CRSSD Festival Review

Photo Credit: Felicia Garcia- FLG | Miranda McDonald- NM | Julian Bajsel - JGB | Juliana Bernstein - JLB 

CRSSD Festival 2019 was held at the beautiful Waterfront Park in San Diego, CA to a sold out crowd. Spring’s event was another one for the books as this festival continues to grow and evolve into one of the best events on the West Coast. This year’s lineup was overflowing with talent and the options were there to sample - some tasty beats from three different stages.


The Ocean View stage is geared more towards live performances. This year Phantogram, Petit Biscuit, and Maribou State were holding it down; however, there was one act that unfortunately fell short. Odesza was a main headliner and their act was corporate at best. They played Do the Loco Motion for three minutes!!! They did not have the sound or vibe that made them in the first place. Many people left the grassy dance floor after a few minutes of the set.

The Palm Stage brought the heat with some ridiculous sessions thanks to Lane 8, Justin Martin, and Armand Van Helden. The City Steps stage delivered as usual with heavy dark sounds; this year Pan Pot, Rebekah, & The Martinez Brothers stole the show.

In addition to the music, CRSSD delivers on an assortment of gourmet food, wide variety of craft beer, and artistic stage architecture. CRSSD has become a staple in the diet of House and Techno lovers in Southern California for good reasons. Thanks to FNGRS CRSSD they have organized an event that is accessible, clean, and managed very efficiently with a highly curated lineup. There were no holes CRSSD’s game this year.


🌴The first wave of your sunset soundtrack has arrived🌴

ODESZAPhantogramJungleMAETRIK live, Petit BiscuitLane 8The Martinez BrothersARMAND VAN HELDENStephan Bodzin live + so many more.

Join us for our waterfront weekend March 2/3! Advance Sale tickets on sale Tuesday, December 11th at 11AM PT⏰


Factory 93’s Secret Project Festival Review

Photo Credit: Ivan Meneses for Insomniac

Photo Credit: Ivan Meneses for Insomniac

Written By: Serena Romero

As if to reflect the mystery of LA’s underground, the sky was dark and shadowy as the inaugural Secret Project Festival got underway. Upon arriving to the festival you’re greeted by a rare but welcome site at LA events, lack of a line and a quick entry. By keeping the decorations minimal, attendees are immersed in the “underground” environment with graffiti covered walls amongst a maze of downtown warehouses. The Naud St. Stage was built with stacked shipping containers and the Spring St. Stage was outfitted with visible scaffolding to continue the industrial aesthetic. Unlike their parent company Insomniac’s usual dizzying display of lights and pyrotechnics, Factory 93 kept the visuals straightforward with LED’s and strobes. With many bookings outside of the mainstream, the crowd filled with dedicated fans of house and techno.

Photo Credit: Troy Acevedo for Insomniac Events

Photo Credit: Troy Acevedo for Insomniac Events

Arriving on Saturday we heard the boisterous and lively thumping of Roman Flugel’s unique blend of acid house and german electro at the Naud St. Stage. Tale of Us played a mesmerizing closing set at this stage as well. Next at the Spring St. Stage was the ensemble of one, Danilo Plessow, also known as Motor City Drum Ensemble. His eclectic mix of jazzy and soulful house, funk, and disco made for a perfect set to take us from day to night. The crowd was on their toes, with a deep knowledge of music and acute technical abilities, you never know what his next move will be. Closing out the Spring St. Stage on Saturday was a DJ set from Bonobo, who opened with the Best Dance Recording nominated hit "Bambro Koyo Ganda" off his Migration album. The crowd was inevitably pleased and agreed to take the ride which brought us from disco to house to classics like Stardust’s “Music Sounds Better with You.”

Photo Credit: Ivan Meneses for Insomniac Events

Photo Credit: Ivan Meneses for Insomniac Events

Photo Credit: Troy Acevedo for Insomniac Events

Photo Credit: Troy Acevedo for Insomniac Events

Sunday had a lineup that rivaled some of the biggest clubs in the world. Walking in toward the Naud St. Stage I knew who was playing, it’s Peggy Gou. I see shoes waving in the air before catching a glimpse of the booth. She has such an ease and swag about her you almost forget she’s throwing down one of the hardest sets of the weekend so far, with a section of acid house that had everyone jackin. Then the crowd began to really pack in for Stephen Bodzin who played a live set. No one can entrance a crowd quite like Mr. Bodzin, with his hypnotic and spacey yet hard hitting end up truly losing yourself in the journey.

Photo Credit: Ivan Meneses for Insomniac Events

Photo Credit: Ivan Meneses for Insomniac Events

Over at the Spring St. Stage, Berghain resident Marcell Dettmann brought Berlin techno to LA followed by a closing Back-2-Back set from Ame and Dixon who cemented LA’s love for their dark and minimal techno. Closing out the Naud St. Stage was electronic music royalty, oh yes oh yes oh yes, Mr. Carl Cox. With a career spanning 30 years and the entire world, it’s no surprise that Carl Cox’s set was planned and mixed perfectly to close out this event. The crowd was so excited to have him playing such an event, the positivity was palpable.

Photo Credit: Ivan Meneses for Insomniac Events

Photo Credit: Ivan Meneses for Insomniac Events

What set Secret Project festival apart wasn’t just it’s impeccably curated lineup or the elevated experience of VIP, it was the sense of community. From the strictly warehouse crowd, to the club crowd, to the we-just-wanna-have-fun crowd, everyone seemed to realize we were all the same on that dance floor. A strong sense of community amongst the promoters, attendees, and artists in the neighborhood can change the scenery of LA events. The first Secret Project Festival was a unique event that we can only hope will come around again soon.

Secret Project Festival 10.13 & 10.14

Written by Serena Romero

The Secret Project Festival is the latest underground experience from Factory 93. With 2 days of day-to-night DJ and live sets, a gritty DTLA backdrop, and VIP experience hosted by A Club Called Rhonda, Apotheke, & Majordomo, Secret Project Festival promises to be a unique and enveloping experience. An entire city block in the warehouse district will be transformed into a playground for techno heads and art and food enthusiasts.

Secret Project’s lineup will satisfy LA’s need for cutting edge sounds with beats everyone can groove to. Make sure to catch Bicep and Stephan Bodzin for the weekend’s live sets, and the always entrancing combo of Ame B2B Dixon. More can’t miss acts include Motor City Drum Ensemble and Roman Flugel on Saturday, and Marcel Dettmann and Peggy Gou (wave those shoes high!) on Sunday.

The VIP experience boasts some serious perks including a custom menu designed by the team at Majordomo, craft cocktails from Apotheke, expedited entry, and special viewing areas.

2-day and single day general and VIP tickets are still available but grab them quick!

From Sahara to Southwest: Tinariwen Plays Taos

Written by Garrett Hazelwood

Photos by Tanner Williams

It was raining this past Tuesday in Taos, New Mexico. Just a soft mist falling in the high desert, and as local promoter Jerry Schwartz led us out to see the Airstream trailer from which the KNCE radio station is broadcast, he explained what a rare gift it was to get a storm rolling through. We had come to Taos to see another rarity passing through the small southwestern town, Tinariwen, a band of celebrated Tuareg musicians with a Grammy and a nearly forty year history of making genre-defying music. 


That night, Tinariwen was to make their third appearance in Taos in recent years. They were playing in the wide-open mesa on the outskirts of town, at the Taos Mesa Brewing Mothership. The Mothership––an aluminum Quonset hut built with DIY aesthetic and a dash of steampunk flair––houses the brewery, a taproom, and an indoor concert venue. It’s part of a compound that includes an outdoor amphitheater with capacity for an audience of 2,500; the Hotel Luna Mystica, which offers campground facilities and rents vintage trailers to visitors; and the aforementioned trailer-studio of KNCE-FM radio.

With multiple venues and a radio station onsite, the camp at Taos Mesa Brewing has become the hub of a surprisingly rich music scene in Taos. The site is frequently host to small-scale festivals with big-name artists, like the Jumpsuit Family Gathering coming in early September, headlining Polish Ambassador, Ayla Nereo, and Saqi. The music scene out on the mesa also extends far beyond electronic, though, featuring of an eclectic mix of genres ranging from delta blues to folk to Brazilian hip-hop. 

Last Tuesday’s sold out Tinariwen show is a testament to the impressive amount of international music that finds its way to Taos these days, thanks in no small measure to Jerry Schwartz, part owner of KNCE radio and a core member of Roots and Wires Presents, a collective of promoters that fills the Taos music calendar with a steady stream of global talent.

Tinariwen, for its part, hails from the Saharan desert in Mali, where the nomadic Tuareg people have lived for millennia. For generations now, the Tuareg have been struggling for independence and to preserve their way of life while being marginalized by the governments controlling their ancestral territory. Members of Tinariwen have been refugees, exiles, revolutionary fighters, and targets of terrorist violence. Their music combines activism, rebellion, and poignant beauty in equal measure, drawing upon the influence of their traditional music while being driven largely by electric guitars. 

The result is something akin to the blues in its raw, plaintive vocals and stripped down guitar. Yet at the show on Tuesday night, it often tended toward the high energy of rock ’n’ roll, building into crescendos that churned the whole tightly packed crowd into a fever of dancing as the set accelerated from song to song. Though the band is somewhat loosely knit and frequently takes on or drops members, there were six men on stage at the show in Taos: two playing electric guitars, one with a bass, one singing and playing an acoustic guitar, one hand percussionist, and one member singing backup and dancing. 

The music was minimalist and the equipment onstage limited. They would often chant together and harmonize above the riffing guitars, and there was something about them that suggested a jam band in the fluid way they wove between songs and descended into long stretches of dueling guitars, occasionally veering off into funky bass lines that sent ripples through the crowd. 

But while the set Tinariwen played resisted categorization and slipped easily in tone between celebration and sadness, exuberance and calm, Tinariwen proved themselves masters of controlling a crowd. What began with head bobbing and swaying soon accelerated into a level of pumping energy that bordered on frenzy. By the end, we were left sweating and dancing, cheering for a second encore, finally spilling out into the crisp desert air smiling and satisfied. 

Tinariwen’s latest nineteen-stop tour ended last week in Phoenix. We can only hope they make their way back to the states for another one soon. In the meantime, check them out at where you can pick up an album and keep tabs on their upcoming shows. 

Desert Hearts Festival Review Spring 2018

Photo Credit: GetTiny

Photo Credit: GetTiny

Written By: Kainoa Owens

The Desert Hearts Festival 2018 was nothing short of amazing! Back home for their 10th year anniversary at the Los Coyotes Indian Reservation!

Over the years, the festival has become known as one of the most popular, if not the best, ‘boutique festival’ to date. The festival brought a plethora of artists and performers from around the globe, creating a unique positive and loving atmosphere for their audience or techno-crazed-enthusiasts. The other forms of artistic participation ranged from yoga, sound healing, and more, however my most favorite was Shane and the Healing Sanctuary.

Photo Credit: GetTiny

Photo Credit: GetTiny

While normally boasting 3000-3500 capacity festival-goers each year, Desert Hearts truly could not contain their excitement, or their rate-of-inclusivity this year, as it seemed more like 5000 techno-ready souls dancing in the moonlight.

Photo Credit: Haley Busch

Photo Credit: Haley Busch


Despite the increase in capacity, the energy and message that Desert Hearts brings every year, ‘House, Techno, & Love.., We Are All Desert Hearts’, created a blissful dreamy wonderland that encouraged individuals to add onto the experience and express themselves in their own unique way.

Photo Credit: Jess Bernstein

Photo Credit: Jess Bernstein

This was my first Desert Hearts Festival experience, and it certainly will not be my last! The amount of love and freedom of expression was truly something to experience, and make your-own. The vibes and love from experienced Desert Heart goers, and new Desert Heart attendees (like myself) were of paradise.

Of course, unanimously the most influential part about Desert Hearts is the connection between us like-minded beautiful souls as we collectively sway ourselves to the ‘one stage, one vibe, one love’ in order to dance, and come together as a family to enjoy the eclectic sounds that these amazing producers and DJs exhibited.

Photo Credit: Haley Busch

Photo Credit: Haley Busch

Hands down my favorite performance of the weekend was Porky, Lee Reynolds, and Damian Lazarus.., back to back to back!

This trio took the stage late Saturday night into Sunday morning absolutely stacking the dance floor, and demolishing ears and similarly melting faces left and right, including my own.

Matt Tolfrey Unites with Desert Hearts Label


Written By: Kainoa Owens

Desert Hearts have been very busy spreading their influence and mantra “House, Techno, & Love” across North America and some spots around the globe. Now, in their 6th rotation around the sun, they have recruited UK powerhouse DJ and producer, Matt Tolfrey!

His newest EP Nothing Like Home on the Desert Hearts label is out NOW!

This EP presents two tracks, ‘Nothing Like Home’ and ‘Fallen’.

Using an eclectic style of futuristic sounds, buzzy bass lines, as well as percussion components, his cultivating sound provokes an ‘it’s about to go down’ dance-craze.

These tasty beats have received huge support from a plethora of established artists such as, Desert Hearts producer Mikey Lion, Josh Butler, Audiojack, and more.

Mikey Lion, in particular, has described the EP as “one of [his] all-time favorite releases” signed to the Desert Hearts label.

Tolfrey never settles using one style, continuously experimenting with techno, house, and deep style beats that make you want to lose yourself in the rhythm.

His success can be traced back to his celebrated 13+ year label ‘Leftroom’, where for the 10th year anniversary, released a decade worth of compiled Leftroom classics, as well as unreleased delicates from collaborating artists including ‘Guti, Kate Simko, Chez Damier, and more.


Matt Tolfrey has been proving himself to be one of the more unique DJs in the industry. Renowned by fellow tech-house phenom Seth Troxler, as "the last great British DJ," Tolfrey has continuously delivered delightful sounds and beats for the last 15+ years, proving himself to be a exuberant DJ/Producer.

Having now been welcomed into the Desert Hearts label and family, we can expect nothing less than truly transcendent techno-tunes that tantalize our soul.

Matt Tolfrey and his all-embracing style and sounds mirror the positive love, connection and creativity that permeates around all Desert Hearts festivals and collaborations.

Below you can listen to his latest EP as well as his 'Ten Years of Leftroom Mix', and be sure to experience him in person April 27th - 30th at the Desert Hearts Spring 2018 Festival!

Desert Hearts Spring 2018 Festival


Written By: Kainoa Owens

Nestled away upon the majestic mountains of the Los Coyotes Indian Reservation outside of east San Diego County, the Desert Hearts Festival returns April 27th-30th to once again delight and tantalize techno-lovers. Now in their 6th gathering since 2012, Desert Hearts has established itself as one of the most popular and inclusive music festivals—boasting a 3000-capacity dreamland wherein festival-goers will have the opportunity to ‘celebrate all that make us human’ through the mediums of art and dance.

Additionally, the festival will host a wide variety of community-based artists and performers to create a ‘truly unique atmosphere embedded with artistic participation and imagination’. Further found at Desert Hearts are various forms of healing included but not limited to Yoga, Workshops, Sound Healing, Crystal Healing, Reiki, Energy Work, Spoken Word and Relax/Recharge zones.

Over the years, Desert Hearts has based themselves around all-encompassing festivals such as Burning Man and Lightning in a Bottle. Their mantra, “House, Techno, & Love…We Are All Desert Hearts” echoes a distinct sense of radical inclusiveness that is vital to their main purpose of ‘spreading as much love and positive vibes as possible’ at each of every one their events.

As a ‘boutique music festival’, they provide a similarly unique experience as these larger music festivals, but with the advantage of being smaller and more intimate in size. The ambiance they create each year for their ever-increasing family of techno-hungry-hippies is centered on the idea to have one stage, one heartbeat.

Photo By: Jacob Avanzato

Photo By: Jacob Avanzato

Desert Heart goers from around the world journey to the festival to immerse themselves in the atmosphere of ubiquitous love, creativity and family that this musical oasis provides. Desert Hearts fanatic, entrepreneur and Reiki healer, Lizeth, recalls her first Desert Hearts experience dancing through the crowd as ‘something magical’ or 'like entering a whole different world entirely’.

The feelings of unity and love permeate throughout all Desert Hearts shows in Southern California and now across North America, so if you’re unable to catch this year’s festival, be sure to check out one of their shows!

This festival is currently sold out; however, we highly recommended checking out these 5 artists on the Desert Hearts 2018 lineup:

Lee Reynolds

Marques Wyatt


Damian Lazarus

Matt Tolfrey

CRSSD Festival 2018

Photo Credit: Felicia Garcia- FLG, Miranda McDonald- MNM , Skyler Greene- SAG, Eric Scire- EDS

CRSSD Festival Spring 2018 sold out this year and made its mark on San Diego’s Electronic scene yet again. The pattern is apparent and the formula is simple – combine amazing music with an eclectic crowd at a beautiful venue. CRSSD caters to an slightly older crowd that has an ear for music and enjoys an intimate setting without all the glam and glitter of EDM monster events.

CRSSD festivals’s prominent performances were Empire of the Sun, Bonobo, Trippy Turtle, Henry Saiz, Cirez D, Nicole Moudaber and many more. 

A common tale reiterated through the festival circuit was that Empire's stage performance manifests a gateway - an invitation to dream with eyes wide open. Empire's performance combines theatrics, music, and visuals which pulls you past the event horizon and into a space of euphoria.

Some other notable acts were Nicole Moudabers set and Trippy Turtles anthropomorphic performance. We've provided a CRSSD Playlist below so have a sample and have a dance and make sure to have a beautiful day. See you at CRSSD Next year :)


CRSSD Festival Spring 2018

Spring '18 is upon us and we are nearly sold out.
With only 17 days to go here's the update:

- We are over 90% sold
- This is LAST CALL for Weekend Passes:
- Weekend Passes will be gone in the next 24hrs
- VERY LIMITED Single Day passes on sale 11AM PST Friday
- We expect them to go quickly, and then we are 100% sold out. 
This is not a drill 🌴




Get tickets here!

Headliners include long awaited San Diego performances by CASSY, Bamboozle from Soul Clap, King Britt, Hyenah, Demuir, and Eli Escobar.

Get ready for another high-octane weekend in San Diego, May 3-6! A celebration of music, dance, and culture in Southern California, the music conference and festival is blossoming right alongside San Diego’s incredible cultural renaissance. With nearly half of attendees coming from out of town, the West Coast Weekender audience rings in a truly one-of-a-kind vibe. The influx of activity—plus the San Diego underground community’s enthusiasm—creates an infectious, old school energy that’s of another era.

Festivities kick off Thursday afternoon at the iconic Lafayette Hotel, Swim Club & Bungalows, right at the junction of San Diego’s hip University Heights and North Parkdistricts and just minutes from the festival grounds. Start your day with brunch and poolside entertainment sponsored by Stoli Vodka. Panel discussions, Ableton workshops, and yoga sessions will be offered throughout the weekend. In between, immerse yourself in art, house, and drum and bass at Balboa Park’s multi-cultural and eclectic Worldbeat Cultural Center.

This year West Coast Weekender 2018 will also be supported by Traxsource, a unique electronic music store created and curated by DJs with decades of experience in the music industry.

Thurs May 3
Lafayette Hotel 3pm – Close

Mark di Meo . Del . DJ Ala. Eric Groove. Marshall Jones .

Fri May 4
Lafayette Hotel 11am – 5pm
Worldbeat Center 5pm to Close

Hyenah . Doc Martin (Sublevel Live ft Lillia) . Eli Escobar . Hector Romero . David Harness .
Oscar P . Cris Herrera . DJ Mes . Urulu . Adam Gibbons . Red Sonya . Alien Tom .
Mikeytown . Matthew Brian . Bumpy Nuggets . Francisco Moreno . Vinh Sol .

Sat May 5
Lafayette Hotel 11am – 5pm
Worldbeat Center 5pm to Close

Cassy . Bamboozle from Soulclap . Demuir . Eric Medina . Garva . MC Ridda . Paluka .
Rebellion . Masha . Caliparis . Andrew Wilkinson . Chrysocolla . Arielle Z . Drummer John .
Coflo . Evlo . DiscoSupreme . Full D&B Line Up TBA .

Sun May 6
Lafayette Hotel 11am – Close

King Britt . Nickodemus . Fred Everything . Julius Papp . Master Kev . Sunlightsquare .
DJ Kincaid . Cole Vassallo . Nimbus . Chris Annibell . WhoDaHell .

Monday May 7
Lafayette Hotel 11am – Close

Pool Party / Line Up TBC

Get Amped up for Halloween with our Minimal Effort, All Hallows Eve Mix

Minimal effort.png

Written by Robin Nguyen

This Saturday, October 28th, Minimal Effort is once again delivering top-notch talent to the LA dance scene at its 4th annual Halloween installment, All Hallow's Eve, which this year features Claptone, MK (Marc Kinchen), Damian Lazarus, Dusky, All Day I Dream's label head, Lee Burridge, and many others to chill your bones and possess your soul (melodically speaking). We've created a playlist below to give you a taste of the artists' sounds.

This year the event will be held at ENOX events in downtown LA, at a sprawling industrial space that will span one indoor factory dance floor and an outdoor stage to host all your ghoulish delights.

Set times below, so whether you plan to join the Dead Garden or hit the Masquerade, look alive and make sure you have a haunted, hell of a time. Tickets and VIP table packages are available at 

Check out our special Spotify playlist below:

Desert Daze 2017 – Institute of MentalPhysics

Desert Daze.png

By Kainoa Owens

Positioned upon 420 acres in the high desert of Joshua Tree, California, the Frank Lloyd Wright-designed Institute of Mentalphysics, has become home to the best rock festival this year, Desert Daze.

The institute, in all its glory and awe, rests upon a rare geological confluence of three underground aquifers, and a measurable magnetic field that is said to channel “natural energy” to help desert-goers find clarity. Also known as “a portal to your inner being,” the enlightenment-based philosophical institution was established for those seeking to understand the “physics” of their minds, or to gain a higher sense of consciousness. It’s an apt location for anyone looking to escape the confines of their everyday life, or attempt to join in and connect with one-another through other forms of mentalphysics like yoga and music itself.

Surrounded by captivating architecture, elegant fountains, labyrinths, and beautiful garden paths, Desert Daze has solidified itself as an extraordinary festival experience bringing a sort of kindred vibe similar to the likes of Lightning in a Bottle, and dare I say.., Symbiosis? Nevertheless, the message of Desert Daze is similar with other transformative festivals (as mentioned above), in that they seek to provide a spiritual awakening, reformation, transformation, and inspiration for the individual.

This festival, accompanied with the mysticism of its location and venue, is primed to continuously get bigger, badder, and weirder each year. Phil Pirrone and his altruistic family & crew have done a fantastic job curating the music lineup and festival-goer mentality. Throughout the three-day weekend, the mix of festival goers ranged from many young and old burners, to garage-metal, 90s alternative rock enthusiasts, and everything in between. Needless to say, the lineup this year was STACKED.

In its sixth-installment since its birth in 2012, Desert Daze showcased an inconceivable rock lineup of artists old and new, as well as a wide spectrum of diverse rock-genres. The music this year spanned from raw, electronic punk, garage rock, and punk rock, to crushing power rock, droning sludge metal, minimalist jazz-fusion, and beyond.

The performances this weekend were much to be longed for. More specifically, the sound of a type of psychedelic jazz, Lee Fields & the Expressions, and BadBadNotGood were sensational, while Courtney Barnett & Kurt Vile and the Sea Lice headlining Friday night soothed my soul. Saturday was by far the busiest day, with the biggest names, where attendance could have easily been around 5000 desert goers. Performances from a kind of electro-pop Mr. Elevator, which made way for Twin Peaks, JJUUJJUU, and John Cale as some of the daytime shredders. The stoner metal band Sleep, performing their 1992 album Holy Mountain, was something truly special, bringing back the past, reincarnating 80’s and 90’s hard metal rock.

Iggy Pop, the 70-year-old ageless wonder and “Godfather of Punk,” did not slow down, but instead threw down! As a neighboring desert goer looks at me and exclaims in disbelief, “The dude is 2000 years old, from the prehistoric era, and he STILL is absolutely owning it!” Shirt-off, shimmying out on to the stage, while hurling his mic-stand, and executing a famed stage dive, Iggy Pop and his group made everyone else seem above average, and more comparatively made Black Sabbath, one of my favorite bands feel outdated.

Aside from the environs of the institute, the most important takeaway from the weekend was the share of love for music, smiley-vibes in the crowd, the lyrical passion, the crushing rock gifted by the musicians, and of course the nostalgia in us that is mothaafuckkin’ rock & roll.

It is evident that Desert Daze has developed into a forward-thinking rock & roll music festival with a novel, free-spirited vibe, and an inclusiveness that without a doubt makes it the best rock festival this year, and potentially a new giant in festivals every year to come.

Dirtybird Campout 2017

Photo & Thoughts: Roger Coppola + Hannah Mendoza


Dirtybird campout found a new home this year at the San Antonio Campgrounds, a beautiful landscape marked by gnarled oaks, golden fields, and plenty of open space for all the colorful party goers. After two years at Oak Canyon Park,  Claude and the team were able to maximize the use of a new venue that gave way to a more diverse and developed weekend experience. This environment created the perfect container for campers to tap into the nostalgia of their childhood memories with a Dirtybird twist, spending their days exploring hiking trails, observing wildlife, practicing archery, and playing kickball. While at the same time enjoying smokey barbecues, belly-laugh induced comedy shows, and some questionable late-night karaoke performances. These opportunities are what make Dirtybird such a unique festival experience, but rest assured the lineup was incredibly stacked and the music fully delivered.

As the sun set over Central California, Dirtybirds from all over the globe flocked to dusty dance-floors seeking groovy 4x4 beats and booty-shaking bass music. The Birdhouse, Dirtybird Campouts main stage provided attendees with some of the highest quality house music currently in the scene. As the night grew darker Friday evening, so did the music at the Birdhouse as Danny Daze took to the decks. Sticking to his signature style, he brought the crowd into a heavier, faster-paced rhythm, while adding touches of the wonky, hip-hop influenced Dirtybird sound. On top of this, his mastery was displayed in the way he mixed on four different decks at once while live scratching flawlessly. Other highlights included the Saturday sunset experience with cut snake, tinkling heartstrings with remixes of the XX, and later that night Justin Martin reminding us of what home feels like with unreleased Bjork edits.

However, new to the festival this year was the incorporation of a fully established second stage titled the Bass lodge which brought a slightly different crowd into the Dirtybird family and gave way to the exploration of a more diverse spectrum of electronic music. This stage lived up to its name, playing the full spectrum of bass music from trap, to experimental bass music, and even some rarely explored drum and bass.




One of the funniest moment of the weekend was overhearing attendees debate whether the stage was named after the fish or the deep frequencies musical enthusiasts crave.. Regardless, this new stage delivered some of the most mind melting bass music the west coast has seen in quite some time. Although there was confusion around the pronunciation of the Bass Lodge, there was no second guessing the quality of artists that graced the stage. dOP live played Friday afternoon and engaged the crowd with minimal, progressive techy beats and heavenly vocals. Saturday evening Claude Vonstroke, aka Barclay Crenshaw, took the stage and demonstrated another level of what bass music can be, transporting us to the stars, as he toyed with the space between sounds and masterfully brought in a Bon Iver edit, just at the right moment.  Final Standouts include  DJ Marky and the  Martin Brothers Drum and Bass sets into Sunday morning, which fulfilled the deep void of the genre in the west coast festival scene.

Perhaps my favorite part of the event was seeing the way different scenes of people gathered together to celebrate life and music. The fashion ranged from sparkly glitter aliens, to long time burners, beach bros, and the occasional banana. Creating a safe space to explore any self expression. Let’s not forget the bountiful amounts of totems that went from bagels on a stick to Rick and Morty references, and of course plenty of renditions of adventure time. Although one of the last festivals of the season, it was wonderful to see that people still went all out with expressing themselves and coloring the dance-floor.

All in All this was a glorious weekend of exploration and silliness, in an incredibly beautiful environment, thank you to Claude, the team, and all the attendees for making it a magical experience. See you next year Campers!

CRSSD Festival Fall 2017

Photo Credit: Julian Bajsel - @jbajsel

CRSSD Festival Fall 2017 was another one for books. CRSSD's bi-annual party is now an official staple in San Diego’s electronic scene and it's evident! The festival has matured, the music was selectively curated, and FNGRS CRSSD Promotions has done a great job perfecting the party process. A lot of the kinks have been worked out and the event ran smoothly. 


CRSSD festival has come into its own. The three main stages deliver and there is always a good vibe between party goers. The mix of festival goers ranges from burners to surfers and everything in between. I’ve attended CRSSD for a the past two years and I’m always amazed at how chill and respectful the crowds are.



Saturday started off beautifully with warm weather, clear skies and continued through Sunday. My two favorite acts for the weekend were Breakbot and Chromeo. Breakbot was a nice surprise. I hadn't heard of them until now! They nicely mesh together live music with an electronic sound and a throwback 70’s vibe. I danced and grooved my way through their whole set. The crowd was much bigger Sunday and Chromeo smashed the house as usual. I have seen Chromeo three times now and they consistently deliver. Some of the other notable acts for the weekend were RÜFÜS DU SOL, Cut Copy, Damian Lazarus and the Ancient Moons, Richie Hawtin, Emancipator, The Magician, and many more.


I feel like CRSSD is something hardcore music heads look forward to. The festival has transformed into a must attend event on the festival circuit and is putting SD on the house and techno map!

Film Review: One More Time With Feeling

Hugo Unwin | Kinofilia Australia

In One More Time With Feeling Director Andrew Dominik uses an innovative range of cinematic techniques to face the challenge of depicting tragedy in human terms. The film documents musician Nick Cave as he recorded and performed his sixteenth studio album Skeleton Tree. Both the film and album evoke a sense of time now gone, of being in neither the future or past, nostalgia and contentedness, an intensely powerful human experience.

Naturally, loss features heavily, however Cave's particular loss is revealed delicately, as over an hour in the uninitiated viewer learns its' details. (Much of Skeleton Tree was written prior to the tragedy, which unnervingly substantiates Cave's wife Susan Bick’s superstitious beliefs about the prophetic nature of Cave’s music). In a poignant moment Cave, surrounded by his studio and all its attendant demands, embraces his family in a well-rehearsed routine borne of repetition.

The reverence of the camera throughout One More Time conjures comparison with films such as Cameraperson. The whole-body experience of a swirling long-shot, drifting throughout the studio and surrounding countryside, reflects a ‘drone-age’ trend in post-cinema, epitomised by a corporal and experiential viewing style. Cave’s son Earl, brandishing a camera, is momentarily empowered as photos of him are flashed in colour, thereby giving agency to the photographic devices.

Beyond loss, One More Time touches on regret: ‘I should’ve strengthened my voice, I should’ve sung more before I came into the studio, I knew that at the time’, a universal feeling which connects Cave and the viewer. No matter your experience and skill, mistakes arise.

The second half of the film imbues the scenes of Cave’s domestic life with his narrated poetry, replete with musings on consequences seen and unforeseen.

The origins, influences and manifestations of creativity are often the subject of Cave's musings. In One More Time we also see the perspective of those close to him, as Bick appositely states that her work has become an outlet for grief. Conversely, Cave describes the difficulty that he has in conjuring the imagination 'when trauma takes up so much space’.

Dominik effectively interweaves the real and imagined to reflect Cave’s deep and binding belief in the importance of the subconscious to creativity. With a range of methods, Dominik succeeds in focussing on Cave’s positivity, ensuring that the moments of his darkly sardonic humour shine through, perpetuating the vision of Cave as a deeply intelligent, erudite and self-aware individual. This resistance to descend into a purely elegiac profile makes for a touching piece of cinema.

Lover of life, singer of songs

Por Sol Pérez-Pelayo

El 5 de septiembre de 2017, Farrokh Bulsara, mejor conocido como la leyenda: Freddie Mercury, nació en lo que ahora es Tanzania, antiguamente Zanzíbar.

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Hace una semana fui a ver el notorio tributo a Queen: “Dios salve a la reina”. Los argentinos se hicieron muy famosos por ser el mejor tributo de la banda después de que inclusive el distintísimo Brian May los bautizara así. No me gusta decir imitación pero voy a utilizar el término de forma no desdeñosa, porque de verdad quedé realmente sobrecogida por la forma tan fidedigna en la que se plasmaba a los miembros de Queen, no sólo Freddie Mercury (Pablo Padin) quien es simplemente excelso representándolo, sino todos los demás, el baterista portaba el cabello rubio oxigenado de Roger Taylor (Matías Albornoz), el bajista la ademanes y el mini short de John Deacon el bajista (Ezequiel Tibaldo) y el guitarrista llevaba a la perfección el estilo de Brian May y sus distintiva cabellera (Francisco Calgaro).

Freddie Mercury lleva muerto desde 1991, pero aun sigue muy vigente como músico, personalidad e inclusive ícono de estilo. Eso es lo que pasa cuando te vuelves inmortal, trasciendes el tiempo y el espacio, vives para siempre en la cultura y en tus obras. Eso es lo más grande que puede aspirar un artista, llegarle al corazón de las personas, sea de una forma “buena” o “mala” lo que importa es que la obra sea sublime, que tenga una reacción en alguien y que no tenga vigencia. Que no sean simplemente una celebridad, o una moda del momento, sino que se conviertan en un estilo magníficamente reconocido y que venza al paso cruel del tiempo. El arte es belleza bajo nuestro control y eso es nutrición para el espíritu y mientras sigamos siendo humanos y no olvidemos tomar cargo de las cosas no etéreas, seguiremos buscando este placer sensorial que nos hace vivir un poco mas cada día.

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Los asistentes buscábamos todo esto, sabiéndolo o no, el poder de que un recuerdo o el poder de la música nos sacuda de tal modo que sentimos la vida en todo nuestro ser.

No puedo decir que el venue (Auditiorio Telmex) estaba abarrotado a más no poder, pero estaba considerablemente lleno para ser una banda “homenaje” la que se presentaba, he ido a conciertos ahí con bandas originales que no llenan ni la parte del primer balcón.
Entre el público destacaban familias completas con playeras con fotos de la banda, de Freddie, personas de mediana edad y jóvenes aunque no eran mayoría. Esto tiene que ver con la trascendencia de la banda. Parece que Queen sigue tocando, que siguen de tour,  chicos y grandes me dieron este efecto; de que el tiempo aquí se había detenido, de que estamos todos unidos por una causa y esta era la de rendir homenaje a algo (la banda) y alguien (obvio quién) que aunque ya se fue, sigue como un eco creciente. Lo que más pude darme cuenta entre más reparaba a las personas era que todos portaban sonrisas, puedo casi asegurar que fácilmente no vi amargados ahí, o gente con mala cara. Se les notaba ese pasito de emoción cuando andas inquieto por llegar a algún lugar donde sientes que debes de estar. No es una prisa con presión sino con emoción, como cuando los perritos caminan de brinquito cuando van a paseando por la calle. Eran una anticipación marcada por ver aquella banda que te comprende desde las entrañas, que te calienta la cabeza, te seca la boca, te sudan las manos y que te eriza la piel: la sensación de amor verdadero.

Me incluyo en esta horda de románticos enternecidos que estaban vehementes por entrar a auditorio. Desde la adquisición de mi boleto puedo decir que sentí ese brinquito en el estómago. Yo soy una persona que me considero entusiasta, las cosas mas pequeñas o eventos que parecieran no tener ninguna preeminencia en el long run, me emocionan. Si no siento emoción por algo que estoy haciendo tiendo a aburrirme y a dejar todo de lado. Este concierto homenaje me provocó emoción y me di cuenta que hacía lo correcto en asistir. Compré un tequila para ver el concierto más a gusto aún y me dirigí a mis asientos, séptima fila para poder ver con claridad todo.

Cuando las luces se sofocaron; en el auditorio hubo un grito unánime de hermandad casi escalofriante. Yo estaba tan emocionada como si fuera el mismísimo Freddie Mercury el que estaba a segundos de aparecer en el escenario. Escuché los conocidos acordes de una de mis canciones preferidas “Tie your mother down” escrita por Brian May, quien además es astrofísico y defensor animal: WIN.

Voy a ver bandas en vivo todo el tiempo, voy a conciertos, recitales, toquines, palomazos, ensayos etc, sobre todo de metal o sinfónicos y claro como mencioné, siempre siento emoción. Sin embargo, aunque yo sabía que de verdad no era Queen a quien iba a ver no puedo explicar que sentí exactamente cuando sentí en la cabeza como si estuviera borracha y se me puso la piel chinita, de repente cuando me di cuenta, ya estaba gritando en cuento Pablo Padinpisó el escenario, no era él, sino que en verdad era Freddie Mercury con su gorro de policía y atuendo de la cabeza a los pies de cuero. Se convirtió en un símbolo y nosotros en sus intérpretes. Entró en el escenario y todo el auditorio volvió a gritar como si en verdad Freddie hubiera aparecido ahí, reencarnado en este cantante argentino que lo emulaba a la perfección.

Mircea Eliade, fue un filósofo de origen rumano del cual disfruté mucho leer cuanto estaba estudiando mi carrera en filosofía y ciencias sociales pues dedicó mucha parte de su vida intelectual a la investigación del lenguaje simbólico de las religiones. La forma en que se emplea y como tiene peso en el comportamiento de los creyentes o fieles. Este lenguaje simbólico tiene repercusiones en el significado de mitos que son primordiales para el establecimiento del fenómeno de la religión y sus respectivos fenómenos místicos. Eliade los llamó HIEROFANÍAS, o sea manifestaciones de lo que se considera sagrado en una religión o en el mundo en general. Eliade dedicó cuantiosísimo tiempo a reconocerlas en las religiones antiguas y actuales, sobre todo para poder revelar las experiencias místicas que surgían a través de estos símbolos.

Por medio del simbolismo un objeto obtiene un valor añadido, más allá que el que su forma conviene desde su origen. Estos valores son adquiridos o inmediatos, la realidad es inmediata pero a temporal de este modo. Los símbolos nos revelan una realidad total que representa medios de conocimiento que de otro modo serían inaccesibles. Tenemos símbolos para todo, por dar un ejemplo aquí ad hoc, la chamarra amarilla representa a Freddie Mercury, la corona y la silueta con el puño levantado. Un símbolo que une a una religión es mucho más fuerte que solo un motto o una doctrina como tal, pues los símbolos se leen en todos los idiomas y no son meras representaciones, sino que son “la cosa en sí”. Cuando los fieles creyentes van en procesión de una virgen o un santo, aunque se sabe que no es realmente la virgen o el santo lo que llevan a cuestas de iglesia a iglesia, en ese momento se convierte en eso mismo, es la virgen y es el santo, lo más cercano que serán en esta dimensión.

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Tenía mucho tiempo que no asistía a un concierto dónde el púbico respondiera tan acertadamente y que tuviera esa buena conexión con la banda. Creo que existe algo muy específico que hace que esto sea realidad, esto es claramente nuestra adicción a los buenos recuerdos, a las buenas memorias y tiempos. Del modo que lo explica Eliade, de cierto modo sentía que todos los reunidos ahí (también puede ser en cualquier otro concierto con gran audiencia) principalmente respondíamos al gran símbolo que se ha convertido Queen y sobre todo Freddie del rock, de la felicidad y es sin duda un emblema de rock que no podrá ser borrado jamás. Su gran presencia en el escenario y manera de dirigir a la audiencia ha sido muchas veces imitado pero jamás ha sido duplicado o si quiera se han acercado a la par de él. Con su rango de cuatro octavas es difícil que alguien con ese talento y personalidad sea igualado. Así parecíamos todos los creyentes fans y admiradores, con las sonrisas en la cara en peregrinaje ecuménico al concierto.

Pero antes de volver a esto, voy a insertar aquí una graciosa y adecuada anécdota que representa la some kind of magic que provoca Queen.

Unos días antes de que asistiera al concierto del tributo, tuve una reunión con mis amigos de la escuela, a quiénes conozco desde el kínder, nos hemos visto crecer y madurar a través de los años, algunos de ellos ya han formado familias y no hemos perdido contacto. No es raro que nos reunamos, tomemos un par de tragos y escuchemos música, todos nuestros gustos muy indiferentes en géneros y estilos. A veces jugamos a poner una canción cada quien, lo cual resulta muy curioso pero en ese día optamos por una playlist muy chill de los 70s. Una pareja de mis amigos, traía a su hijo Santi, quien como cualquier niño de su edad es muy inquieto y curioso y tiene mucha energía. El niño estaba por todos lados y se subía a los muebles de la prístina y hermosa casa de nuestra anfitriona quién preocupada volteaba para todos lados siguiendo al niño con la mirada y la verdad que yo hubiera hecho lo mismo o quizás yo no me hubiera mostrado tan tranquila.

La música tiene un poder curativo, regenerador, relajante y apaciguador. Existe música para todo tipos de propósitos y me he dado cuenta que puede servir para varias situaciones, en el playlist de los 70s buscaba una canción para que Santi pudiera calmarse o concentrarse en ella,  ya fuera que nosotros aplaudiéramos para distraerlo o que se arrullara. A darle en aleatorio, empezó a tocar “Bohemian Rhapsody”. Prácticamente todo el mundo conoce esta canción, payasamente y entre broma y no, yo hacía un filtro en mis amistades con ella. Si la canción comenzaba y no comenzaban a cantarla conmigo: FUERA.

La verdad no siempre se aplicaba pero era una forma muy útil de reconocer quien en la borrachera y felicidad era digno de cantar conmigo uno de los himnos más cool que se han escrito. A los que nos encanta Queen y esta canción, no van a desmentir que por más horrible que cantes es divertidísimo hacer las voces y cantarla. La canción conocida por muchos sin embargo contiene importantísimas cosas que no se aprecian a primera oída. Bohemian Rhapsody estuvo en las listas de popularidad durante nueve semanas seguidas en el Reino Unido y volvió a ser la número uno después de la muerte de Freddie en 1991. Esto no sucede seguido, que un éxito ya añejo vuelva a las listas de popularidad, es el tercer sencillo que más se ha vendido en la historia. La canción es una innovación porque era algo que jamás se había hecho, era una canción larguísima. Comienza a capela, donde se aprecia la voz de Freddie de una manera limpísima. En esta parte, Santi seguía brincando por la sala, en la segunda parte donde comienza la balada en “mamaaaaaa just killed a man…” Santi se acercó a la sala y miraba a todos lados, cómo si jamás hubiera oído algo similar y se contoneaba de lado a lado .

Para ese entonces comenzamos a cantarla algunos en esa sala, al darnos cuenta que Santi respondía con efectividad a calmarse con la canción me dio gusto y sentí orgullo que un niño tan pequeño se sintiera tan feliz oyendo eso, obviamente mi cuerpo ya estaba cubierto de piel de gallina. Ya hacíamos air guitar en la tercera parte o parte del solo de guitarra y entonces comienza la parte operística, la más divertida de cantar haciendo voces y aunque cantes horroroso como dije, siempre es muy entretenido cantarla, ya parecíamos coro y Santi aplaudía y bailaba y pensé, ok, cuando lleguemos a la parte del rock Santi va a perder la cabeza… y pues todos la perdimos con él. “so you think you can think you can stone me and spit in my eyeeeeee?” para la coda ya habíamos algunos adquirido un humor bastante a gusto, un cierto tipo de trance de procesión religiosa. Los ánimos eran tranquilos y más divertidos entre todos. Santi se tocaba el estomago y escuchaba con una dicha envidiable la canción. Qué ganas de volver a sentirme así!- pensé-  Qué ganas de volver a sentir esa especial emoción al escuchar una gran canción por primera vez, de sentirme niña de nuevo… y me di cuenta que ya me sentía así, que siempre me he sentido así, porque cuando disfrutas de una canción que te encanta , de un sentimiento poderoso, de una obra de teatro, inmanente obra pictórica o una buena conversación inclusive te sientes cada vez más vivo y eso es combustible para el alma.

La nostalgia vive en todos nosotros y mientras mas viejos somos más intensa se pone. “Antes si se quería la gente, mira que seguridad había antes, antes todo era mejor etc.” Lo importante es que no andemos diciendo “en mis tiempos” o sintamos que todo era mejor antes porque todas las épocas tienen su encanto, todo tiene su tiempo y su razón de suceder y a veces se nos olvida que el mundo no gira alrededor de nosotros o que está destinado a ir en nuestro favor siempre. Concentrarnos en vivir el hoy y disfrutar de lo que pase es una parte importante para ser feliz y no estar siempre anhelando el pasado y sus contextos. Por supuesto que yo extraño cosas de mi pasado, pero al hacer esto estamos evitando el presente y estos momentos pronto son el pasado y te das cuenta que no estaba todo tan mal. Yo creo firmemente que como Freddie no habrá nadie más grande ni más talentoso, y eso es parte de mi aferre al pasado a la nostalgia que me mueve para seguir escribiendo cosas como esto sobre el pasado, sobre experiencias que ya no son porque está imposible ir a la par de tiempo.

En el momento que me di cuenta de esto me volví a sentir teenager o más joven y creo que esta es la parte que nos nutre de la nostalgia. Sentir que se eriza la piel y que la garganta se hace un nudo, aire en el estomago y que se esboce una sonrisa en la cara en cualquier momento que recuerdo una canción de Queen me hace sentir viva y eso es algo que no cambio por nada. Happy birthday star, long live the King, lover of life, singer of songs.


Enchanted Forest Gathering 2017

How would you dance if you were a jellyfish?

Written by John Karlo Torres
Photos by Edward Clynes

"Jellyfish or jellies are softbodied, free-swimming aquatic animals with a gelatinous umbrella-shaped bell and trailing tentacles... Jellyfish are found in every ocean, from the surface to the deep sea... Jellyfish have been proven to be the most energy efficient swimmers of all animals." - Thank you Wikipedia, i'll get back to this. 

This year at Enchanted Forest I wanted to do things a bit differently. I have been going to festivals for almost a decade and it wasn't until recently that I started to notice the amount of time, love, and effort that goes into creating a great gathering full of intention, music, art, movement, and conscious living. As a glitter-seasoned participant of this community, I wanted to meet and highlight the magical ingredients that make Enchanted Forest Gathering, well, enchanted. 

Before I introduce you to some of my favorite wondrous Jellies, I want to point out that this year was amazing! There is nothing quite like getting to dance my ass off to Tipper, The Polish Ambassador, Tokimonsta, Psy Fi, Opiuo, Soohan, Space Jesus, and DJ Dragonfly all in the same weekend. All the environments were top notch, plush spaces to recharge, let loose, bask, fuel up, and indulge in the many splendors only a festival environment can bring you. This oak forest was truly magical bringing forth every night with a sacred fire that lasted 'til dawn and welcoming mornings with great musical sunrise sets by Kalya Scintilla and Whitebear. One of my highlights this year was the Saucy Spa sauna where I made some amazing nakey friends melting into softened puddles after long hours of movement.

Now onto the fun stuff, the Jellies! You may be wondering, "What's up with this jellyfish business?" I'm glad you asked. Long ago when I lived in Barcelona, my friend and I would get drunk and chalk the cobblestone streets with, "Como bailarías si fueses una medusa?" - How would you dance if you were a jellyfish? We made a ton of friends by asking random strangers this question and we realized, no two Jellies were alike, not even twin Jellies. So I wanted to try an experiment and ask this question to the lovely people who contributed to Enchanted's magic this year. Here are the ingredients for a saucy good time: 


These Jellies are the bones and brains that real jellyfish  only dream of. Without the heart and dedication of staff and volunteers there would be no place to call home, no vision to execute, and no gathering at all. Thank you for coming in weeks early to build, and leaving weeks later to tear down. Let's see how this Jelly gets down!

Staff - Megan Pru - Hails from Boise, ID


These Jellies are delicious! Wait, don't eat the jellies or you will swell up like a ballon! There was so much yummy food and amazing vendors. I was looking for some MAJOR greens and lovely Devin working at Imlak'esh Organics helped me navigate the open waters to the most nourishing superfood bowl of my dreams. Also, when I was feeling really shitty after a long night and needed a serious boost, Sarah, Bee, and M'fon with Asana Foods brought me back to life with Açaí bowls made for the gods. Thank you vendors for allowing me to camp light and supercharge my body. These Jellies are #PlantPowered!

Vendor Crew - Devin - Hails from Napa, CA

Asana Foods - San Diego, CA - @asanafoods
Sarah, Bee, M'fon - @waveojoy


To stay in touch with the Enchanted Forest Gathering visit


There is never a shortage of amazing yoga, workshops, and movement classes at Enchanted. This aspect of festival life has to be my favorite ingredient. There is so much knowledge, wisdom, practice, and energy available to all participants and I can't stress enough taking the time to engage with workshops and classes at festivals. Partying is a great time and dancing is essential for my experience but what I learn in workshops really funnels into my everyday life. Thank you teachers for all your lessons and wisdom. Turn that Jelly into jam!

Tai Chi - Sundar - Hails from Alicante, Spain

Festival Herbal First Aid - Heidi Garrett - Hails from Concord, NC


I have recently been receiving more body work and healing services at festivals and it has been AMAZING. There is nothing like getting a deep tissue massage or acupuncture in the middle of an oak speckled forest. Considering all the walking, yoga, dancing, and general buffoonery that is going on, it is a real treat to get body work done mid-festival. I was so happy to meet Nik who did some great deep tissue work on my back when I was feeling pain from too much fun. Thank you healers for putting us back together and keeping us movin'! This Jelly is elevating!

NiK Kurtz - Hails from La Honda, CA


Enchanted Forest Gathering 2017 was my first ever solo festival. It was such a special experience and I made so many new friends that I get to group text with and hang out with all the time now. The best part of the Enchanted family is all the beautiful people. I am pretty lucky that all the ingredients got real mixed in this year for me and I met so many amazing people who contributed to making fairytale magic in the forest. This super cool Jelly here is Sari. We did a lot of hanging out at her WooWoo Pocket Photo Booth and bopped around dancing, laughing, and making puddles of friends. This Jelly is on it's way to being a STARfish.

WooWoo Pocket Photo Booth - Sari - Hails from Denver, CO

So you see, our Enchanted Jellies are softbodied, free-spirited land animals with creative, human-shaped hearts and arms for tentacles... these Jellies are found in every environment, from the mountains to the sea... they have been proven to be the most energetic loving dancers of all animals.

See you Jellies later!

John Karlo - Hails from Boyle Heights, CA

John Karlo - Hails from Boyle Heights, CA