Tim Sweeney brings forth another epic set as he hosts John Talabot and Jamie XX (from the XX) in playing a non-stop 2 hour set, playing 2 and 2. The soundscape provided by these two breaks away from any pre-conceived notions I had on what their sound would be. It’s glorious in the way it leads you through a schizophrenic tempo forest without being harsh or unsettling and the fact that they are able to combine so many genres and sounds into one cohesive piece is beyond impressive.

Enjoy the two part set below and make sure to check out more from Beats in Space here.





When I die,
I want to fall in my bed exhausted,
covered in scars,
stories buzzing in my head,
of memories and inside jokes,
from a lifetime of misadventure.
My broken bones barely healed,
my weathered skin and matted hair,
A body running on fumes.
And I will lay there,a room full of grand children,
minds alive with curiosity,
for a world waiting to be explored.
And a beautiful wife, with soft hands in mine,
smiling because she knows me best,
and then she would look at me,
and see the stories sparkling in my eyes,
and she would squeeze my hand, as I left,
on one last adventure.

- a t t i c u s

Compilation – Nissa Rhodes
Design – Luke Van Van Voorhis & Dersu Rhodes

Listen here.

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words by Dersu Rhodes photos by Dean Bradshaw

I saw Miami Horror as a bunch of Aussie’s that lived to get loose and specialized in fueling the best dance parties on earth. After meeting up with them in Silverlake, Los Angeles for an afternoon photo shoot, I quickly realized that there was much more to these guys then summer festivals, dream synth, and skinny jeans.

We are late for the shoot as it takes us 45 minutes longer than we had planned to get across the city. When we arrive, we see Josh Moriarty sitting on the porch. He’s smoking a cigarette and due to a big one out the night before, he seems thankful that we brought a few beers along. Miami Horror are as close to rock and roll as I’ve ever seen and ironically they don’t play rock and roll. They look like a new-age Led Zeppelin, and they are all living together in a massive house in Silverlake.

As we scramble to set up, I notice there are girls literally sleeping on the floors of their house. They saunter in and out of bedrooms and it’s hard to tell who they are, or where they are from. The house is huge, and beautiful. It’s a furniture mash up of the decades, and punctuated with records from every era; Heart, BeeGees, Yes, and Todd Rundgren. I like to think that the records on display in the house in some way have found themselves, perhaps subconsciously, into Miami Horror’s music. Even Donna Summers watches over the living room, framed in a poster, front and center on the mantle of the fireplace. There is a mint condition Wurlitzer organ in the corner of the room and as the sun creeps in through a pained glass window and dances across the keys, I can imagine Benjamin eyes closed, a harem of young girls surrounding him as he dreams up the newest Horror song.

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Benjamin Plant – Production, Synths, Bass

Benjamin Plant, the originator of Miami Horror, sits outside on the front porch with his laptop out on his lap, he’s watching the first cut of their newest music video for Real Slow. “What do you think?” I ask him, leaning up against the house next to him. Benjamin is a bit shy, he seems a skeptical of who we are and what we are doing in his house, and I find myself questioning if I’m imposing on their world. How many times have they had to hang out with journalists or photographers whom they don’t know or frankly probably don’t give a shit about, they’re rock stars after all, right? “I like it.” he says quietly, “It has a sort of 60′s or 80′ s vibe, with long takes that I’m really feeling.”
I respond, “cool” but feel far from it.

I realize quickly that I’m a bit intimidated by this crew. Is it because of their close to 5 million views of I Look to You on Youtube? Or because their massive hit album Illumination was the soundtrack to my summer for so many years, or perhaps it’s because they look like they are famous, with their tight fitted jeans, their ‘I don’t give a fuck’ hair, that I still can’t figure out how to replicate, or maybe it’s because of their accents and the way that everyone in the electronic world knows who they are, or because they look cooler smoking cigarettes than Dennis Hopper?

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Aaron, Ben, Daniel, and Josh at their home in Los Angeles.

Aaron, Ben, Josh, and Daniel sit in the living room of their shared home. Photographer Dean Bradshaw is set up across the room and snaps off shots of the guys. We all laugh as Aaron strikes a pose sitting awkwardly with is legs straddled out in front of him. Dean fires away and it seems the more that he allows them to interact with each other the more powerful the images become. I feel there is something nostalgic about this scene, it’s an image that feels very real. Coming off of three years of touring, and in the new year kicking off their Australian tour, this down time together at home seems to be a special time for the guys as well. They play in an local psychedelic rock band called Wunder Wunder, they are writing songs together as a collaboration in their attic, and Daniel is even attending meditation retreats. “I’m the happiest I’ve been in a long time.” Daniel says, “I feel like we are more grounded and centered, more creative. We are more balanced than we were on tour and we are making music that we all love.”

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Daniel Whitechurch – Piano, Synth

Josh Moriarty – Guitars, Vocals

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Aaron Shanahan – Co- Production, Guitar, Synth, Vocals

We are all sitting on the porch and the sun is deep in the sky, beginning to set behind the hills of Silverlake. It’s the golden hour and the light could not be more beautiful. The cameras have been put away, and I’ve stopped worrying about how to gain credibility with the guys. In fact, I’ve stopped asking them questions and everything feels so different. The random girls sit with us and they aren’t so random anymore, they are just friends, or long time girlfriends, not just groupies from the night before as I had assumed. We talk about life before Miami Horror and getting outside into nature, how the sun of LA has influenced the new album they are working on, and how exciting it is to be an artist in this city at this moment. Nothing had actually changed except for my own perspective.

It’s a wondrous study in the human condition, the way that we tend to project our assumptions into a situation. The guys are cool yes, but they don’t consider themselves rock stars, they are as grounded as they come, and my intimidation wasn’t initiated by the band, instead it is my own idea of how well-known musicians should act. They don’t expect people to be able to list all of their songs or to prove how cool they are, it seems that they are more interested in authenticity and the music rather than impressing people or the scene. The more that I relax and allow myself to listen, the more the conversation comes alive and my appreciation grows for what Miami Horror represents.

It grows quiet for a moment as we glance off towards the last bit of light slipping behind the Los Angeles hills. It’s the calm before the storm. Josh leaves that night to go back to Australia, and the rest of the boys will only be in LA a few more weeks before they start their next tour back in Australia for the first time in years. The welcome home will be massive as will the release of their next album and something tells me that the next time we will see them we’ll be be surrounded by thousands of their fans.

Special thank you to Isabel Secas, Laura Mckellar, Benjamin Plant, Josh Moriarty, Daniel Whitechurch, Aaron Shanahan, and Sam Luna.


Torstrasse | Witness This
Album artwork by Laura Mckeller

Inspired by my move to Berlin and the time I spent lost in the city. There is no other place on earth that can evoke such a powerful, lonely, wondrous, state of mind. I lived for part of the time on Torstrasse in Mitte, sleeping on the floor of a friends study. During that time, I fell in love with deep house as it became the soundtrack to my explorations throughout the city. This is my attempt at sharing a part of that story.

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FM Attack creates soundtracks to another era, his albums speak to another time and place in such a manner that I find myself gazing off into the distance, imagining myself ripping off down the road next to Ryan Gosling in Drive, or throwing parties with Cruise in Risky Business. Shawn Ward is the man behind FM Attack, whom we’ve featured in our Genius section a few years back. With the release of the new album Deja Vu, I had a chance to sit down with Shawn while we listened to the album on a Fall evening in San Diego.

This album for Shawn seems to be an extension of the last, not only in style and sound, but in the way he collaborated with Kristine from Athens Greece. “I thought about singing on the track, but then after I sent it to Kristine, she sent be back the first version and it was perfect.”
The play between Shawn and Kristine throughout the album really feels like a lost-in-space love story, his vocals intertwine with hers on tracks like Runaway and add another layer to the song.

“What’s your goal, what are you aiming for?” I ask Shawn as we sit listening to the last track on the album Lost Angeles. “I think I have reached it in a way already.” Shawn thinks for a moment. “It’s not about blowing up and being massive for me. I’m so happy where I am and what I’m doing right now.”
He lives in Mazatlán Mexico, making music in his studio next to the ocean, he has a tight group of friends that all make music, and in play shows all over the area. He has a gorgeous local girl whom they have been together for years now. He tours when he wants to, and gets to make the music that has inspired him his whole life. To Shawn it seems that it is more about the experience and for lack of better terms, the path. He’s enjoying his steps, and Deja Vu is another step that he enjoyed all the way through. I sense a sort of peace in Shawn as he sits next to me at the table. “I feel lucky to be able to make money doing what I love, that’s what matters for me right now.”

Make sure you check out FM Attack’s newest LP Deja Vu here and purchase it here.



The first single from Shadows, Opium, one of our favorite albums from 2011, finally has a video to go along with the amazing track. The music video is directed by Keegan Wilcox, starring Avan Jogia and Zoey Deutch, and produced by Dersu Rhodes and Steven Bender. Filmed in Mammoth CA in 2 full days, the finished product tells a story of love and addiction. You can find the song here and make sure to check out more from the New Division and Keegan Wilcox.

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Nicolas Jaar, you’ve done it again. Three years since his breakthrough album Space is Only Noise, Jaar has teamed up with Dave Harrington and following their remix of Random Access Memories in its entirety, the duo have recently released their new album Psychic under the name “Darkside”. A dedicated fan of Jaar’s previous work, I can only bask in the combined creativity of Jaar and Harrison – the power of collaboration in its most powerful form.

The beginning of Psychic is almost awkward as it scrapes through various static and muted sounds. Fare-weathered listeners may stray yet those who remain patient or know a little bit about Jaar’s tendencies towards incremental builds will wait to experience its unfolding. Nearly 5 minutes into the 11-minute opener, the beat finally comes in giving way to an arrangement so different in its sound yet true to Jaar’s mesmerizing experimental cosmic creations. “Heart” is filled with guitar riffs, catchy bridge lines and it’s the perfect lead in to “Paper Trails“, a blues-like groovy electronic treat.

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Image via

Layer upon layer of electronic sounds brilliantly complimented with live instruments and recordings from the outside world. All the more rewarding in its entirety, the intricate details hidden within this album unfold into new unexplored territories. It’s unexpected, inviting, and leaves you salivating at every turn.

Stream the album in its entirety here. Purchase here.
Tour dates here.


Awhile back we posted on an album that was blowing our minds, The Waiting Room by Lusine. Months later, it’s still on heavy rotation. We talked to the mastermind behind the moniker, Jeff McIlwain and his wife/vocalist Sarah McIlwain to learn more about this album and hear about their tour. He was even kind enough to send us some shots from the road.

Photo by Sarah McIlwain

photo by Jeff McIlwain

words and interview by Lindsay Colip


LC: First, where are you right now on your tour? As you type this, where are you or what surrounds you, etc. if you could paint the scene for us…

Jeff: Hi, I’m back at home in Seattle in my studio. It’s a very colorful Fall right now. We live in a very tree covered area north of the city called Lake Forest Park.

LC: How does your environment shape your music? I saw the video where you were pulling sounds from trains, water, etc and incorporating into your songs. Do you still do that? Did you do that on The Waiting Room?

Jeff: Yes, I did some field recordings in San Francisco and used them on a couple of tracks on The Waiting Room. It really adds a lot of texture. (ie the “breakdown” in February) I love it up here, it’s a really beautiful place to live. It’s nice just to get out and go on a walk. It’s a good way of rejuvenating and re-thinking.

LC: I see that you played in Budapest, which is definitely one of my favorite musical cities in the world. What’s been your favorite city to play on this tour and where didn’t you get to go that you would like?

Jeff: Budapest was great. I got to walk around the city for a day and look out over the river back towards the city. Beautiful. St. Petersburg was probably the most unique place I went this time, although I was only there for a day. It’s just massive, with so many colorful buildings. Reminded me a bit of Vienna, but on a grander scale. I wish that I had the chance to go to the UK this time. There was a possible London gig, but it fell through. Sarah was going to join me for that one.

Sarah: I tagged along for a few festivals this year and had fun, especially at SXSW. Austin is one of my favorite US cities. I do wish the London gig had worked out, I’ve been to Europe but haven’t seen the UK.

LC: You’ve been creating music for years as Lusine, doing everything from your own tracks to remixes to film scores, etc. Do you have a preference in the type of art you put out….as in, do you prefer working on your own music or do you enjoy tweaking what someone else has already created, or is hearing your music alongside a cinematic vision the most rewarding?

Jeff: I love both. When I work on my music for a long time, I like to have the chance to work on other projects that are more collaborative, and film scores are a great way to do that. I get way into my own head when I’m working on my own tracks, and its nice to switch gears and have a very specific direction sometimes.

LC: What’s one of the best scored movies in your opinion? Or best soundtracks?

Jeff: I often come back to Jon Brion’s score for Eternal Sunshine of a Spotless Mind. Edward Artemiev’s score for Tarkovsky’s Solaris is a really interesting one as well. I also love Cliff Martinez’ stuff, so I’d probably pick his score for Traffic as well.

LC: Let’s discuss The Waiting Room. It blew me away when I first heard it and each time I’ve listened since, I like it more. It is so complex and interesting and absolutely takes me a journey. No doubt it will make my top 5 albums of the year. Did you know you had something special when you completed this album?

Jeff: Thank you! Well, I kind of had a theme and some ideas for things I wanted to try on the tracks. Some of them worked and some didn’t. But, I like how it came out. I wanted to break outside of my little box a little, and I think I accomplished that. It’s always hard to be objective about your own stuff, so I’m always looking ahead to the next thing.

LC: What was the process like in making this album? At what point does Sarah come in? Is she writing the lyrics, helping with lyrics, helping with production? According to my ears, you guys are a seamless team. Her vocals fit perfectly with the sound so I’m just curious how it all comes together.

Jeff: Sarah and I worked together on “Get the Message” and “By this Sound”. We both wanted to do an Electronic cover because that album was one of our mutual favorites. So, that one was a lot of fun. By this Sound was a song that we both thought about a lot. We did both work on the idea for the lyrics, and she helped me with different variations on that idea. Then I made them work within the structure of the song and had her sing them in a certain way.


LC: My favorite song is “By This Sound.” It guts me every time I hear it. What’s your favorite song on the album? Sarah’s?

Jeff: I like that one and I also liked February a lot. Sometimes I just like tracks that work the best as a whole and kind of float in the air emotionally, and with February, I think I was able to get the most out of what I was going for. And February was a pretty significant month for both of us, so it was nice to get the album out at that time as well.

Sarah: The Get the Message cover (original by Electronic here) has a lot of significance for me, I remember it was our fourth or fifth date and I put it on in the car, we both wound up singing along to it and talking about how much we loved the album. From a purely musical standpoint my favorite is First Call. I get goosebumps every time I hear him play it live.

LC: Where do you want people to listen to this record? I keep trying out different locations and it works for me in several spots. I’m curious where you see us listening to it.

Jeff: Hmm.. I’m not sure. I think music always inspires me on long trips. I also work out a lot to music, so I think going on a run would be a good way to experience it. But, I do think when people hear my stuff in clubs, maybe it gives them a bit more of a perspective.

LC: Who are you listening to right now in your ipod or is there an album you’ve been listening to on repeat while on tour?

Jeff: I’ve been into this band Highasakite. I played a double bill and they were headlining the first half in New York. Just a really interesting blend of styles, and this girl’s voice is really interesting. I’m also a big National fan, and so I’ve been listening a bit to the new album on the road.

Sarah: The National, for sure. It’s funny, we both secretly bought each other that album as a present. I’ve also been loving the new Moderat. We saw them here in Seattle recently and the show was fantastic.


LC: Finally, what’s on tap for you in the future? Please tell me you’re coming to LA.

Jeff: I’d love to come to LA. No immediate plans though. I am playing a couple shows in Japan at the beginning of November. In Osaka on November 3rd (Conpass), and in Tokyo November 4th (Liquid Room). Right now I’m working on a new EP for Ghostly, and just got a nice video for a single off of it. I’m guessing it will be out sometime in early 2014.

Let’s all send good jeujeu out into the Universe and get Lusine to tour again soon. In the meantime, buy the album here.

By Lindsay Colip

For more Lusine:
For more artists on Ghostly International:



Mixtape by Lindsay Colip

There comes a point in your life when you realize time is flying by at ludicrous speed. At this moment, it’s good to re-asses where you are, where you’ve been and where you want to go. With the lunar eclipse behind us and the solar eclipse around the corner, now is the time to get rid of what isn’t working for you, to slough of the old skin, shake off the complacency, move away from all things negative and start fresh. Reboot. It’s already the end of October. You have two more months in 2013 to really get after it. This mix has been my motivator to do just that. Hopefully it fuels your fire too.

It’s time.



Kenny Parmalee (78 and Sunny)

This mix was inspired by the 2013 Burning Man Festival. An amazing year that I will remember for years to come. My good buddy Dersu and I were lucky enough to play atop of Skybar, a 2 story high dessert night club. A truly unforgettable experience that was a highlight of this years playa jaunt. The tracks found on this mixtape made the Skybar rock and kept Salty Jack’s and the luxurious Gracey Pleasurebarge jamming all week.

Dersu Rhodes

One of my favorite musical moments of my life was found on the top of The Skybar. Ashot Petrosian, one of the creators of the bar, gave us the opportunity to play a late afternoon set in the most amazing setting. Built by hand in the days before The Burn started, we watched The Skybar come together from across the road as we built our camp. To be high above The Playa surrounded by our favorite people, playing the music that had touched us throughout the last year was really special. The place was packed, a full bar kept mouths from being dry, everyone was smiling, and as you can see from the photos taken by Nissa Rhodes, we all danced every second of the two and a half hour set.

Please enjoy the set below.







photos by Nissa Rhodes



Boiler Room is a soundcloud/youtube channel that hosts, records, and streams live the worlds best underground shows. Started in the UK and now in the last year expanding to Berlin, the 1.1 million followers of know what to expect, the most exclusive cutting edge music from the hottest underground parties. Whether it streams underground from a bunker in Berlin, a rooftop loft in London, or a private beach party in Ibiza, you can expect the acts that fill those venues to be unreal.

This special deep, minimal set by Tale of Us recorded in Paris in partnership with Nuits Sonores is one to most definitely listen to. I love the atmospheric voices of the crowd mixed in with the heavy hitting melodic drone of the one hour set. If you love deep house, you will recognize your favorite tracks woven through the hour. Long drawn out mixes and stealth DJ’ing make this set seamless and the hour will be over before you know it.

Stream the mix below on soundcloud, and then back it with the visuals from the Boiler Room Youtube channel below.

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By Kari Hendrick, Nissa Rhodes, and Dersu Rhodes

It’s as if those sacred moments we experienced in the desert will be diminished by each word that we speak outside of it all. Also knowing that these memories, now clear in our minds, will fade into the distance as they all do with passing time. It is only through the music that we have been able to revisit that perfect state of being that we now constantly crave.

Each dj set takes you on a journey, unable to reach the next part without having passed through the others. With each transition, you become more a part of their world and of the world of those around you. Much as a magician carries out his final reveal, the audience becomes as much a part of the process. 

Here are accounts of some of our favorite sets. It was impossible to feature every bit of music that moved us, but these ones stood out and will never be forgotten. The sets from Burning Man 2013 have yet to be released, so in the mean time we’ve added our favorite past sets from each artist for your listening pleasure. We promise you as soon as the sets we have written about are released, you will be the first to know and we’ll feature each and every one of them.


Atish Mehta ~

As the sun was setting and our art car was taking off for her religious sunset cruise around the playa, we looked at each other and shook our heads no. No way. No way were we going to leave. Not this time, this place, these beautiful people, and this music.  I closed my eyes and smiled. When I opened them, the bright orange halo of the afternoon sun hung above DJ Atish Mehta’s head.  Enjoying the dancing crowd as much as we were enjoying him, he put both his hands in the air, smiled wide, and threw a big ass ball of funky rhythm at us.

Atish said it well. “Burning Man isn’t a music festival. It’s a gathering of people focused on community, participation, creativity, and survival. It just happens to have music.” I completely agree, and laugh a little, because this evening, and like many other moments of Burning Man, the music is so critical, and compliments every moment.  Atish’s set was a perfect mirror of its surroundings.  Delicate paper lanterns hung above us as the soft, trans-like, ambient beat became louder, deeper, and more tribal just as the sun started painting fiery colors across the sky. Atish’s style is expressive and melodic. It brings out feelings and energy, and transforms them into soulful dance moves.

As the art car returned, one by one, newcomers would dance their way to the platform, intrigued by not only the music but Atish’s contagious energy. There’s a unique playfulness to his music, yet composed and very thoughtful. Atish takes you on a journey, and that night was a true musical experience of tech, synth, melodic deep house, and nu-disco. It’s incredible how personal this experience was. In fact, how personal they all are. There’s no back door for the DJ to sneak through, no security to monitor how close you are, no wristbands, and no backstage. This evening, we were all friends, “a community,” like Atish said, enjoying the sunset, the moment, the music, and each other.

Philipp from M.A.N.D.Y ~

There are seven of us as we make our way across the long stretch of compact dirt separating us and the pulsing gathering of lights that make up the largest mobile soundstage on earth, Robot Heart. Locking our bikes together and weaving our way into the crowd, I can’t help but notice the stillness. The sounds that drift into the night are eerie and lost. A strange ambient whirring and clicking seems to animate the narrative of a robot’s broken heart. A speaker chord rattles loose and lets out an aggressive hum as the sound of a large truck engine trying to start permeates across the playa. The crowd stands, some swaying back and forth, mesmerized by the unconventional beginning to Philipp’s deep set.

I spent 5 months in Berlin in the darkest clubs and venues, listening to what I thought was house music at its deepest darkest level, but on this special night in the desert I was shown true electronic music drama, orchestrated by a dj from that same city. Philipp’s set builds slowly, a low shuddering synth pattern layered over the initial heartbeat until it finally erupted into a captivating progression of body-entrancing music. The set was moving yet tranquilizing, feeling heavy and uplifting at the same time. As the sun began to rise over the mountains, and the nights dark black whisking clouds seemed to evaporate into the warm glow of morning, so did the set, gaining momentum and finishing the story of the night, darkness to light.


Damian Lazarus ~

Damian Lazurus is entranced in his set and his presence is powerful. His head remains down through its entirety- he is focused and diligent while brilliantly executing powerful arrangements, distinct beats and daring transitions. He pulls from all angles of the music spectrum, incorporates global genres and mashes them together always followed or preceded by a massive beat. Lazarus is well known for his ability to seamlessly infiltrate main-stream beats with unique sounds very much his own. Lazarus’s set is dark and eerie and only fitting as the twilight hour comes in and the long awaited sun begins to rise.  Just as the desert sun first begins to peek through the clouds, Lazarus leads in with Radiohead’s ‘Everything in its right Place.’ Everyone is basked in an orange glow, a new energy settles in on the crowd as if the essence buried within each element of this particular track was created exactly for this moment.

Twelve and a half hours later, only willed back to camp by the heat of the quickly rising desert sun – exhausted and inspired, I throw a tired leg over my bicycle, ignite new muscle groups in my tired legs and embark one last long solo ride deep into the playa.


Lee Burridge ~

The alarm sounds, it’s 3:30 am on our last morning. I quickly throw on my silver spandex, my gold cape and a mask. I find the others outside, puffy-eyed and smiling, eager to head out for a ride. We meander through the playa passing familiar landmarks, hearing the sounds coming from each and every corner of the desert floor. As we get closer to the sunrise stage of Robot Heart and away from the chaos of the city center, the hum of many melodies becomes one. One, powerful melody of Lee Burridge in his true form.

His energy is contagious, his smile emanates.  He looks rejuvenated, and alive, and feeds energy and life into all of us.  This is a moment that people look forward to, and have been year after year.  ”I actually set an intention before we threw our first party – and it was simply to make people smile,” stated Burridge last year. This intention flourishes, as the smiles that morning were as vast white as the playa behind us.  It was as though every person that morning had a history, or relationship with Burridge. There was a respect and acknowledgment for what he had created and was sharing with all of us. These were people who believed in his music, dreamed of this moment, and lived to enjoy  the depth of it.

We all look around at each other, no glance too long, no stare made uncomfortable yet simply the act of acknowledging the unique and beautiful faces that have surrounded us in the dark for hours preceding the light. There is an intense sense of connection as the energy of the night gives way to a serene, peaceful morning on the playa. Excited to be sharing our last morning together, we smile at each other, knowing no words will ever do it justice.



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