"ANOTHER reimagines the witchy weirdness of Dario Argento’s classic Suspiria (1977) while further fragmenting its own coming-of-age narrative into a fever dream of spatio-temporal ruptures and hyper-stylised imagery." - The Guardian


"ANOTHER" Ranked as one of the Top 10 horror films of 2014- The Daily Record


"ANOTHER... demonic possession, distorted realities and odd obsessions." ★★★★ review from The Daily Record


"ANOTHER is a real cult film, powerful in the annals of horror, giallo, and fairytale…" - L'Ecran Fantastique


“… Another is about witchcraft, and it’s one of the most beautiful films about witchcraft I’ve ever seen. It unravels like a spell — not as incoherently as Lynch’s films, or Jodorowsky’s; it’s much more attainable than their movies — but it has a beneath-the-surface power that I find impossible to describe…” Ian White - Paranormal Underground - Oct 2014 ISSUE


Jason Bognacki "Not just ANnother Filmamaker..."


"Demonic Schizophrenia ! "-Almas Oscuras

"The film’s love of the saturated colours, dreamlike atmospheres and lush soundtracks of 1960s and ’70s Italian giallo thrillers oozes from every frame." - Time Out London

"Another turns out not to be the Suspiria rip-off that horror fans have been dreading, but a dynamic reimagining better than anything in their wildest dreams…" - Anton Bitel, Filmland Empire

"Just go with it and enjoy the excellent cinematography, which is retro without being obnoxiously Grindhouse, and the sheer madness of it all." - SciFiNow Magazine

"It's comforting to discover a stylistic witches brew that's formally audacious without resorting to mere pastiche." -Little White Lies Magazine

"Not just my favorite movie at Frighfest, but my favorite of the year." - movieramblings.com


..."Jason Bognacki's The Red Door (2008)... the most horrifying thingI've seen committed to film in a long, long time......Immensely
stylish....Unrelenting, astounding....- Loma Lynda: The Red Door alone is worth the price of the DVD."

DVDTALK.com (Review)

"A sensational visual style; beautiful floating camerawork...a mesmerizing cinematic experience that swayed
like a sensual dream gone awry..." Horrorphile.net (Review)

...The Red Door..."Part David Lynch psychological mind trip and part Dario Argento blood drenched giallo!"...

Indie Film Chat (Review)


The combination of images and music is far from a revolutionary idea. Although it is a common marriage,
few do it with as much class, grace, and beauty as Loma Lynda. The group has gained much notoriety for
their haunting audio and stunning yet eerie visuals. I spoke with
Jason Bognacki,who is at the helm of
Loma Lynda's most exciting and ambitious endeavor to date, a feature length film, The Red Door.

Christine Makepeace: It goes without saying that Loma Lynda finds visuals very important. I know you use
some archival footage from the 70's, what do you find appealing about that type of footage?

Loma Lynda: In Loma Lynda: Episode II (which premiered at The Sundance Film Festival)
we loved the idea of "reviving visual ghosts" from the 1960s-1970s, and breathing new life into forgotten
and discarded film that otherwise was just rotting away on archival shelves and in people's basements. A lot
of the film we freed from old libraries, garage sales, and even family vacation films off of ebay.

In the process we destroyed a lot of prints just by playing them…but others found a different fate. To get some
of the treatments in Episode II we poured bleach and other household chemicals into running projections.
The chemical cocktail would eat away the images as they were being project onto the screen. We also had many
projectors in various stages of functionality dis functionality …some even would rip off the immultion from the film
as it was moving thru the film gate.

LL also shot a lot of our own super 8 and 16 mm film to match and intercut with the vintage stock we were reviving.
As an audience watching the performance it was almost as if the band somehow got caught up into the projections
and ended up in the film as well. All the members of the band made it into Episode II's implided narrative in our
live performances.

CM: The audio and visuals Loma Lynda creates is very compelling and could easily stand alone, have you always
created the 2 simultaneously? or did one exist without the other at some point?

In a way for LL the music and the film cannot be separated from one another…At least during the creative process.
One day we'll be writing scenes and planning shoots and the next we'll be writing music….while other days we'll be
writing music or rehearsing the musical score and stop mid song to discuss what is happening on screen. It makes for
a chaotic environment sometimes....but at the same time a very organic one…one which grows around itself…inside and out…

CM:I adore the Gnarls Barkley "Crazy" cover you have up on your website. What inspired the cover…

LL: We got a hold of a demo of "Crazy" awhile back and we were like…"Where have we heard that music before"
…. it was so cinematic…It was so familiar…and after a little of research we found that is was a track from the spagetti western
"Preparati la bara!"…not that we've seen that film or remember seeing it but the song had that Morricone edge to it…just a
huge epic sound, The original by Reverberi brothers is just as great as well. We loved the idea of reinventing it again in
Episode XXXVII…our space epic….westerns and space films are very similar in music styles sometimes…with big choral
arrangements and the need to musically describe physical space. Westerns and Space movies are always about tangles with
vastness and the unknown in some way…

CM: What other types of films and styles do you draw inspiration from?

LL: At the time of Episode II I guess we alittle inspired by Stan Brakage but didn't know it. Cutting up, drawing on, and
destroying film...we naively thought we were doing something new.

The Red Door has been influenced by the likes of Jess (Jesus...aka...Jon...aka)
Franco, Mario Bava, and Dario Argento to name afew...not their Giallo films per-say but more the fashion, style, and
camera work these directors use.

CM:Tell me a bit about The Red Door.Is it comprised completely of new footage?

LL: The Red Door is the first non-performance film we have produced as of yet….that's not to say we won't someday play
live to it…we just didn't want to be encumber by writing music that had to be performed live and create a film that was in
the most part edited live for each "showing" or performance. LL basically wanted to make a "traditional" film…with running

The Red Door is a modern Giallo film styled around the manic characters Loma and Lynda. It is a dark and stylish tale of love
and murder takes place in the street's of Hollywood and in the bent mind of our herion, Lynda. Without giving too much away
it is very much a story about schizophrenia and is told thru the delusions of the main character.

Unlike most LL music to date the soundtrack will have lush string arrangements and running dialog.

The Red Door is comprised of all original footage. I've been shooting the film with SONY HDV cameras with 35 mm film lenses,
giving the images a very cinematic look and feel. We've employed many 70's shallow depth of field tricks to bring the Red Door
to life...too many indies these days look like video.

In early FALL 2007 we'll be finished with a short version (40min) of the film which we are submitting to the festival circuit…By
Early 2008 we'll be complete with a feature length version of The Red Door.

LL has always be constantly evolving group…After EPISODE XXXVII ran its course, we saw afew people move-on from the musical
side of the group, but with a new project we see new faces.

We are very excited to be working with a new set of artist on this project….

New members are on the musical side….

Fulton Dingley
(Stereo Lab, Midnight Movies)

on the acting side

David Fine (Skylar James)
(The Pursuit of Happyness (2006))

Estefania Iglesias (Lynda)
(National Lampoon's TV the Movie (2006))

Becky Altringer (Fabi James)
(This Film Is Not Yet Rated (2006))

Aline Avakian (Loma)
(Loma Lynda: The Red Door (2007))

Chris Mammone (Pete Rich)
(Loma Lynda: Episode II (2004), Loma Lynda: The Red Door (2007))

So keep an eye out for this innovative grouping of maverick artists. Track their endeavors and learn more about the group at
www.lomalynda.com or www.myspace.com/lomalyndapresents

By all means go out and buy the magazine to read more. There are some other great articles such as
Becoming Bruce Campbell ...


Loma Lynda Is An Emerging Art Rock Quartet Of Cinema Junkies. At A Show,
You’ll See The Four Perform Each Of Their Grain-Gazing Songs Accompanied By 
A Mesmerizing Scene From A Movie Projected Behind Them. The Scenes Form 
An Ongoing Narrative Film Created From Desktop Composited ’70S Softcore
Girlie Loops, B-Star Femme Fatale Clips And Instructional Films To Tell A Story 
– Ostensibly – About A Desperate Hollywood-Bound Girl Named Loma 
Lynda, As She Grows Up, Gets Abducted Into A Cult (Church Universal 
And Triumphant), Is Stalked By A Serial Killer And Endlessly Loves And 
Dies Over And Over Again. While Each Ll Song Is Part Of This Unfolding 
Elegiac Story, The Lyrics Are Not Literal;You Never Feel Like You Are Watching 
A Music Video That Illustrates A Song. Instead, There Is Enough Narrative 
Openness For Concert/Moviegoers To Embellish The Set With Their Own 
Interpretive Dreams. Loma Lynda Includes Jason Bognacki, Bone 
Mammone And Dan White, And Is Fronted By Sarah Ellquist, Who Sings 
Sad But Full, Holding Her Own With The Sonic Melodies And Supernova 
Crescendos That Are In The Realm Of Godspeed You! On Black Emperor, 
Sigur Rós And Glenn Branca. Ironically, Loma Lynda Appears Just As The 
Music Industry Is Becoming A Singles-Centric Virtual Jukebox Thanks To Itunes 
And The Like. So Loma Lynda Offers A Welcome Antidote; You Can Experience 
Ll’s Carefully Wrought Operatic Song-Cycle On The Band’s New Cd/Dvd. 


"The Frontier Section Of The Festival Has Always Been A Place For Innovation.
With Their Modern-Day Twist On The Orchestral Accompaniment To A Film,
Performance Artists Loma Lynda Embody Just That Concept.

Fusing Indie Rock And Cinema, They Perform A Live Set That Is The Soundtrack
To Their Interpretive Film, An Intertwining Collage Of Imagery And Musical
Landscapes. Please Come Witness The Aural And Visual Stimulation That
Is The Loma Lynda Experience.

Taking Place In The 1960S And '70S, The Experimental Film,
Comprised Mostly Of Archival Footage, Loosely Details The Story Of
Two Girls Terrorized By A Killer. There Areelements Of Birth And Death,
Abduction And Paranoia, Sex And Marriage, Consumerism And Religion.
With Sparse Running Dialogue And Subtitles,The Story Vaguely Unfolds,
Providing Hypnotic Visuals To The Musical Score. The Evocative Lyrics
Roll Over You Like A Warm Breeze On A Cool Night, Transporting
Your Mind With Graceful Force Into The Action Onscreen.

Equally Haunting And Beautiful, Both The
Film And The Music Would Stand Up On Their Own; Together They
Create A Unique, Emotionally Intense Fusion Of Sight And Sound."

~ Trevor Groth




Loma Lynda-
Screening As Part Of The Festival's Frontier Section, The Los Angeles
Quartet/Experimental Filmmaking Collective Loma Lynda Presented A Live
Performance-Cum-Celluloid Freakout, Playing A Mixture Of Early '90S
Shoegazingpop And Mogwai-Esque Noise Atmospherics To Accompany Their
Parabolic Opus About Kitschy Runaways,Serial Killers And Some Bitching '60S
Beehives. Apart, Both The Found Footage Narrative And The Band's Dense Sonic
Blitzkrieg Were Enough To Give The Crowd Pause; Melded Together As One
Interconnected Tapestry Of Sound And Imagery, However--With Singer/Keyboardist
Sarah Ellquist's Vocals Keening Through The Din Like Liz Frazier's Angry Baby
Sister--The Result Was Nothing Short Of Phenomenal An Intense Fusion Of Sight
And Sound.



....The Found Footage Used By The La-Based Collective Loma Lynda (Jason
Bognacki, Sarah Ellquist, Chris Mammone And Daniel Patrick White) For Their
Multi-Media Performance (Screening Plus Live Music) Has A Less Dramatic Origin,
And Is Twice Removed From The Actual Lives Of The Performers.Working In
Collaboration With Noted Avant-Garde Film/Video Maker Eric Saks (Who Produced
A Segment Of The Film, And Shot All The New Footage In 16Mm),Jason Bognacki (Who
Also Shot All The New Footage In 8Mm) Mixed Original Sequences With Fragments
Culled From Archives, Trailers And Industrial Films Dating From The 1970S - A Time In
Which Some Members Of The Group May Not Have Yet Been Born (6). Creating A Dense,
Multilayered, Visually Stunning Texture, Loma Lynda's Digital Manipulation Of The
Images Is Elegant, Sophisticated, Elusive, Lush And Yet Almost Abstract, And Works
In Dialectic Contradistinction With The Intimate Lyrics Written And Sung On Stage By
Ellquist. The Juxtaposition Creates A New Spatial Configuration In Which Past And
Present, Nostalgia And Revolt Echo Each Other But Never Mesh. So The
Aesthetic/Historical Distance Created By The "Camp" Quality Of The Hairdos,
Clothes, Make-Up, Oversized Cars, The Exaggerated Gestures Of Exploitation Films
Or Tv Advertising Of A By Gone Age, The Pinkish Hues Of Fading Prints Generates A
New Aesthetic Space. From This Flow Of City Streets, Parking Lots, Congested
Freeways, Theatrelobbies, Deserted Street Corners, Emerge The Faces Of Countless
Anonymous Women Inhabited By Unexplained Emotions. They Dance, Take Showers,
Carry Suitcases, Ride Motorcycles, Put On Lipstick, Open Their Eyes Wide, Smile, Walk
Alone At Night, They Are Stalked, Frightened, Arrested, Seduced,Abandoned. It Is
Indeed In The 1970S That Laura Mulvey Wrote Her Ground Breaking Article "Visual
Pleasure And Narrative Cinema" (7) - In Which She Analyses The Iconic Value Of The
Representation Of Women On Screen. Lomalynda Weaves Multi-Media Poetry About
The Recurring Presence Of These Icons In 1970S Cinema; Torn From Their Narrative
Context/Pretext, They Become A Melancholy Reflection On The Passing Of Time. For
These Splendid Hips, Breasts, And Cheekbones Are Now Aged, Or Dead. Silenced
Forever, They Are Given A New Voice In Ellquist's Singing, Their Elusive Shadows,
Appearing And Disappearing Behind A Stream Of Cryptic Images, Are Used To Construct
New Meanings, New Scraps Of Narrative ("Introduction To The Crime", "The Seduction",
"Recollection Of A Kidnapping"). Playing In The Nether World Ofthese Ghost-Women,
Loma Lynda's Performance Is A Ritual Constructed Around The Idea Of Death - In This
Case "The Death Of Rock Music" Whose Invocation Opens And Closes The Piece - An
Ironical Punch Line.......


... Films Vary From Year To Year. Among The Independent Films That Stand Out At
This Year's Film Festival Is "Loma Lynda, " A Film Similar In Plot To David Lynch's
"Mulholland Dr." One Major Difference: A Rock Band - Loma Lynda - Performs The
Movie's Soundtrack While The Movie Plays. "We're Very Interpersonal With The
Films," Abbott Said. "We Don't Acceptsubmissions. We Handpick Them. We Physically
Go Out And Find The Filmmakers." Loma Lynda Bassist And Guitarist Dan White Said
The Musical Soundtrackchanges "Every Time," But The Feature Film Remains 85
Minutes In Length. "It's Like A Psychological Thriller With A Young Woman Who's
Stalked And Kidnapped," White, 26, Said. The Narrative Is Clear, But The Results
Before And After Are Questionable. We Use A Lot Of Footage And Sound Bites Taken
From Police Stock Footage And Sound Clips From A Cult. It's A Symbiotic Relationship.
We Use The Music To Heighten The Cinema Experience, And We're Using Cinema To
Heighten The Musical Experience."


As You Fumble Through The Enormous Schedule Of Music And Films Presented At
This Year's Coachella Festival, Make Sure To Check Out The Emerging Art/Rock
Combo Loma Lynda, Composed Of Talented Musicians/Cinema Junkies.At Their Show,
You'll See The Foursome Perform Each Of Their Songs Infront Of A Projected Film
Accompanying The Music, Which Is Designed By Their Guitarist/Art Director Jason
Bognacki. Seeing The Band Is Like "Aneloquent Symphony Of Indie Rock And Trip Hop
Aesthetics." Loma Lynda Was Also Chosen As An Official Selection At The 2004 Sundance
Film Festival. As We Experience The Dominance Of Singles Driven Music, With The
Emergence Of Mp3'S And Itunes, It Is Refreshing To Come Across A Group That Presents
A More Fulfilling Conceptual Piece To Ponder. Loma Lynda Will Beperforming Live Both
Saturday And Sunday At The Coachella Film Festival.



Loma Lynda Brings A Fresh Idea To Contemporary Live Rock Performance. Creatively
Fusing The Worlds Of Music And Motion Picture, The Band Performs The Live Score To
A Movie That Is Simultaneously Being Projected On A Screen Behind The Stage. Further
Adding To This Pioneering Approach, The Music Is Original And The Movie Was Directed
And Produced By Guitarist/Keyboardist, Jason Bognacki. Draping Dark And Ethereal
Soundscapes Over Perplexing Visual Images, Loma Lynda Skillfully Creates A Musical
Maze For The Senses. Varying From Portishead-Inspired Drones To Effect-Drenched
Jams Ala Sonic Youth, Each Member Of The Band Seamlessly Switches Styles And
Instruments To Complement The Mood Of The Movie. With A Voice That Ranges From
Beth Gibbons To Pj Harvey, Ellquist’s Emphatic Vocals Are Both Alluring And
Invigorating –– Sometimes Both Within The Same Song. Maintaining The Sonic Substance
Of The Material, Bognacki Wrings An Atmospheric Array Of Effects From His
Instruments While White Fills In The Negative Space On Guitar, Bass And Sampler.
Mammone Completes The Band’s Dynamic With A Steady Flow Of Poignant
Percussion.Since The Band Performed In A Darkmovie Theater, The Crowd’s Focus
Understandably Remained Primarily On The Movie Screen. Despite The Dim Lighting,
However, Each Musician Appeared Exceptionally Committed To The Performance. In
Light Of This Act’s Ability To Effectively Gel Together, Both Musically And Visually,
Loma Lynda Does Not Need A Movie Screen Behind It To Put On A Stimulating Live Show.
The Complete Loma Lynda Experience Is Not For The Artistically Closed-Minded. The
Music Is Avant-Garde And The Movie Is Just Plain Out There, But The Lingering
Impression Is That There Is A Masterful Mind Behind All The Madness. Combining
Emotionally Charged Songs With Cutting Edge Filmmaking, Loma Lynda Comes
Across As A Multi-Dimensional Live Act Peddling A One-Of-A-Kind Product.


Loma Lynda
Makes Music To Watch Movies By—And They Make
The Movies, Too. The La-Based Band’s Songs Are More Than
Cinematic, Packed So Tightly With Drama, Tension, Ecstasy And
Emotion They’re Exuberantly Exhausting, With Each Strum Across
The Guitar Bursting With Colossal Slow-Motion Sadness. But
Behind The Songs Is A Movie Screen, And On The Movie Screen
Is A Lurching Funeral Procession Of Found Images And Original
Footage, Shot And Arranged With Dreamlike Imprecision By The
Band Themselves. It’s An Unsettling, Disorienting, Total Sensory
Experience—Film As Musical Instrument—And When It’s Over,
It Feels Like You’ve Just Stumbled Out Of A Bunker Somewhere.

They’ve Attracted Notable Comparisons
To Radiohead, But Loma Lynda’s Songs Are More
Immediate And Warm, Closer To The Mournful Sigur Rós, The
Gentler Moments Of Mogwai, The Torch Songs Of Jeff Buckley
And The Ether-Clouded Melodies Of Broadcast. And It Sounds
Intimately Familiar On First Listen, As If Foggily Remembered. Jason
Bognacki, The Band’s Guitarist And Principal Noisemaker, Started
The Band In 1999 And Makes The Films With Noted Avant-Garde
Filmmaker And Artist Erik Saks—Known For What One Writer Called
"Pseudo-Documentary" Films About "Ecology And Waste." Rounding
Out The Lineup Are Drummer Bone Mammone, Guitarist
And Bassist Dan White, And Singer Sarah Ellquist, Whose
Breathy, Agile Voice Plays Measured Complement To Her Band’s
Soaring, Sometimes Melodramatic Melodies. The Stories She
Sings—In Lyrics Both Plain And Poetic—Aren’t Necessarily The
Same As Those Set Up On The Film Behind Her, But There’s No
Competition: Each Narrative Teases Out The Texture Of The Other.

In Less Talented Hands, It Wouldn’t Be Much More Than A Gimmick, But
Loma Lynda Transcends Any Pretense. They’ve Already Won
Considerable Critical Acclaim In The National Press, Though Their
Biggest Media Coup Came Not From Any Music Magazine But
During The Sundance Festival—Where They Got Just As Much
Attention For Their Music As For The Film Projected Behind Them.


Quasi-Scenester Mannequins Were Overrunning The 50 Foot Wave/Loma Lynda Show
Like Shiny Rats: A Lithe Model Type Wearing A Ripped Allman Brotherst-Shirt; A Sleaze
Holding A Folded $20 Bill Up To The Bartender, Strip-Clubstyle; A Lisp-Plagued Man
Babbling Loudly About The Next American Idol Tour.The Apocalypse Started Long Ago
In West Hollywood - But Now The Humans And Demons Have Become Indistinguishable
From Each Other. Pray Hard. The Saving Grace Of The Evening Was The Music, With Los
Angeles's Superb Loma Lynda The Highlight. A Bold Mixture Of Pj Harvey, Pale Saints
And Early David Lynch, Loma Lynda Exists At The Intersection Of Experimental Film And
Avant-Garde Sound.The Backdrop To This Performance Was A Horror Moviecreated
From Archival Footage Spliced Together With 8Mm/16Mm Film Shot Byband Members.
While The Draped Curtains Made The Narrative Impossible To Follow, Loma Lynda's
Music Made Up The Difference.Platinum Blonde Singersarah Ellquist's Vocals -
Although A Wee Bit Rough At Times - Wove Deftly Through The Ethereal Soundscapes
And Pounding Rhythms Produced By Bassist/Guitarist Dan White, Drummer Bone
Mammone And Guitarist Jason Bognacki. The Show's Zenith Came In The Final Song
"Guilt Food," A Six-Minute Opus Building To A Sigur Ros-Like Crescendo, With Ellquist
Howling The Cryptic "And I Found Myself Breaking Large Bills On Fastfood/Far From
Fast/Are You", Creating Such A Peak That The Girl Next To Meloudly Declared It Was
Like An Orgasm. Less Coital, But Hard-Rocking Nonetheless, Were Headliners 50 Foot
Wave, The New Band Of Former Throwing Muses Principal Kristin Hersh. She Led
Band Mates Bernard Georges And Rob Alhers Through A Bone-Crushing Set For A
Sparse But Loyal Audience. Hersh's Voice Contains More Gravel Than It Did In Her
Throwing Muses Days. As A Result, It Was Very Well-Suited To Grinding Songs Like
The Stop-And-Start "Clara Bow," Which Was Tinged With Hersh's Trademark Bluntly
Personal, Then Abstruse Lyrics ("I Never Liked You But I Wish Idid... Paste Eaters Like
This Sad Season"). The Godmother Of Alternative Music Forges On.