The factory-made magnificence of Los Angeles’ Secret Project in 22 photos

In an effort to circle back to its origins in hosting historic parties in the streets of Los Angeles, Insomniac created Factory 93 – a space and project that keeps its feet in the warehouse with its eyes and ears on the underground.

A far cry from the mainstream sound and color of EDC or Beyond Wonderland, the debut of Factory 93’s music and art festival, Secret Project, has been heralded as a total success. Gauging the reaction, it seems reasonable to assume that Secret Project may very well blossom into Los Angeles’ flagship underground dance music festival in the near future.

Taking place on Saturday, October 13 and Sunday, October 14 in Chinatown, the two-stage event arranged for some of clubland’s most venerable names to head up this rousing exhibition of electronic excellence.

Following a massive rainstorm the day before, a wonderfully tinted grey overcast hung over the festival on Saturday. This unexpected yet wholeheartedly welcomed forecast called for a soundtrack of eccentric house, off-kilter electro, lethal techno and triumphant disco tunes.

Roman Flügel, DJ Tennis, Bicep (live) and Tale Of Us kept the crowd bright and bustling at the Naud Street Stage – an impressive invention of stacked shipping containers, speakers and LED pannels that fit the festival’s sound and aesthetic to a tee. Trikk, Pachanga Boys, Motor City Drum Ensemble and Bonobo took the lead over the event’s Spring Street Stage – pacing back-and-forth between comforting grooves and hyperactive dancefloor bangers throughout the night.

As droves of the city’s involved dance music community made their way back to the event the following day, standout performances from the likes of Jeniluv, Octo Octa, Peggy Gou, Marcel Dettmann, Stephan Bodzin (live) and Ame b2b Dixon were greeted with a perpetual shower of intensity and gratitude. The fact that many of these artists seldom visit Southern California had not been lost on the crowd and they were sure to make the most of it.

Ending the show with an outstanding detonation of dancefloor rapture, the universally adored Carl Cox concluded the event with a two-hour set of fervent selections and dexterous mixing.

Despite its many successes, the festival’s incredibly high prices were a major turn off for much of the city’s local scene. However, the results of Secret Project’s first undertaking can be recognized as an honest and judicious maneuver to further fuel Los Angeles’ current underground music renaissance. All in all, Secret Project can approach its next edition with the knowledge that Los Angeles’ dance music community will more than likely have their back.

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Pet Sematary to close SXSW 2019 Film Festival

Sometimes dead is … best saved for last.

South by Southwest has finalized their film programming with the announcement of their Midnighters, Festival Favorites, and other flavorful additions. Among the many highlights is Paramount’s Pet Sematary closing out the festival.

“Programming the SXSW Midnighters section is always a favorite part of my job, and this year was no exception,” said Jarod Neece, SXSW Senior Film Programmer, in an official statement. “We get to peek into the collective consciousness of the world of genre filmmakers working today.

“This year’s selections are a mix of horror, thriller, sci-fi and fantasy with a good dose of feral children, haunted houses, extraterrestrial creatures and the undead to creep out SXSW audiences late into the night,” he continued.

Kevin Kolsch and Dennis Widmyer’s reimagining of Stephen King’s 1983 novel will serve as a fitting bookend to the festival, seeing how Jordan Peele’s Us will tip off the festivities a week prior. It’s also something of a sentimental graduation for the two filmmakers as their breakthrough film, Starry Eyes, originally made its world premiere at the festival’s 2014 installment.

Other highlights include Lupita Nyong’o’s Little Monsters, Alex Ross Perry’s Her Smell, highly anticipated documentary I Am Richard Pryor, Alex Gibney’s The Inventor: Out for Blood in Silicon Valley, and a work-in-progress screening of Kumail Nanjiani’s Stuber.

Consult the full list of programming below, in addition to the previously announced lineup of films. Rest assured, Consequence of Sound will be there all week, providing endless coverage, from reviews to interviews to episodes by our weekly Stephen King podcast, The Losers’ Club.

MIDNIGHTERS

Scary, funny, sexy, controversial – ten provocative after-dark features for night owls and the terminally curious.

7 Reasons to Run Away (From Society) (Spain)
Directors: Esteve Soler, Gerard Quinto, David Torras, Screenwriter: Esteve Soler
7 Reasons to Run Away takes a critical look at today’s society and puts the values it transmits into question. Cast: Sergi Lopez, Emma Suarez, Lola Dueñas, Alex Brendemuhl, Alain Hernandez, Francesc Orella (World Premiere)

Body At Brighton Rock
Director/Screenwriter: Roxanne Benjamin
An inexperienced park employee discovers a body on a remote mountain trail and must stay with it overnight in the wilderness, facing her darkest fears in the process. Cast: Karina Fontes, Casey Adams, Emily Althaus, Brodie Reed, Martin Spanjers, John Getz, Miranda Bailey, Susan Burke, Matt Peters (World Premiere)

Boyz in the Wood (United Kingdom, U.S.)
Director/Screenwriter: Ninian Doff
When four city-bred schoolboys embark on a traditional Duke of Edinburgh Award camping trip that takes them deep into the Scottish Highlands, they find themselves chased by a deranged masked couple with aims of culling this teenaged “wildlife”. Cast: Eddie Izzard, Kate Dickie, James Cosmo, Kevin Guthrie, Jonathan Aris, Alice Lowe, Samuel Bottomley, Viraj Juneja, Rian Gordon, Lewis Gribben (World Premiere)

Daniel Isn’t Real
Director: Adam Egypt Mortimer, Screenwriters: Brian DeLeeuw, Adam Egypt Mortimer
Troubled Luke suffers a violent family trauma and resurrects his childhood imaginary friend to help him cope. Charismatic and full of manic energy, “Daniel” helps Luke to achieve his dreams, before pushing him into a desperate fight for his own soul. Cast: Patrick Schwarzenegger, Miles Robbins, Sasha Lane, Hannah Marks, Mary Stuart Masterson (World Premiere)

Darlin’
Director/Screenwriter: Pollyanna McIntosh
In this visually inventive sequel to The Woman, a feral teenage girl is taken into strict Catholic care and prepared for her First Holy Communion. Cast: Lauryn Canny, Bryan Batt, Nora-Jane Noone, Cooper Andrews, Pollyanna McIntosh (World Premiere)

Girl On The Third Floor
Director/Screenwriter: Travis Stevens
Don Koch tries to renovate a rundown house with a sordid history for his growing family, only to learn that the house has other plans. Cast: Phil Brooks, Trieste Kelly Dunn, Sarah Brooks, Elissa Dowling, Karen Woditsch, Travis Delgado, Marshall Bean, Anish Jethmalani, Bishop Stevens, Tonya Kay (World Premiere)

I See You (United Kingdom, U.S.)
Director: Adam Randall, Screenwriter: Devon Graye
Strange occurrences plague a small town detective and his family as he investigates the disappearance of a young boy. Cast: Helen Hunt, Jon Tenney, Judah Lewis, Owen Teague, Libe Barer, Greg Alan Williams, Erika Alexander, Allison King (World Premiere)

Snatchers
Directors: Stephen Cedars, Benji Kleiman, Screenwriters: Stephen Cedars, Benji Kleiman, Scott Yacyshyn
After a popular teen has sex for the first time, she finds herself pregnant — with an alien. With no one to turn to but her nerdy ex-best-friend, she’ll have to risk her neck — and social status — to fight the freaky extraterrestrial threat. Cast: Mary Nepi, Gabrielle Elyse, Austin Fryberger, JJ Nolan, Nick Gomez, Ashley Argota, Amy Arburn, Amy Landecker, Rich Fulcher (World Premiere)

Tales from the Lodge (United Kingdom)
Director/Screenwriter: Abigail Blackmore
When a group of old friends spend the night telling stories of murders, ghosts, zombies and possessions they soon become aware of another tale unfolding around them. And this one is real. Cast: Mackenzie Crook, Dustin Demri-Burns, Laura Fraser, Sophie Thompson, Johnny Vegas, Kelly Wenham (World Premiere)

Tone-Deaf
Director/Screenwriter: Richard Bates, Jr.
Two generations collide with terrifying results in this home invasion horror film that is also a darkly comedic critique of the bizarre cultural and political climates in the United States. Cast: Amanda Crew, Robert Patrick, Kim Delaney, Hayley Marie-Norman, Ray Wise, Johnny Pemberton, Keisha Castle-Hughes, AnnaLynne McCord, Nelson Franklin, Ronnie Gene-Blevins (World Premiere)

FESTIVAL FAVORITES

Acclaimed standouts and selected premieres from festivals around the world.

Apollo 11
Director: Todd Douglas Miller
A look at the Apollo 11 mission to land on the moon led by commander Neil Armstrong and pilot Buzz Aldrin.

Aquarela (Germany, United Kingdom)
Director: Victor Kossakovsky, Screenwriters: Victor Kossakovsky, Aimara Reques
Aquarela is a deeply cinematic journey through the transformative beauty and raw power of water. Filmed at 96 frames per second, it’s a visceral wake-up call that humans are no match for the sheer force and will of Earth’s most precious element.

Greener Grass
Directors/Screenwriters: Jocelyn DeBoer, Dawn Luebbe
A deliciously twisted comedy set in a demented, timeless suburbia where every adult wears braces on their straight teeth, couples coordinate meticulously pressed outfits, and coveted family members are swapped in more ways than one in this competition for acceptance. Cast: Jocelyn DeBoer, Dawn Luebbe, Beck Bennett, Neil Casey, Mary Holland, D’Arcy Carden, Dot-Marie Jones, Janicza Bravo, Jim Cummings, Lauren Adams

Her Smell
Director/Screenwriter: Alex Ross Perry
A self-destructive punk rocker struggles with sobriety while trying to recapture the creative inspiration that led her band to success. Cast: Elisabeth Moss, Cara Delevingne, Dan Stevens, Amber Heard, Agyness Deyn, Gayle Rankin, Ashley Benson, Eric Stoltz, Dylan Gelula

The Hottest August (Canada, U.S.)
Director: Brett Story
A film about climate change, disguised as a portrait of collective anxiety.

The Inventor: Out for Blood in Silicon Valley
Director/Screenwriter: Alex Gibney
Elizabeth Holmes was once the world’s youngest self-made billionaire, heralded as the next Steve Jobs. Then, overnight, her $10-billion-dollar company dissolved. The rise and fall of Theranos is a window into the psychology of fraud.

Knock Down the House
Director: Rachel Lears Screenwriters: Rachel Lears, Robin Blotnick
Four women run for Congress, overcoming personal adversity to battle powerful political machines across the country. One of their races will change the country forever.

Little Monsters (Australia)
Director/Screenwriter: Abe Forsythe
A washed-up musician teams up with a plucky schoolteacher and a despicable kid’s show personality to protect a Kindergarten class from a sudden outbreak of zombies. Cast: Lupita Nyong’o, Alexander England, Josh Gad

Maiden (United Kingdom)
Director/Screenwriter: Alex Holmes
In a moving portrait of resilience, Alex Holmes chronicles the unprecedented journey of 24-year-old Tracy Edwards and the first all-female sailing crew to enter the Whitbread Round the World Yacht Race.

The Mountain
Director: Rick Alverson, Screenwriters: Rick Alverson, Dustin Guy Defa, Colm O’Leary
A well known physician, in the decline of his career, takes a young man on a desperate tour of rural mid-century hospitals, advocating for a new controversial procedure. Cast: Tye Sheridan, Jeff Goldblum, Hannah Gross, Denis Lavant, Udo Kier

Pahokee
Directors: Ivete Lucas, Patrick Bresnan
In a small agricultural town in the Florida Everglades, hopes for the future are concentrated on the youth. Four teens face heartbreak and celebrate in the rituals of an extraordinary senior year.

Raise Hell: The Life & Times of Molly Ivins
Director: Janice Engel, Screenwriters: Janice Engel, Monique Zavistovski
Six-feet of Texas trouble, Molly Ivins, a legendary journalist and a warrior for the Bill of Rights, fought Good Old Boy corruption with razor-sharp wit that left both sides of the aisle laughing and craving ink in her columns. Raise Hell y’all!

Sister Aimee
Directors/Screenwriters: Samantha Buck, Marie Schlingmann
After faking her own death, America’s most famous evangelist finds herself on a wild road trip towards Mexico, haunted not only by the police but by her own persona. Cast: Anna Margaret Hollyman, Michael Mosley, Andrea Suarez Paz, Julie White, Amy Hargreaves, Macon Blair, Lee Eddy, Blake Delong, John Merriman, Nathan Zellner

Them That Follow
Directors/Screenwriters: Britt Poulton, Dan Madison Savage
Set deep in the wilds of Appalachia, where believers handle death-dealing snakes to prove themselves before God, Them That Follow tells the story of a pastor’s daughter who holds a secret that threatens to tear her community apart. Cast: Olivia Colman, Kaitlyn Dever, Alice Englert, Jim Gaffigan, Walton Goggins, Thomas Mann, Lewis Pullman

The Weekend
Director/Screenwriter: Stella Meghie
A comedian hauls the baggage of her defunct relationship on a weekend getaway with friends, which happens to include her ex-boyfriend and his new girlfriend. Cast: Sasheer Zamata, Tone Bell, Dewanda Wise, Y’Lan Noel, Kym Whitley

Additional names added to previous lineup:

HEADLINERS

Big names, big talent: Headliners bring star power to SXSW, featuring red carpet premieres and gala film events with major and rising names in cinema.

The Curse of La Llorona
Director: Michael Chaves, Screenwriters: Mikki Daughtry, Tobias Iaconis
In 1970s Los Angeles, La Llorona is stalking the night…and the children. Ignoring the eerie warning of a troubled mother, a social worker is soon drawn into a terrifying supernatural realm, with the lives and souls of her own kids at stake. Cast: Linda Cardellini, Raymond Cruz, Patricia Velasquez, Marisol Ramirez, Sean Patrick Thomas, Jaynee-Lynne Kinchen, Roman Christou (World Premiere)

Pet Sematary
Directors: Kevin Kölsch and Dennis Widmyer, Screenwriter: Jeff Buhler
Based on the seminal horror novel by Stephen King. The new Pet Sematary trailer premieres online tomorrow! Click here to be one of the first to see it. Cast List: Jason Clarke, Amy Seimetz, Jeté Laurence, Hugo Lavoie, Lucas Lavoie, John Lithgow

Stuber (Work-in-Progress)
Director: Michael Dowse, Screenwriter: Tripper Clancy
When a mild-mannered Uber driver (Kumail Nanjiani) picks up a cop (Dave Bautista) hot on the trail of a brutal killer, he’s thrust into a harrowing ordeal where he has to keep his wits, his life and his five-star rating. Cast: Kumail Nanjiani, Dave Bautista, Iko Uwais, Natalie Morales, Betty Gilpin, Jimmy Tatro, with Mira Sorvino and Karen Gillan

DOCUMENTARY SPOTLIGHT

Shining a light on new documentary features receiving their World, North American or U.S. premieres at SXSW.

I Am Richard Pryor
Director/Screenwriter: Jesse James Miller
I Am Richard Pryor tells the life story of the legendary performer and iconic social satirist, who transcended race and social barriers by delivering his honest irreverent and biting humor to America’s stages and living rooms until his death at 65. (World Premiere)

Salvage
Director: Amy C. Elliott
The Yellowknife dump, and its massive, unrestricted salvage area, has long played a central role in this remote Canadian city’s civic and social life. Can a colorful group of thrifty locals save it from city bureaucrats determined to close it down? (World Premiere)

State of Pride
Director/Screenwriters: Rob Epstein, Jeffrey Friedman
Fifty years after the Stonewall uprising, Oscar winning filmmakers Rob Epstein and Jeffrey Friedman travel to three diverse communities – Salt Lake City, San Francisco, and Tuscaloosa, Alabama – for an unflinching look at LGBTQ Pride. (World Premiere)

24 BEATS PER SECOND

Showcasing the sounds, culture and influence of music and musicians, with an emphasis on documentary.

Iris: A Space Opera by Justice (France)
Directors: Andre Chemetoff, Armand Beraud
Iris is a film adaptation of Justice’s Woman World Wide live show from 2017-2018, which is widely regarded as the greatest live electronic concert created. Recorded in an empty and invisible space, Iris focuses on the impressive production and music. (World Premiere)

SPECIAL EVENTS

Live soundtracks, cult re-issues and much more. Our Special Events section offers unusual, unexpected and unique one-off film events.

Broad City Finale Screening
Created by, written by and starring Abbi Jacobson and Ilana Glazer, the critically acclaimed Broad City follows Abbi and Ilana as they navigate life in New York, capturing their hookups, relationships, crappy jobs, and, ultimately, their badass friendship. In the final season, Ilana starts her own business and learns about her ancestors, while Abbi turns 30 and…tries to pull off a hat. And finally, we say goodbye to Abbi, Ilana and this iconic series. Join Abbi and IIana for a special sneak screening of the final three episodes of the series. Cast: Abbi Jacobson, Ilana Glazer, Arturo Castro, John Gemberling, Hannibal Buress, Paul W. Downs, Susie Essman.

Cobra Kai Season 2 Outdoor Screening
We are proud to present a special screening of the second season of Cobra Kai, the hit YouTube Premium Original Series, starring Ralph Macchio and William Zabka. Exclusively premiering at SXSW, YouTube and Sony Pictures Television will screen the first two episodes of the second season followed by a Q&A panel with series stars Ralph Macchio (Daniel LaRusso), William Zabka (Johnny Lawrence) and Martin Kove (Kreese) along with the Cobra Kai series creators and executive producers Josh Heald, Jon Hurwitz and Hayden Schlossberg.

Good Omens: The Nice and Accurate SXSW Event
Showrunner and best-selling author Neil Gaiman is joined by director Douglas Mackinnon and cast including Michael Sheen, David Tennant, and Jon Hamm to give attendees the most in-depth look at Good Omens to date and watch never-before-seen exclusive clips from the entire series. The six-episode series coming to Amazon Prime Video is based on the beloved satirical novel Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch by Terry Pratchett and Neil Gaiman. Good Omens is a dark, comedic story set in modern-day Britain that centers on a fussy angel Aziraphale (played by Sheen) and the loose-living demon Crowley (played by Tennant) as they join forces to prevent the coming of the Apocalypse.

NARRATIVE SHORTS

A selection of original, well-crafted films that take advantage of the short form and exemplify distinctive and genuine storytelling.

Bodega
Director/Screenwriter: Rebecca Halfon
A Syrian deli owner and two teen girls with a fake ID find common ground on one winter night in Brooklyn. (World Premiere)

Framework (Switzerland)
Director: Jasmin Gordon, Screenwriter: Julien Bouissoux
It’s summertime in rural France. A charismatic stranger happens upon three teenage boys. He has a gun in his car. Are they ready to go for a ride? (North American Premiere)

Fuck You (Sweden)
Director/Screenwriter: Anette Sidor
Alice is together with Johannes but she doesn’t have enough space to be herself. On a night out with friends, she steals a strap-on and challenges her boyfriend’s thoughts about girls.

Heroines
Director: Katia Badalian, Screenwriters: Sara Bower, Katia Badalian
A young girl with blooming awareness, Nina, interacts with her crass neighbor who explains the tangled world of intimacy and love. Drawing on her own experiences, Nina understands more than she thought.

Incel
Director/Screenwriter: John Merizalde
After countless failed attempts at finding love, a reclusive young man turns to an anonymous community of the “involuntarily celibate” for help, but instead finds himself increasingly pushed towards extremism.

The Jog
Director/Screenwriter: Joseph Lee Anderson
A man gets the news of a lifetime, but his morning jog doesn’t go as planned. (World Premiere)

Lavender
Director/Screenwriter: Matthew Puccini
A young gay man grows increasingly entangled in the marriage of an older couple.

Liberty
Director/Screenwriter: Faren Humes
Alex and Milagros deal with great life upheaval as they prepare to dance at their community’s redevelopment groundbreaking ceremony. (World Premiere)

Little Grey Bubbles (Canada)
Director/Screenwriter: Charles Wahl
Devastated by her best friend’s death, Kim travels from NYC to Canada to attend his funeral. There she meets his family and friends and awkwardly tries to explain how she had never met him in person because their friendship was exclusively online. (North American Premiere)

Lockdown
Directors/Screenwriters: Celine Held, Logan George
Struggling with feelings for her best friend, 14 year-old Marie stages an almost perfect plan.

Manila is Full of Men Named Boy
Director: Andrew Stephen Lee, Screenwriters: Andrew Stephen Lee, Neda Jebelli, Emre Gulcan
An estranged son buys a child that can drink and smoke to impress his father. However, when the patriarch embraces his new grandson as the favorite, what determines who is more valuable of attention? (U.S. Premiere)

May
Director/Screenwriter: Julian Turner
A weary white French professor and a young black drug dealer share an impalpable connection on a single night in Philadelphia. (World Premiere)

Milton
Director/Screenwriter: Tim Wilkime
A guy makes a bad first impression when he meets his girlfriend’s family as they gather at her grandfather’s deathbed. (World Premiere)

Nice Talking to You
Director: Saim Sadiq, Screenwriters: Saim Sadiq, Joseph Capotorto
Two strangers form a silent bond in the world’s loudest city. (World Premiere)

The Orphan (Brazil)
Director/Screenwriter: Carolina Markowicz
Jonathas has been adopted but then returned due to his ‘different’ way. Inspired by true events.

Outdooring
Director/Screenwriter: Maxwell Addae
A young man attends his new nephew’s baby naming ceremony with a plan to steal the money collected from family and friends to run away and keep a deep secret hidden from them. (World Premiere)

Snare (Australia)
Director: Madeleine Gottlieb, Screenwriters: Madeleine Gottlieb, James Fraser
It’s 1997. Distorted guitars rule the world. In an ageing Chinese restaurant, a father and his punk-rock son struggle with their familial roles as they realise they each desperately need something from one other. (World Premiere)

Something Like Loneliness
Directors: Seth Epstein, Ben Epstein, Screenwriters; Seth Epstein, Ryan Dowler
Upstairs-downstairs neighbors barter sounds captured in food storage containers. With the sounds come fragments of past relationships and the hopes and disappointments that remain. (World Premiere)

Stepdaddy
Director: Lisa Steen, Screenwriter: Anna Greenfield
Two estranged friends rediscover their profound incompatibility over dinner, only to learn that the one thing they share might force them together, forever. (World Premiere)

Sundays
Director/Screenwriter: José Andrés Cardona
Jonny teaches Tommy how to drive.

Virgins4Lyfe (Norway)
Director: Thea Hvistendahl, Screenwriters: Sofia Lersol Lund, Thea Hvistendahl
The friendship of two Norwegian girls are put to the test. While one holiday in Southern Europe they both want to explore their own sexuality, but only one of them seem to succeed. (North American Premiere)

Washed Away
Director/Screenwriter: Ben Kallam
A teenage girl in an evangelical church youth group must deal with the fallout when her trust is publicly betrayed. (World Premiere)

Youth (Egypt)
Director/Screenwriter: Farida Zahran
A teenage girl takes a step toward adulthood in contemporary Cairo. (World Premiere)

DOCUMENTARY SHORTS

Slices of life from across the documentary spectrum.

All Inclusive (Switzerland)
Director/Screenwriter: Corina Schwingruber Ilić
Under the spell of mass entertainment on the high seas.

Anas v. the Giant
Director: Adrienne Collatos
What happens when an 18-year-old who thought he had nothing more to lose, becomes embroiled in fake news on Facebook? (World Premiere)

Exit 12
Director: Mohammad Gorjestani
After two tours in Fallujah in the Iraq war, US Marine Roman Baca came home a different person. To deal with the effects of war, Roman turned to an unlikely place, ballet.

Ghosts of Sugar Land
Director: Bassam TariqIn
Sugar Land, Texas, a group of young Muslim-American men ponder the disappearance of their friend “Mark,” who is suspected of joining ISIS.

Guns Found Here
Director: David Freid
A surprisingly non-fictional tragicomedy about how America traces a gun involved in a gun crime back to its owner.

In the Dark
Director: Jessie King
Reading isn’t natural. It’s a struggle for each of us to master, but those with dyslexia fight to read their entire lives. In the Dark is about performance, persistence and Phyllis, a woman in Austin, Texas, who says she can reverse dyslexia. (World Premiere)

Life in Miniature (United Kingdom)
Director: Ellen Evans
A celebration of one woman’s mission to document the everyday, as she carves a place for herself in the precious world of miniatures.

Lowland Kids
Director: Sandra Winther
As climate change erases the Louisiana coast, the last two teenagers on Isle de Jean Charles fight to stay on an island that’s been their family home for generations. (World Premiere)

The Separated
Director: Jeremy Raff
An unflinching look at one family’s experience being forcibly separated at the U.S.-Mexico border.

Trans In America: Texas Strong (United Kingdom, U.S.)
Director: Daresha Kyi
An intimate portrait of Kimberly and Kai Shappley in Texas: a Christian mother rejects her community’s beliefs as her 7-year-old transgender daughter navigates life at school, where she’s been banned from the girls’ bathroom.

The Trial (United Kingdom, U.S.)
Director: Johanna Hamilton
Meet the lawyers tasked with defending 9/11 suspects against the U.S. government.

ANIMATED SHORTS COMPETITION

An assortment of stories told using traditional animation, computer-generated effects, stop-motion, and everything in-between.

The Coin
Director/Screenwriter: Siqi Song
In Chinese New Year holidays, finding the coin inside the dumplings means having a blessed year ahead. A young woman loses a jar on her journey to a new country, which contains the lucky coins she has been collecting growing up. Her new life begins with a search to find the coin. (World Premiere)

Facing It (United Kingdom)
Director: Sam Gainsborough, Screenwriters: Sam Gainsborough, Louisa Wood
As Sean anxiously awaits a meeting in the local pub, he is forced to explore his own unhappy memories and relationships in an evening that will that will leave him changed forever. (U.S. Premiere)

Guaxuma (Brazil)
Director/Screenwriter: Nara Normande
Tayra and I grew up on a beach in the north east of Brazil. We were inseparable. The sea breeze brings me back happy memories.

Je sors acheter des cigarettes (France)
Director: Osman Cerfon
Jonathan, twelve years old, lives with his sister, his mother and also some men. They all have the same face and nest in closets, drawers, TV set… (North American Premiere)

Las Del Diente
Director/Screenwriter: Ana Perez Lopez
Three women discuss the social pressure of having kids while celebrating the uniqueness of their bodies during flamenco covens.

Obon (Germany)
Directors: André Hörmann, Samo (Anna Bergmann), Screenwriter: André Hörmann
Akiko Takakura survived the atomic bombing of Hiroshima – in the midst of total destruction she finds a moment of happiness.

Reneepoptosis
Director: Renee Zhan
Three Renees go on a quest to find God, who is also Renee. As they traverse the great mountains and valleys of Renee, they discover all the joys, mysteries, and sadnesses of being Renee.

Skybaby
Director: Julian Glander
Look at clouds. You’re 12.

Slug Life (United Kingdom)
Director/Screenwriter: Sophie Koko Gate
Tanya has finally created the perfect sexual partner, who happens to be a beautiful giant slug. (North American Premiere)

Wild Love (France)
Directors: Paul Autric, Quentin Camus, Maryka Laudet, Léa Georges, Zoé Sottiaux, Corentin Yvergniauz
Alan and Beverly, away hiking on a romantic getaway, cause the death of a marmot without noticing it. But this incident will not stay unpunished… (U.S. Premiere)

MIDNIGHT SHORTS

Bite-sized bits for all of your sex, gore, and hilarity cravings.

La Bête (France)
Director/Screenwriter: Filippo Meneghetti
A village far away in time and land. Nearby, in a forest thought to be haunted, a child falls into a pit. His grandfather, an old and nearly blind shepherd, tries to convince the villagers to go rescue him, facing the darkness of the night and their. (World Premiere)

Bronzed
Director/Screenwriter: Mike Egan
Neo-sun worshiper Martin prepares to appease the solar Gods with ritual human sacrifice. But first he needs a spray tan. (World Premiere)

Deep Tissue
Director/Screenwriter: Meredith Alloway
A girl orders a special massage. (World Premiere)

The Do It Up Date
Directors: Emily Ting, Andrew Barchilon, Screenwriter: Josh Fadem
Kip and Shayla go on a big date! (World Premiere)

First Kiss
Director/Screenwriter: Emily Hagins
When two anxious teens sneak away from a Halloween party to share their first kiss, they soon realize someone…or something…may be watching them.

How To Be Alone
Director/Screenwriter: Kate Trefry
One woman’s simple, three-step guide to surviving a night on your own. (World Premiere)

It’s Not Custard (United Kingdom)
Director/Screenwriter: Kate McCoid
Louise, a teenager suffering unrelenting acne and continual bullying, is granted a delicious revenge. (U.S. Premiere)

Montana, GA
Director/Screenwriter: Ryan Dickie
In the middle of nowhere, three best friends grow closer when a chill vacation weekend turns supernatural. (World Premiere)

Other Side of the Box
Director: Caleb J. Phillips, Screenwriters; Caleb J. Phillips, Nick Tag
A couple receives a terrifying gift from an old friend. (U.S. Premiere)

Right Place, Wrong Tim (United Kingdom)
Director/Screenwriter: Eros Vlahos
England’s 2nd most popular sitcom ‘Right Place, Wrong Tim’ is besieged by bloodthirsty killer clones live on air. Starring Asa Butterfield, Ella Purnell & Adam Buxton.

The Video Store Commercial (Canada)
Directors: Cody Kennedy, Tim Rutherford, Screenwriter: Tim Rutherford
A desperate video store owner hires a crew to shoot a commercial in his shop. (World Premiere)

TEXAS SHORTS

An offshoot of our regular narrative shorts program, composed of work shot in, about, or somehow relating to the Lone Star state.

Chicle (Gum)
Director: Lizette Barrera, Screenwriters: Lizette Barrera, Renier Murillo, Vittoria Rodriguez, Katy Atkinson, Elyssa Chapa
An ill-tempered teenager attempts to find peaceful solitude on the day of her grandfather’s passing until an estranged friend pays her a visit. (World Premiere)

A Good Son
Director/Screenwriter: Suzanne Weinert
When Tommy, 75, asks his son Mike to put a Hefty bag over his head and suffocate him to death, neither believes the other will really go through with it. Until MIke’s son Chris, 17, devises a plan that will satisfy both his father and grandfather. (World Premiere)

I Am Mackenzie
Director: Artemis Anastasiadou, Screenwriter: Brittany Worthington
Caught among toxic masculinity, a sequin dress and a teenage crush, a teen skater, growing up in rural Texas, will have sex for the first time in the back of their dad’s truck. (World Premiere)

A Line Birds Cannot See
Director: Amy Bench
Separated from her mother at the border, a determined 12-year-old sets out across the desert with only a plastic sack, survives starvation on the streets of Ciudad Juarez, and escapes kidnappers to find her mother and a place where they can be safe. (World Premiere)

Mack Wrestles
Directors: Erin Sanger, Taylor Hess
Mack Beggs broke records and changed history when he won the Texas state title as a transgender wrestler. Now with high school ending and college on the horizon, the sports champion and national activist, must grapple with what comes next. (World Premiere)

Sweet Steel
Director/Screenwriter: Will Goss
A depressed man puts off an important task. (World Premiere)

Sweet Sweet Kink: A Collection of BDSM Stories
Director: Maggie M. Bailey
Sweet Sweet Kink takes a sweet, sweet peek into the kinky world of bondage, dominance, and sadomasochism through stories of intimate connection, consensual exploration, and deep self-reflection. (World Premiere)

Yirga
Director/Screenwriter: B.B. Araya
Before she can leave town for a fresh start, Yirga must get one problem out of her head. (World Premiere)

TEXAS HIGH SCHOOL SHORTS

A preview of the next filmmaking generation, as Texas High Schoolers present shorts of five minutes or less.

Abby
Directors: Tyniya Perryman, Brenna Rinehart, Screenwriter: Tyniya Perryman
Being a kid can be a little lonely sometimes, but this young girl has her best friend, Abby. (World Premiere)

Astray
Director: Mystery Clemons, Screenwriters: Mystery Clemons, Shannon Angeletti
A young man stumbles upon an unexpected situation finding one in need. The two build upon their friendship after the young man helps with his situation. After the young man realizes his friend is a bad influence he gets caught up in his past. (World Premiere)

BlueInk
Directors: Miranda Potter, Jade Jess, Screenwriter: Jade Jess
A victim of human trafficking tells her story. (U.S. Premiere)

By the Pool
Director/Screenwriter: Neo Bramlett
A high school student tells his friend about an awkward experience he had. (World Premiere)

Double Cross
Director/Screenwriter: Amiri Scrutchin
In a championship basketball game, our hero goes through a spiritual experience to gain an immense power to overpower his adversary. (World Premiere)

Fifteen
Director/Screenwriter: Louisa Baldwin
Fifteen is the story of first love for two teenage girls.

Forbidden Fruit
Director/Screenwriter: Sophia Rigg
A cat and her witch encounter a strange, sinister presence in the forest. (World Premiere)

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Mary Lattimore and Mac McCaughan Announce New Album New Rain Duets

Harpist Mary Lattimore and Superchunk’s Mac McCaughan have announced a collaborative new album. New Rain Duets is out March 22 via Three Lobed Recordings. The project was recorded in 2016, Stereogum reports. They’ve also released the first single, “III.” Listen to it below.

In 2018, Lattimore released Hundreds Of Days. She also dropped a collaborative effort with Meg Baird of Espers and Heron Oblivion called Ghost Forests.. Superchunk released What a Time to Be Alive last year.

Read Pitchfork’s 5-10-15-20 interview with Mac McCaughan.

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10 photos from Movement Torino’s epic techno get-together

Movement Torino made its return from October 12 and 13 armed with a long list of techno giants.

Current cover star Amelie Lens, Nina Kraviz, The Martinez Brothers as well as Cosmo, KiNK, Joseph Capriati and Solomun all descended on the Italian music festival, along with 15,000 party people.

The location for all this was Lingotto, a vast building that’s like a “conference centre-come-aircraft hangar”.

Divided into arenas ranging from huge to intimate, each one was transformed with stunning production.

See what went down below.

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Album Review: Panda Bear Takes a Calming Breath on the Immersive Buoys

The Lowdown: For Buoys, Noah Lennox’s sixth solo album as Panda Bear, he decided to slow things down. Reunited with producer and longtime collaborator Rusty Santos on their first Panda Bear record together since Person Pitch, Lennox made it a goal to explore modern methods of recording and production in his current home of Lisbon. Beginning with a sketch of vocals, guitar, and simple arrangements, he built off those using Auto-Tune and other elements of rap production to expand his sound. The result is an album that evokes the feeling of being submerged in a sensory deprivation tank, awash with sound that envelops the listener in a gentle, serene manner. Lennox’s sparsest music since Young Prayer and the early days of Animal Collective, Buoys is an immersive wonder.

[Listen: Panda Bear on How Success Affected Animal Collective]

The Good: Lennox is a master at crafting bright melodies that rush and overwhelm, stretching the definitions of pop music by incorporating atonal and dissonant sounds alongside sugary hooks. He stretches the syllables of words, taking the familiar and making it sound like something completely new, pairing that with tunes that sound like they could come from Gregorian chants. He gradually builds pieces on top of each other on songs like “Token” before filling the song with rushing effects and multi-tracked vocals that erupt into a jovial celebration. Lennox hones in on repetition, through the guitar riffs, his singing, and the various sound effects employed. This creates a hypnotic ASMR-like effect, where his voice blends in as an instrument, and the sound takes precedence over the words being sung. It’s a technical marvel and a testament to his talent and vision when it shines on songs like the title track or opener “Dolphin”.

The Bad: The limiting nature of this approach is something that Lennox runs into frequently here. “Master” and “Inner Monologue” drone with static repetition, the simple melodies replayed over and over to a nagging effect. When those are the only two tracks to break the four-minute mark on an already slight 31-minute album, it begins to drag. Panda Bear albums, even in their darkest moments, usually evoke a communal sense of wonder, whereas Buoys feels distant and isolated. The cold reproach stands in contrast to the warm ramshackle arrangements of Young Prayer or Sung Tongs, and leaves Buoys feeling slight by comparison.

[Read: Most Anticipated Indie Rock Albums of 2019]

The Verdict: Panda Bear’s latest work demands complete attention, with eyes closed and headphones turned up so that the record can fill every space of the room. As an experiment into how to pare down the layers and revise the way he writes songs, Buoys is an impressive feat. When the pieces come together into a somber denouement on “Crescendo”, the impact sinks in. For a moment of respite, a calming breath against the rush of modern life, Buoys is a fine balm in spite of its shortcomings.

Essential Tracks: “Dolphin”, “Token”, and “Buoys”

Buy: You can pick up copies of Buoys along with Panda Bear’s other releases at Reverb LP. Click here for more.

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The Secret DJ: “The ritual of preparation helps to rebuild shattered confidence”

I’ve been a DJ a long time, at a medium level. Recently, after 20-something years, I’ve found I’m having panics and making cock-ups, and I’m not enjoying it any more. It’s like the mistakes and the anxiety are feeding off each other. Any tips before I hang my headphones up? KM, ipswich

Hey listen; first of all, don’t do anything drastic! Let me tell you, this is both quite normal and you are not alone. I often say to anyone who will listen (ie my dog) that the number one tenet at the heart of playing records is confidence. Like a lot of performing, or sports, or business… look hard enough and in the middle you’ll see a plucky little nut of confidence. What else is standing up in front of lots of people in a position of authority?

These panics and anxiety are down to a lack of confidence, and it can slip for many, many reasons. I can’t comment on your life, or what might be contributing to it, but I can tell that you are experiencing a very commonplace crisis. I had one, too. Sure, on the outside everything was fine: the nature of the subconscious is such that you often don’t know what’s going on inside until it’s too late and it’s manifested itself as something odd on the outside.

Firstly, you’ve got to learn to be OK about making mistakes. They’re the sign of a real DJ at work, rather than a plastic mimer, and the less you worry, the less they’ll happen. Circles can be virtuous, as well as vicious.

It might sound peculiar, but some of my own issues were tied into health. I was unfit and unwell, and that had an impact on my confidence. When you’re not looking after yourself, your self-esteem suffers.

The changing scene can be intimidating, too. I know I find all the impossibly good-looking young DJs and their new toys quite oppressive. And I look out at the dancefloor sometimes and think, “What the hell are you all staring at?” All that gazing at the DJ is a relatively new thing for me. That carries a lot of weight on its own (as does my pelvis).

I always have and always will try to play future music, but sometimes the DJ before is basically playing records from the 90s, or another is purely genre-driven. Sometimes I stick out like a giant throbbing arse because I don’t mime along to seamless syncs. Just playing a breakbeat can be a radical act.

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Confirmed: Lady Gaga and Bradley Cooper to perform “Shallow” at Oscars

Lady Gaga and Bradley Cooper will take the stage at next month’s Academy Awards to perform “Shallow”, their duet from A Star is Born.

“Shallow” is one of five nominees in the Best Original Song category. Other contenders include Kendrick Lamar and SZA for “All the Stars” (Black Panther); David Rawlings and Gillian Welch for “When A Cowboy Trades His Spurs For Wings” (The Ballad of Buster Scruggs); Diane Warren for “I’ll Fight” (RBG); and Scott Wittman and Marc Shaiman for “The Place Where Lost Things Go” (Mary Poppins Returns).

Along with Gaga and Cooper, the telecast promises Jennifer Hudson, who will sing “I’ll Fight”, and Rawlings and Welch, who will perform “When A Cowboy Trades His Spurs For Wings”.

Additionally, the Oscars is teasing a performance of “The Place Where Lost Things Go” by a “surprise special guest.” For what it’s worth, Emily Blunt sings the song in the film.

As of now, it’s unclear whether Kendrick and SZA will also take the stage, though we certainly hope that will be the case.

The 2019 Academy Awards takes place Sunday, February 24th and will air live on ABC.

Last month, Gaga and Cooper performed “Shallow” together live for the first time during the former’s concert in Las Vegas, and you can see fan-footage below.

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Beyoncé and JAY-Z’s Concert Tickets for Life Contest Asks You to Try Going Vegan

Tonight, Beyoncé and JAY-Z announced the Greenprint Project, a new contest that allows fans a chance to win a lifetime of Bey and Jay concert tickets if they commit to a vegan diet plan. Find Beyoncé’s Instagram post detailing the sweepstakes below.

Though Bey and Jay recently advocated for veganism in the introduction to Marco Borges’ new cookbook The Greenprint: Plant-Based Diet, Best Body, Better World, the contest welcomes all fans willing to implement at least a partially vegan meal plan into their daily life. For instance, contestants may practice “meatless Mondays” or promise to eat “two plant-based meals a day” to qualify for the competition.

Beyoncé and JAY-Z released their joint album Everything Is Love last year. Read Pitchfork’s Festival Report “Why Beyoncé’s Coachella Performance Was One for the Ages.”

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Artists Reflect on 25 Years of Green Day’s Dookie

This week marks the 25th anniversary of Dookie, the record from East Bay punk trio Green Day that brought punk back into the mainstream, inspired a decade of mall-punk imitators, and gave zealous teens everywhere one more chance to debate the meaning of the word “sellout.”

To mark the occasion, we’ve asked a few of our favorite older and new artists from across the last quarter-century to reflect on Green Day’s major-label breakthrough and to help us find a little new perspective on a record that, whether we realize it or not, many of us still know by heart.

As it turns out, it was anything but pulling teeth to get them to come clean…

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First Impressions of Green Day and Dookie


green day at 924 gilman by murray bowles

Green Day at 924 Gilman by Murray Bowles

Jon Ginoli (Pansy Division): I first encountered Green Day when their first album came out, because I was a sales rep for Rough Trade Distribution. I was in their San Francisco office, and we distributed a lot of smaller labels, and people were asking for two records: Green Day and Operation Ivy. They seemed to have gotten to be popular sellers without any kind of advertising or promotions. For me, it was kind of like, “I don’t know who these bands are!” They seemed to have come out of nowhere.

I did try to go see them, but I lived in San Francisco, and I didn’t have a car, and they didn’t play in San Francisco that much. They would play in the East Bay, but getting back from the East Bay at night without a car was difficult. There was a little bar by my house where bands from Dischord or K would play, and they were supposed to play there twice, and both times they canceled. When I asked them about it later after I met them, they said, “Yeah, we didn’t really like crossing the bridge.” For one of those shows, they had just decided to get stoned and stay home.

Hutch Harris (ex-The Thermals): I graduated high school in ’93. My parents kicked me out of the house in ’95. So, ’94 was like the last year for me, where I was living at my parents’ house and pretending to go to junior college but not really going. My memories of that last year are just, like, hiding out in my bedroom at my parents’ house and getting really stoned and listening to In Utero and Dookie.


Melkbelly

Melkbelly by Lenny Gilmore

Miranda Winters (Melkbelly): I got Dookie kind of late. Maybe ’99 or 2000. I got this album mainly because the house that my family lived in at the time was next door to this apartment complex, and there was this young, cool mom that lived there. She was always giving me great albums. I was, like, instantly obsessed with this album.

When she gave it to me, it was around the same time that I got a karaoke machine. I don’t know if this is legal, but I took all the tracks, took out all the vocals, and would re-record with a tape recorder myself singing all the songs and playing different guitar parts over it. The tapes are super embarrassing, obviously, but I learned a lot from this album.

Luke Gunn (Dollar Signs): I heard it for the first time in full in the van just now. I wasn’t allowed to listen to Green Day because they supported John Kerry when he ran against George W. Bush.

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What Makes Dookie Great

Harris: Obviously those first two LPs on Lookout! are super good, but the songs on Dookie are just tightened up. [Billie Joe Armstrong] stopped doing solos. There’s a bunch of solos all over those first couple records, and it sounds like he made a conscious effort to be like, “I’m not gonna solo.” It’s like a punk record for the grunge era.

Shehzaad Jiwani (Greys): I think “Welcome to Paradise” is probably the best song on the record. It totally captures what it’s like to grow up in the suburbs as a bored, alienated, creative but not really given that outlet kind of kid. I absolutely had that type of childhood, and I know pretty much all of my friends did, too. It really puts you there, and it celebrates it and condemns it at the same time. It’s like a rallying cry for people who grew up in a place like that.

Sonically, I think that record sounds way better than the first two records. It’s got that really lush, dense production, which makes sense as far as Green Day being a stoner band, because when you’re 16 and blasted, that record just sounds so good. If you’re going to sign to a major, go for that major-label production. It’s the same way Sonic Youth’s Dirty kind of has that same really lush, stoner-y sound.


greys Artists Reflect on 25 Years of Green Days Dookie

Greys

Dylan Wachman (Dollar Signs): You can tell there was a lot of trust and leniency the production process. Even though it was a major release, it still has that young snotty attitude. It made punk a more accessible subculture, and brought it into living rooms (which I guess could be both a good and bad thing). The Descendents weren’t doing that. Black Flag didn’t do that. Green Day did that.

Jiwani: I think it’s really interesting that he’s writing all these really, really major-key songs like “Basket Case”, but he’s literally talking about losing his mind and his own mental health. I think Billie Joe’s been very vocal about surviving that kind of stuff. There’s a kind of rawness and realness to the early Green Day stuff. It’s simple, but it’s not stupid.

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Dookie On Tour


Pansy Division

Pansy Division

Ginoli: When Dookie first came out, it took a couple months to really get off the ground. Then, the “Longview” video hit MTV, and they kind of exploded. By the time they asked us to go on tour with them (which was July ’94), “Longview” was a hit, but they had booked the tour before the video had taken off. Suddenly, they were presented with venues that were far smaller than they should be playing. With the exception of a couple of shows in Canada, everything was sold out. WAY sold out. You could just see them getting more popular every week.

So, we played with them in July and August, and then they went to Europe. But then, they came back to the states and played arenas, and we got to do those shows. So, we did two tours in ’94: smaller places and then gigantic places.

It was an adjustment to go from 100 seats to 1,000 seats. It was another adjustment to go from 1,000 to 10,000 or 15,000.

The audience reaction to us from Green Day was very mixed most of the time. There would be people who were really into us and people who were really offended and irritated by us. Remember, most of Green Day’s audience, at those shows and at that time, were between 12 and 18. There was almost no one older than that. A lot of teenage boys did not like the in-your-face gay Pansy Division approach. We did not back down in the face of the negative reactions we got, and I think Green Day really respected us for that. They would go onstage some nights and say, “You people who booed Pansy Division: you’re wrong! They’re a great band!”

Green Day said to us, and to other people who asked, that one of the reasons they had us open for them was that they suddenly became a mainstream band almost overnight and realized that people in the mainstream had different thoughts about what a rock band was than people who were in the indie and punk underground. So, having us open for them was making a statement. Having the kind of people that we were — an openly gay, very unapologetic, blunt rock band — open for them said something about their values.


Green Day from In the Early Days

Green Day from In the Early Days documentary

They really did have our backs. I have nothing bad to say about my experience with Green Day. They really were fantastic to us.

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Dookie’s Influence

Harris: When I was in The Thermals, we would call Dookie “the Bible.” It was like the guidebook on how to write the perfect pop-punk record. The first rule is that it’s shameless, you know? If you’re going to sign to a major label when you’re coming out of that culture, you might as well go all the way with it. Don’t be half-assed about it.

Winters: First of all, this album is, what, not even 40 minutes long? I think that is something that really connects with me, because I love short shit. As individual songs, they’re just like these great little packages. They’re so concise.


Hutch Harris, photo by Autumn Andel

Hutch Harris by Autumn Andel

Harris: There’s no fat on any of the songs. You never feel like the record is lagging. On a lot of records in the ’90s, Side B would have some six-minute song with spoken-word samples and all this garbage. They don’t do that.

Winters: A lot is being said, but with this musical backing that feels to me like, exciting but also attainable. It’s familiar, like something maybe I felt like, “Oh. I could do this!” I also feel like the lyrics on this album in particular fit with what I was up to at that moment.

Harris: Even the hidden track on Dookie is short and funny and … I don’t know if it’s to the point, but it’s not “Endless, Nameless.”

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Did Green Day Sell Out?


Converse Dookie Kicks

Converse Dookie Kicks

Harris: The weird thing was that, in the punk community, it was kind of taboo to like that record. There were so many people that were so mad at Green Day, or that hated Green Day for selling out, for leaving Lookout! and getting on a major label. A lot of my friends loved 39/Smooth and Kerplunk and hated Dookie just for political reasons. It was like a guilty pleasure, which now, looking back, is so ridiculous.

Ginoli: They were sensitive to the criticism of being sellouts.

Winters: I remember both hearing about that and talking about that with my friends at the time. How, like, they’re calling themselves punk, but you know. I don’t want to offend anyone, but I don’t know that I would call them punk.

lookout records

Ginoli: The thing about selling out is, do you go to a bigger label and change your sound, try to sound more commercial, or do something that you wouldn’t have done otherwise? Green Day did exactly what they were going to do anyway. They just did it on a bigger stage. I don’t feel like they were sellouts for doing what they did. They didn’t compromise, and that’s part of their story that you maybe need to remind people of. They were true to themselves wherever they were.

Harris: A lot of those people I know eventually came around, just like they came around on a bunch of other bands, like Jawbreaker or whoever, that had “sold out.” Something being taboo or a guilty pleasure, to me, only makes it more enjoyable, so that made me like it even more. I can’t not like something just to fit in.

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Green Day and Dookie’s Legacy


green day 01 Artists Reflect on 25 Years of Green Days Dookie

Green Day by Philip Cosores

Jiwani: Culturally, I think Dookie is important because it introduced a generation of kids to punk music in a way that Nirvana didn’t, for better or worse. It’s a lot of people’s gateway. I don’t think that, in the wake of Nirvana, Dookie is particularly subversive or challenging, or at least it shouldn’t be. It’s kind of telling that, as a seven-year-old, I understood everything that Dookie was about. It’s for kids. It’s alt-rock for literal kids.

I’m probably the wrong person to ask. I like Dookie just fine, but I don’t think that it led to a lot of great music. I fuckin’ hate pop-punk music, and Dookie’s probably to blame for a lot of that stuff.

Winters: I feel like this album is definitely a stepping stone. I think I would give it to a pre-adolescent or adolescent even now. I think it’s definitely music to be considered in the grand scheme of pop and punk. But where does Green Day fit? I don’t know. They’re fascinating. I’d hate for people to write them off because of what’s up now. But I also feel that way about Everclear, so.


Dollar Signs

Dollar Signs

Ginoli: When Green Day asked us to open for them, it was this opportunity that we didn’t think we would have — one, to play for a younger audience, and two, to play for a bigger audience. I think that we would’ve continued to do well and gained fans if Green Day had never asked us to open for them, but the fact that they did really made us much better known and opened a lot more doors than I think would’ve happened otherwise. The people who were 12 to 18 in 1994 — that’s still our biggest fan group, because that’s when most people saw us. We’re still around, and that’s partly because Green Day helped us reach an audience, some of whom stuck with us over the years. As [Pansy Division bassist Chris Freeman] and I have said hundreds of times: for our band and our lives, Green Day is a gift that just keeps giving.

Wachman: When I think of the biggest punk records of the ’70s and ’80s, I think of The Clash and Black Flag. When I think of the biggest punk records of the ’90s, I think of Green Day. They owned that decade.

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Get to know Bruce, the producer making techno with hints of hardcore

Larry McCarthy was in his final year at university when he came to a realisation: if he wanted to pursue music and release on the labels he dreamed about, he needed to start making “bangers”. Hessle Audio was one outlet he’d set his sights on, and now the 26-year-old is stepping out as the first non-founding member to release an LP on the revered imprint. “It’s a dream come true,” he says.

His entry-point into dance music came via attending underage dubstep nights headlined by Caspa and Rusko in big London clubs like Matter. He admits to being a “little bit bitter” about missing out on the height of “proper dubstep”, but this sense of loss inspired him to forge his own path through music without relying on the reference points of the FWD>> generation. “I like to think that means I’ve been able to make a singular sound,” he says.

University was key. Studying creative music technology at Bath Spa (Addison Groove, Vessel and Asusu are among its alumni) taught him production skills, while moving to Bristol after graduating and soaking up the city’s rich dub and bass scenes also led him to realise the importance of UK hardcore heritage. “All my production qualities have come from refractions of that original hardcore style,” he says.

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