another level and collaborate with each other,” Janover said.

Over the past decade, Sonic Bloom has done a bit of touring itself. The Hummingbird Ranch is the sixth location in Colorado for the event and it has been in places like Winter Park, the ski area, Shadows Ranch in Georgetown, where tragedy stuck in 2013, and even South Park, last year's highest altitude festival of North America at the American Safari Ranch.

As for the music, the festival has gained a reputation for discovering future big electronic acts like Bassnectar, The Glitch Mob, Beats Antique and Pretty Lights. For many of them, this was their first festival performance. It was only in 2007 that they started to book big headliners according to Magnetic Magazine's review of that year.

“You'll find some artists that you've never heard of. That you've never seen and you'll find that, 'Oh, I like them,' and then x number of years later, you find out, they sell out Red Rocks and you can't even get a ticket. So you go, 'Who is it gonna be this year? Who are you gonna see that will turn out to go on to make amazing albums for the next 20 years,'” Janover said.

But the road hasn't always been easy for Sonic Bloom. The Shadows Ranch in 2013 was a year that might have ended any other festival.

During the weekend, sudden “micro bursts, a tornado-like blast of air,” knocked out power and tuned over a trailer, trapping employees inside.

A naked man was tased repeatedly, who was tripping on acid, according to people yelling in the YouTube video, and because of angry onlookers, a local SWAT team was called in to make sure nothing got out of hand.

And if that wasn't enough, a man was found dead in his tent, according to reports by Matt Miller of HeyReverb.

“It was very disappointing and heart-breaking to witness some of the stuff that went on that year,” Janover said. “Thankfully our community is a very strong community that thrives together and that's why, when tragedy struck at our festival, we decided to call a circle and get together, instead of not, and not acknowledging it.”

But you have to go through struggles to get stronger, Janover said. “You have to say, okay well, how did that happen and why did that happen, how can we improve on people situations and educate people more so maybe they don't make decisions that lead to things happening that maybe are not so great.”

Sonic Bloom has continued to grow since then, and this year they are expecting four to five thousand people to attend the event. Usually more people would mean more law enforcement, but according to Janover, that won't be an issue this year.

“It's a pretty small county and not a lot of resources, so it's not like there is gonna be a large presence at the festival. It's not like doing this in Denver or Fort Collins or Boulder, where a large population requires a police presence,” he said.

This year's venue looks beautiful. It's right up against the Front Range with wide open meadows on the other side.

“Without a doubt, best venue we have ever had. It has the most diversity in the landscape, where there are big open fields with grass and a lot of big trees, and then denser areas with more trees. There is a few ridiculously high VIP camping zones in there that are right next to the stage and right next to the creek and stuff like that,” Janover said.

Also, Janover said they have some of the best vendors for food and drinks coming out this year with everything from pizza and BBQ to Thai, Middle Eastern, Indian foods.

”There will be bars that have beer and wine. We will have Kombucha on tap. We will have two or maybe three places where you can get coffee and tea,” he said. Like almost all festivals though, you can't bring campground beverages into the venue and visa-verse.

As for the music, it sounds incredible. “We've got all the guys from Sector9. Four of the six guys from String Cheese Incident. Singers that do stuff like Sasha (Rose), and Lynx is coming back,” Janover said.

“We've got serious dubstep classics like Caspa is coming. We've got full psychedelic stuff like Shpongle. There's gonna be a trance block of steps with the guys from Desert Dwellers. Chali 2na and Lafa Taylor all doing hip hop heaven and funk style, so it's pretty diverse,” he said. Expect a crazy super-jam.

Something kind of unique to Sonic Bloom is its orchestra. According to Janover, it is “an improvisational jam orchestra that myself and maybe David Satori from Beats Antique is gonna conduct a little bit as well.”

There will be a large ensemble with Simon Posford from Shpongle, members from Emancipator, String Cheese, Eoto, Beats Antique, Dirtwire, Kyrian the Beatboxer from the Fungineers, Sasha Rose, Janover and reSunator, Lafa Taylor and the VibeSquaD all collaborating large big band style. “We'll just see what happens. All improvisational,” he said.

The workshops and artists will be diverse this year as well, Janover said. To start, they will have Michael Grab, the world class rock stacker from Gravity Glue, stacking all over the place and holding workshops to teach people what he knows.

“Really great high quality yoga instructors are coming out this year. We'll also have kind of a healing sanctuary, healing zone and some meditative kind of practices as well, and then just some straight up more academic, educational stuff to learning to fire dance and learning Pilates and Hoola-hooping and all those classes,” he said.

Janover will also be giving talks on the unified field theory, the work of Nassim Harmein and the Resonance Project. He said, it's “Basically the physics of the universe. How it all fits together and why it behaves the way it does. The unified field theory is a theory of everything.”

All of this music and art will be held on and in between three stage along with some in the woods. Janover said the stages are pretty close together for ease of movement, but not so close they will drown each other out.

“We're concentrating it so our domes, our yoga, vending is all between the second stage and the main stage and the hummingbird stage in the woods with a nice walk from one to the other with stuff all along the way as you go, so just your journey between stages, you're gonna experience fun things and you might get vortexed on your way to the stage,” he said.

Set It Off

Truth Lies In Secrets

Truth Lies In Secrets performing at Original Festival 2014 in Butte, Montana. Photos by Wyatte Arledge

Baby Tyger

Baby Tyger performing at Original Festival 2014 in Butte, Montana. Photos by Wyatte Arledge

Missoula's Night in White

Written by Richard Barry Edited by Taylor McAnally

The night in white in Missoula, Montana grew to one hell of a party. Hosted by Royale Entertainment at the Wilma Theater on Saturday, May 2, 2015, there were world class DJ's, scantily-clad dancing girls and sonic sounds that pierced your soul and forced you to move. By the end of the night, almost everyone was a few pounds lighter and a little happier.

Missoula definitely has it's own dance culture. Every week, someone can find themselves dancing to music from the folks at Royale in a number of different venues, from their many after-parties to their own series of Northwest Fresh shows.

One night a year, Royale takes over the Wilma Theater to show Missoula what they can do and this year over 700 people came to check it out. They brought in an international lineup to throw their white-themed party, Socotra. Focusing on having a bass-oriented show, they pulled talent from here to Europe.

This year, the stage was shared by Apashe, a Brussels native based out of Montreal, MUST DIE!, originally from Houston who now lives in Berlin, and Missoula's own Kapture, who has performed with the BassFace Krew and at last year's Socotra. Luminox was also scheduled, but his flight was canceled.

The stage set up was big. There were multiple levels of projection screens all around the performers. The graphics, created by Pixel Eyes Production House and Ryan Hawk, progressed as the night went on with cooler, more technical images that changed with the music. Very visually stimulating.

If that wasn't enough, almost the whole time, the artists shared the stage with the lovely SoulKandi GoGo dancers and the performances of the MASC Artisans. Changing outfits through out the night, the GoGo girls and MASC crew collaborated with stilt walkers, LED Hula hoops, balloons and glowing balls.

The night started off with local DJ, Kapture, who definitely set the tone for the night. Not only did he put down some great beats, but his energy from behind his turntables was a sight to see. He had more moves than some of the audience members. Kapture's sound would slowly pick you up, draw you in, then drop you into some funky beats.

Once the audience was warmed up, Apashe took the stage with a smooth transition and some heavy hitting bass. His pounding sounds made the audience dance so hard, they bounced in unison and shook the very foundation of the building. Then, when what was most likely toward the end of Apashe's set, an announcement came from the stage.

Due to travel problems, Luminox was unable to make it to the event. Instantly, sad sounds came from the audience, but before the mood could get killed, Apashe followed up with, “So I hope you don't mind, MUST DIE! and I will just play a little longer for you.” The crowd roared.

MUST DIE! finished out the night with poise. He was definitely worth the wait. By the time he took the stage the whole place was packed full. White as far as the eye could see and everyone looked like they were having a great time.

Some people can say they don't like dubstep and yeah, it is overdone at times, but done right can be really awesome and MUST DIE! proved that. He knew how to toy with your emotions without making you want to walk out. His mellow stuff didn't go too long and his hard hitting beats didn't quit too fast.

That made for a very exciting finale. At the end of the night, a ton of white balloons were dropped from the ceiling and the music just made you want to move that much more. The energy from the crowd and MUST DIE! at the end of the night was explosive.

To see more photos of Socotra 2015, follow this link.

Missoula's Night in White.