On July 10th, Aesop Rock returns with his sixth studio album, Skelethon, via Rhymesayers. To support the release, the New York hip-hop artist and producer will hit the road for a slew of dates alongside Rob Sonic and DJ Big Wiz. Check out the full itinerary below, right after a stream of Skelethon single, “Zero Dark Thirty”.

Aesop Rock 2012 Tour Dates:
05/27 – Shakopee, MN @ Soundset Festival
07/13 – Los Angeles, CA @ El Rey Theatre
07/15 – San Francisco, CA @ The Fillmore
07/19 – Portland, OR @ Wonder Ballroom
07/20 – Vancouver, BC @ Venue
07/21 – Seattle, WA @ Seattle Block Party
07/23 – Salt Lake City, UT @ In The Venue
07/24 – Denver, CO @ Summit Music Hall
07/27 – Madison, WI @ Barrymore Theatre
07/28 – Chicago, IL @ Metro
07/30 – Toronto, OT @ Mod Club
07/31 – Montreal, QB @ Corona Theatre
08/02 – Boston, MA @ Paradise Rock Club
08/03 – New York, NY @ Irving Plaza
08/04 – Philadelphia, PA @ Union Transfer
08/05 – Washington, DC @ 9:30 Club
08/07 – Atlanta, GA @ The Loft
08/09 – Dallas, TX @ Granada Theater
08/10 – Houston, TX @ Fitzgerald’s
08/11 – Austin, TX @ Mohawk
08/13 – Tucson, AZ @ Rialto Theater
08/14 – Tempe, AZ @ Marquee Theater
08/15 – San Diego, CA @ Belly Up

Indie rap guru Aesop Rock keeps it simple in the music video for “Zero Dark Thirty”, dropping verses while the wall he sits against is painted over and over again in superfast time-lapse fashion. Uncomplicated premise aside, there’s loads of subtext to be found, like how Aesop’s still in the streets, or how regardless of the way things change around him, he’s the one stoic constant. That, or the man just really loves him some mural art. Watch the video below.

Aesop’s first album in five years, Skelethon, will hit stores on July 10th via Rhymesayers.

Seattle’s annual Capitol Hill Block Party takes place July 20-22nd in the Capitol Hill neighborhood. Highlighting the initial lineup are Neko Case, Major Lazer, Diplo, Aesop Rock with Rob Sonic and DJ Big Wiz, Cloud Nothings, Grimes, Youth Lagoon, Porcelain Raft, Thee Oh Sees, Twin Shadow, Fitz and the Tantrums, Doomtree, Absolute Monarchs, Crystal Stilts, Father John Misty, Trust, Light Asylum, Phantogram, and Spoek Mathambo.

Additional acts will be revealed in the coming weeks. In all, the festival will feature 120 acts playing across six stages during the three day event.

Three-day passes are now available via Stranger Tickets.

This week offered up a bunch of satisfying singles, so it was a little more challenging than usual to sift through it all and come up with just 10 favorites. However, we think we done good with the following selections, what with it featuring everyone from Aesop Rock to Yuck to Frank Ocean. Until next time, enjoy.

A Place to Bury Strangers – “Burning Plastic”

When tragic things happen, society takes to art. Brooklyn-based label Famous Class is doing just that with their new 7″ series, honoring their recently passed partner Ariel Panero. The first of those slabs features Brooklyn shoegazers A Place to Bury Strangers contributing a previously unreleased track called “Burning Plastic”. Stuttering percussion, thrumming bass tones, and popping notes underscore vocalist Oliver Ackermann intoning blithely over the top. The thing rumbles and rushes forward for three minutes, a powerful burst of jagged edge rock ‘n’ roll. While the stream here is free, 100% of the proceeds for the actual 7″ go to Ariel Panero Memorial Fund at VH1 Save the Music, so interested listeners should spend with their heart. -Adam Kivel

Aesop Rock – “Zero Dark Thirty”

Aesop Rock (less well known as Ian Matthias Bavitz) hasn’t released an LP since 2007′s well-received None Shall Pass. After that long absence, he’s finally back with the upcoming Skelethon (due July 10 via Rhymesayers), and you can get a cut from it early in the form of “Zero Dark Thirty”. A chopped sample of a man saying what sounds like “they did not know how long they’d been there” leads into a dark, insistent beat built with twinkly synth sounds, scuzzy bass, and scratching. Standout non sequiturs like “I spent a couple groundhogs days with a changeling” tumble out by the handful, proving that the New Yorker is back at his old, complex, twisted form. -Adam Kivel

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Big K.R.I.T. – “Sideline”

Recorded during the sessions for his great new 4evaNaDay mixtape, the self-produced “Sideline” finds Big K.R.I.T. rapping hard while still keeping a cool head. Built around wistful Rhodes keyboards and stuttering drums, the track comes together like something from the Roots’ undun infused with the cozy Southern aesthetic K.R.I.T.’s mastering further and further. One could say the metaphor of the chorus is a little hackneyed, but really, it’s best to just enjoy witnessing the streak this guy is on. -Mike Madden

Black Lips – “Dance with You”

2011′s Arabia Mountain proved to be a major high point in Atlanta “flower punk” rockers Black Lips’ discography. The mildly psychedelic 60′s sound is exemplified in their new single “Sick of You”, but the B-side to that new release equals the A. “Dance With You” welds two distinct sounds, the verses built on a jaunty noir bass-line, and the chorus finds guitarists Cole Alexander and Jared Swilley wild-eyed and shouting the title over waves of cymbals and chords. As if that weren’t enough, stay tuned for the freakout that closes out the track, the wild heat radiating out in spirals. -Adam Kivel

Black Lips – “Dance With You”

Death Grips – “Burning Plastic”

As Sacramento’s Death Grips come closer to the release of their upcoming The Money Store LP, out April 24 via Epic, what rap scribe Brandon Soderberg wrote a while back still holds true: “[Their music] is Waka Flocka Flame for grad students.” However, while that (mostly accurate) statement was clearly meant as a diss, it’s starting to seem more indicative of what the noisy rap-based (“-based” is key) act is actually trying to do. Waka has really made a name for himself by taking rap near its most intense extreme, and Death Grips seem totally down with doing a similar thing. Played loud enough, their sound hits like a brick to the skull, delightfully and cleverly so.

Case in point: “I’ve Seen Footage”, the fourth track released from The Money Store. It’s a relentlessly in-your-face thing, all thudding “Push It”-style low-end and near-shouted WTF free-association (“Armored cop/Open fire, glock/On some kid who stepped so fast”), yet not without a peculiar sense of tunefulness. We get why some write off Death Grips as overly dissonant and a little disorganized, but to take it as much else might be to miss the point. -Mike Madden

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Del tha Funkee Homosapien and Parallel Thought – “If Ya Don’t”

Oaktown’s Del the Funkee Homosapien will turn 40 this August, but judging by “If Ya Don’t”, he’s not about to plateau like rappers around that age tend to do. Backed by Parallel Thought’s lurching, vaguely New York-type beat, Del brings Cali and Def Jux flavors in equal measure, all fitting somewhere on “the funk continuum.”  ”Clap your hands and get into the groove,” he advises. Don’t be afraid to submit. Del and Parallel Thought’s collaborative Attractive Sin LP shows up June 16. -Mike Madden

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Frank Ocean – “PDA”

Before adopting the moniker he goes by now, Frank Ocean was known musically as Lonny Breaux. And even back then, Ocean had some killer pop instincts, as is made oh-so-clear by “PDA”. Originally a reference track for none other than the Backstreet Boys (seriously), the song is a straight-up chart-reaching R&B jam, featuring Ocean crooning about everywhere he wants to display affection to an anon female (the club, the restaurant, the bookstore, the beach, etc.). Not sure how this didn’t make last year’s The Lonny Breaux Collection, but we’re thankful it was released at all. -Mike Madden

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The Henry Clay People – “Twenty-Five For the Rest of Our Lives”

We here at Consequence of Sound are all about Los Angeles four-piece The Henry Clay People and their brand of fuzzy, shout-along pop-punk (that’s what got them CoSigned). If we were to run through the streets en masse, high fiving and having a raucous good time, we’d be doing that along to the title track and first taste of The Henry Clay People’s upcoming  LP, Twenty-Five For the Rest of Our Lives. Guitarist/vocalist Joey Siara’s riffs and impassioned vocals are equally defiant, belting out lines like “we’re not gonna settle down, we’re not gonna settle for anything.” This track is a battle cry, a rallying flag full of ass-kicking distortion and thundering drums. -Adam Kivel

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Island Twins – “The Wolfs Lair”

“The wolfs lair is haunted, you don’t want to be there,” sing brother and sister Erik and Megan Brauer on “The Wolfs Lair”, a cut from their band Island Twins’ upcoming eponymous debut LP (which looks to be due June 1st). The endearingly big, sloppy guitar hooks, sleepily charming vocals, silly lyrical content, and lo-fi buzz draws equally from Pavement and the Unicorns, a strange but giddily sweet mash. If the rest of the album works this well, this summer might have a sleeper hit on its hands. -Adam Kivel

Island Twins – “The Wolfs Lair”

Yuck – “Chew”

Kick-starting with a riff culled somewhere between Nevermind and Slanted and Enchanted, “Chew” signals that Yuck has no reservations about perpetuating the stream of ’90s indie-rock comparisons they’ve received since last year’s self-titled debut. But while the bands most referenced when talking about the London-based four-piece should still include Pavement and Sonic Youth and the like, there are definitely some welcome My Bloody Valentine-style shoegaze undertones to this number. Also, “Yuck” and “Chew” — there’s a decent punchline to be written here. -Mike Madden

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As previously reported, Aesop Rock will release his first solo album in five years, Skelethon, on July 10th via Rhymesayers. Below, stream/download the track called “Zero Dark Thirty”.

Skelethon comprises 15 tracks in all and features cameos from Hanni El Khatib, Kimya Dawson, Rob Sonic, DJ Big Wiz, and Rock’s wife Allyson Baker of Dirty Ghosts.

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Iconic rapper/producer Aesop Rock will return with his first solo LP in five years, Skelethon, on July 10th via Rhymesayers. The follow-up to 2007′s None Shall Pass, the 15-track effort “follows in the wake of several deep personal losses and highlights subject matter that deals with the sometimes-futile ways people try to cope with serious issues,” according to a press release.

The record features cameos from Hanni El Khatib, Kimya Dawson, Rob Sonic, DJ Big Wiz, and Rock’s wifey Allyson Baker of Dirty Ghosts (whose latest LP was produced by Rock). Peep the full tracklist below, followed by the music video for “None Shall Pass”.

Skelethon Tracklist:
01. Leisureforce
02. ZZZ Top
03. Cycles to Gehenna
04. Zero Dark Thirty
05. Fryerstarter
06. Ruby ’81
07. Crows 1
08. Crows 2
09. Racing Stripes
10. 1,000 O’Clock
11. Homemade Mummy
12. Grace
13. Saturn Missiles
14. Tetra
15. Gopher Guts

Dirty Ghosts’ producer (and Baker’s husband) Aesop Rock does a great job of filtering the several different styles on display here into one mostly cohesive cluster of tracks, something a lesser talent might have left feeling more scattershot. Things are the most interesting when the producer’s hip-hop background takes a prominent seat in the blend. The funky, electronic “Steamboat to Concord” has Baker singing alone over cold, dry drum and turntable loops. Her vocals are the most organic piece of the song.

“Shout It In” is a similarly digital, New Wave-y jaunt, with her delivery standing out stronger than it does elsewhere on the record. “Battle Slang” rides the samples hard, beginning with a police siren before coasting on background vocals from what sounds like a children’s choir.

Much of the record, however, is more straightforward riff ‘n’ rumble rock. Of these, “19 in ’71” is the highlight, with a propulsive drumbeat and crunching guitar that helps push Baker’s growl into Joan Jett territory. Unfortunately, little of the rest is catchy enough to embed itself in your mind after a handful of spins. Though she is getting close, Baker isn’t an engaging enough singer yet to carry the lesser songs on her vocal skills alone.

Essential Tracks: “Steamboat to Concord”, “19 in ’71”

L.A. emcee Busdriver will drop his ninth studio album, Beaus$Eros, on February 14th via Fake Four/Temporary Whatever. In addition to the album itself and other assorted goodies, Beaus$Eros pre-order packages include a limited-edition 7″ single featuring the track “Superhand’s Mantra (Fuck Us All)”, a collaboration with legendary NYC rapper/producer Aesop Rock. The two MCs, known for lighting quick delivery overflowing with wit and chutzpah, go off on the mic to a frantic electro beat that is a mish-mish of random noises, lopsided effects, and loads of treble. Stream it now below.

Pre-order your copy of Beaus$Eros here. Below is the album tracklist followed by Busriver’s upcoming tour dates.

Beaus$Eros Tracklist:
01. Utilitarian Uses of Love
02. Bon Bon Fire
03. Kiss Me Back to Life
04. You Ain’t OG
05. No Blacks No Jews No Asians
06. Picking Band Names
07. Beaus & Eros
08. Feelings
09. Ass to Mouth
10. Electric Blue (feat. Sierra Cassidy, Mike Ladd, Joelle Phuong Minh Le)
11. Here’s To Us
12. Colour Wheel
13. Swandive Into a Drinking Glass
14. Scattered Ashes

Busdriver 2012 Tour Dates:
02/01 – Greeley, CO @ A.F. Rays
02/03 – Fort Collins, CO @ Hodi’s Halfnot
02/04 – Denver, CO @ Marquis Theatre
02/16 – Portland, OR @ Wonder Ballroom # *
02/17 – Seattle, WA @ Tractor Tavern *
02/18 – Bend, OR @ TBA
02/19 – San Francisco, CA @ Slim’s *
02/21 – Los Angeles, CA @ The Echo %
03/14-17 – Austin, TX @ South by Southwest

# = w/ The Coup
* = w/ Buck 65
% = w/ Nocando and Open Mike Eagle

With Binks gone, Baker took the opportunity to continue working with her hubby, rapper and album co-producer Aesop Rock, and reform what would become Metal Moon. With Aesop handling the drum loops and the aim of “putting the disco in discord”, Dirty Ghosts’ debut has a vastly different sound from Baker’s previous work, not leastwise because she’s the singer now and not just a guitarist. “I play so much less guitar now,” she says. “I’m thinking more about songs, and not volume and attack.” That songwriter’s focus appears to have done her well.

Taking influence from acts like XTC and The Police, Dirty Ghosts is all about catchy, genre-mixing tunes with impeccable beats, providing Baker’s voice a perfect pedestal from which to shine. Just take a listen to the lead single, “Shout It In”. The dub-infused funk number thumps along with instantly likable grooves and earnest vocals. It’s so inescapably appealing, you’ll wish it could keep going long after it drops out at the end.

So, while it looks like Baker’s hard work is finally paying off, we’ll have to wait till Last Gang Records drops Metal Moon on February 21st to savor the full fruit of her labors. That is, of course, unless you’ll be around for Dirty Ghosts’ string of Cali dates next year, which includes a stop at Noise Pop. See the tracklisting, tour schedule, and check out “Shout It In” below.

Dirty Ghosts – “Shout It In”

Metal Moon Tracklist:
01. Ropes That Way
02. Shout It In
03. Surround The Controls
04. Battle Slang
05. No Video
06. Katana Rock
07. 19 in ’71
08. Steamboat to Concord
09. Pretty Face
10. Beast Size

Dirty Ghosts 2012 Tour Dates:
01/19 – San Francisco, CA @ Knockout
01/24 – San Francisco, CA @ Casanova (DJ SET)
02/23 – San Francisco,CA @ Noise Pop Festival
02/24 – Los Angeles, CA @ Bootleg Theater
02/25 -  San Diego, CA @ Bar Pink
02/26 – Costa Mesa, CA @ Detroit Bar

When I reached the venue, which is located about 20 minutes north of San Diego by car, I asked around about the status of TMU for the show. No one had any answers, other than to say that they had canceled and that promoters had switched the opening acts (Yak Ballz was the replacement).  I asked the DJ that was warming the crowd up, DJ Artistic from San Diego, and he informed me that Gift of Gab had broken his leg but didn’t have any more information about the situation. He directed me to DJ Big Wiz, Aesop Rock’s touring DJ, who told me that it was indeed a foot that Gab had broken and it happened in mid-August, a few days before the band was to begin their 13-city tour.  “It’s real unfortunate because we were looking forward to having them on the tour,” said the turntablist.

Even though this was devastating news, since I was previously only able to catch a teaser of TMU in a short set at Bonnaroo 2007, I decided to put this behind me and to look forward to catching a couple new opening acts that I have not yet heard, plus Aesop Rock, one of the most prolific emcees in rap music today.

First up was Grayskul, a Seattle-based rap duo on the Rhymesayers Entertainment label. I have been to the Belly Up more than 100 times since I moved to San Diego nearly a decade ago and it’s pretty rare that such a big crowd comes so close to the stage for the opening act, especially if it isn’t a big-name. Emcees Onry Ozzborn and JFK seemed to appreciate the crowd and looked happy to be there. Their short set was dark in theme and they were decent enough lyricists. Even though the crowd was larger than usual for the opener, they still needed a bit of prodding from Grayskul to get involved in the show (see: ‘Throw your hands in the air, and wave ‘em like ya just don’t care’). They finished off with their new single, “Missing,” which was very good. Before they took the stage, they had their video for the song playing on the screen towards the back of the stage. You can see the video here. Their style reminded me of a less-gritty Jedi Mind Tricks, although they are undoubtedly more rough-around-the-edges than the rap veterans.

Next up was Yak Ballz, who despite a name that makes my stomach turn, did a good job of warming the crowd up for Aesop. The independent rapper from Queens, New York, has been making music since the late 1990s and is an original member of The Weatherman and has collaborated with many other Def Jux recording artists. His set was decent, although I preferred Grayskul as far as the openers went. Noticeably, the crowd was getting a bit larger during his set and there were layers of excitement for the show: the fans up front were enthusiastic and singing along, the middle of the crowd seemed mildly interested while those in the back were drinking, socializing and trying to get the attention of the opposite sex.

After the set, the DJ started to get the crowd hyped by playing old school jams from Redman, NWA, Cypress Hill and Souls of Mischief. Although not sold out, the 600-capacity venue seemed almost full in anticipation of the headliner.

DJ Big Wiz took the stage and introduced the Queens-native headliner, who is currently touring with fellow Def Jux emcee Rob Sonic. The duo took the stage to a thundering applause and kicked right into high gear, starting the show with “Keep Off the Lawn” the first track off 2007′s None Shall Pass. This was the perfect song to start the show with. The crowd was singing along with the chorus and the guitar riff-laden hooks had heads nodding, even of those in the back. Much of the start of the show was dedicated to None Shall Pass as this is Aesop Rock’s most recent album. He continued with “Coffee,” my personal favorite of his whole catalogue, “Catacomb Kids” (complete with shouts out to New York and an ode to Slick Rick at the end of the song… “Knock ‘em out the box, Aes”), and “The Harbor Is Yours”.

The crowd was definitely getting involved during this portion of the show physically and verbally. Independent hip hop shows are very popular in this area (although the lack of diversity among the crowd, although prevalent at these types of shows all around the country, is almost laughable in San Diego). Aesop Rock also had a night-time set the opening night of Coachella this year, so he definitely gained some extra fans in the area recently.

After performing several songs off his newest album he started to get personal with the crowd and asked if everyone worked that day. I knew what was coming next since I had read E.N. May’s review of the Aesop Rock show in Washington, D.C. on this very Web site in late August. Just like he did at his show in the nation’s capital, he said almost verbatim the same story about manufacturing the stop-release buttons on buses and how that was his worst job. Although most in the crowd don’t know he did the same shtick at previous shows, it bugs me that an artist can’t come up with something original to relate to each crowd before each respective show.

My annoyance quickly evaporated as Aesop launched into “Labor” off 2001′s Labor Days. This is one of his most dynamic songs and it came off great live and the crowd was going nuts. DJ Big Wiz was crafting a hypnotizing beat and even mixed in a break from the movie “9 to 5″ while a picture of Dolly Parton flashed on the screen behind him. Other highlights included “Night Light,” another one of his best off the 2002 EP Daylight, “Daylight,” probably his most recognizable single off the same EP, “Getaway Car” and “Citronella” off None Shall Pass. In the latter song he had the crowd chanting “kill television!” and everyone seemed to really enjoy it. He finished his set with the title song “None Shall Pass” off his latest album and the crowd still reciprocated Aesop’s energy as if this was the first song of the set.

After leaving the stage, the fans were chanting his name and, of course, he came out for an encore in which he performed an improvised version of “Lucy.” After that, Aesop and Rob Sonic left the stage again and the crowd still hadn’t had enough so they came back out with members of Grayskul and Yak Ballz for a blazing freestyle that lasted more than 10 minutes. All the emcees looked like they were having fun and they were prodding each other during their verses. Aesop, at one point, freestyled the line “San Diego translates into whale’s vagina” which had me scratching my head and snickering at the same time. Aesop Rock is one of the most compelling and outrageous lyricists in hip hop and, truthfully, a lot of his lyrics go over my head, even though they sound great, along with the slick beats of the production on his work. Maybe the whale’s vagina thing was a metaphor for the war in Iraq. Or maybe he was just talking about a whale’s vagina. I guess I’ll never know.

Overall this was a great show and I was very impressed as this was my fist Aesop Rock live experience. He has one of the most unique voices in hip hop today and I thought his lyrics were very audible live, as opposed to some emcees who can’t keep their breath control once they leave the studio. I would have to say, however, that some of the distinctness of his voice, which makes him such a standout lyricist, in my opinion, was lost during his live show.

On one last note, Rob Sonic, who is joining Aesop throughout this tour, did a tremendous job and definitely held his own next to one of the best in the business. Many times a supporting rapper is there in a backup role and to play the cheerleader for the crowd. However, I would see him again if he came through town on his own, and I will seek out and become more familiar with his work. Also, DJ Big Wiz was incredible and his solo was a highlight of the show. I have been spoiled lately to see a lot of festival hip hop shows complete with live bands and sometime when it is just rappers and a DJ on stage I can get bored. However, a slick DJ can really make a show special and that was definitely the case on Wednesday night in Solana Beach.

What separates a good hip-hop show from a great one is the energy of the crowd. What could have been an amazing, hands in the air, head bouncing time, turned out to reflect the over worked mood of the night. Aesop brought light to this at one point when he asked the audience “who worked today?” Everyone cried out, at which point he surveyed again, “Now who hates their job?” The club grew even louder.

Opening with the first track off of None Shall Pass, “Keep Off the Lawn” ushered in a night that would play mostly off the latest record in which Aesop has been supporting for almost a year now. The rhymes flowed smoothly over the familiar beats as Big Wiz threw in his improvisational skills when needed, even getting an extended solo at the end of the night in which he created a beat from scratch, layering different pieces together for one large climax that was very impressive. Aesop and Rob’s lyrics were speedy yet audible, never tiring as they ran through “Coffee”, my personal favorite “Catacomb Kids”, and the ode to the pirate life “The Harbor is Yours”. It was at this song break that Aesop showed his love for the mid week hard working folks that made it out. He asked around for who had the worst job, then related by mentioning how he had worked as a button maker, manufacturing the stop-release buttons on buses. It was also a special show for him being that his parents made the trip out, at which point he apologized for all the cursing both before that point and after. It gave a great sense of humanity to a man that could have otherwise gone the common route of egomaniac.

After about six or so songs, Aesop ventured deeper into his catalogue hitting tracks from his 2001 record Labor Days, as well as other previous albums. One earlier song being the deeper and more thought provoking “Daylight”. Opener, and Queens, NY native Yak Ballz made an appearance on “Getaway Car”, adding his own explosive personality to the already magnetic track. By this point the energy in the audience had stepped it up a notch as proper liquid motivation had probably set in by that point. As with all shows however, when alcohol and high energy mix, fights happen. There were a few quick moments of violence in the front row that was just as soon squashed thanks to those patrons who stepped in to keep the peace.

After “Fumes”, Aesop showed off his lyrical and a cappella skills for a moment that allowed us to focus on his words and be reminded why we were all there. Aesop, out of all of underground hip hop today, uses some of the most unique literary devises and metaphors with in his rhymes that make you scratch your head until his point of view sinks in. It all makes sense in some strange way. “Citronella” brought back the beat and had everyone yelling out “KILL TELEVISION!!!”. To close out the evening, “None Shall Pass” rang out as the crowd’s favorite, and one last time got the floor jumping and calling the chorus back.

Just as Aesop and crew walked off, the nearly packed audience wanted more and called the man back on stage. Requests were yelled out, and Aes obliged with an improvised rendition of “Lucy”. It was a great night for hip-hop, but as I looked around the 9:30 Club throughout the show, I couldn’t help but notice the dead faces from all but those on the floor. This put a damper on the possible energy that could have come from the stage, an energy that I know is there, but was relying on a little more feed back from the fans. However, Aesop will return, as he always does to his favorite club, so hopefully next time everyone gets some “Coffee” before hand.

Special thanks to photo contributions by Priscilla Raba.