"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

http://www.theguardian.com/film/filmblog/2014/aug/19/frightfest-film-festival-2014-preview-films-margins

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

http://www.dailyrecord.co.uk/whats-on/film-news/top-10-horror-films-2014-4833145

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

http://www.dailyrecord.co.uk/whats-on/film-news/frightfest-review-another-4038231

"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

"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

http://www.movieramblings.com/2014/08/18/frightfest-interview-another-director-jason-bognacki/

..."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)

PARACINEMA MAGAZINE
BY CHRISTINE MARKEPEACE

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
dialog…etc…etc.

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 ...

RES MAGAZINE
BY ERIC SAKS

SCENES FROM A MOVIE
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. 
DOWNLOAD THE PDF

THE SUNDANCE FILM FESTIVAL 2004 PROGRAM:

"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

HTTP://FESTIVAL.SUNDANCE.ORG/FILM_GUIDE/

SUNDANCE DAILY NEWS:DOWNLOAD THE PDF

FILTER MAGAZINE
BY DAVID FEAR

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.

MUSIC CONNECTION
BY SCOTT PERHAM

LOMA LYNDA
CINESPACE, HOLLYWOOD CA

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.

OC WEEKLY
BY GREGORY BOWLER

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.