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The following review is part of our coverage of the 2018 Toronto International Film Festival. There are many reasons to consider investing the time, money, and energy into seeing a film on the big screen. Maybe you’re a film buff who thinks it’s still the best (and possibly, the only true) way to properly appreciate the art form. Maybe you just like the experience. Maybe you’re even a bit of a snob, and you consider anything less than the optimal sound, venue, and size of screen to be an affront to the film projected upon it. With Alfonso Cuarón’s ROMA, though, there’s another reason that you should consider going out of your way to see it in a theatre when it’s released on Netflix later this year: if you watch this gorgeous, sprawling work of cinema on anything smaller, you run the risk of missing all sorts of delightful — and sometimes gut-wrenching — details. On the surface, ROMA is a simple (albeit heartfelt) semi-autobiographical reflection of the life of a middle-class family in the Roma district of Mexico City in the early 1970s. Their beloved maid, Cleo (a quietly heartrending Yalitza Aparicio), has recently found out that she’s pregnant and is subsequently abandoned by her selfish boyfriend. Sofia (Marina de Tavira), the matriarch of the family, soon finds herself and her children in a similar situation when her husband casually disappears to start a new life for himself. Facing down single motherhood, the two women forge some new sort of semblance of family, together. There is a lot more to this lovely, relatively low-stakes found family drama, however, both on the fringes of the action onscreen and in between what’s actually said aloud by the characters. Every frame, every moment is loaded with hints and meaning extending well beyond what’s clearly evident at first. This begins with the delightful details in the margins of Cuarón’s stunning black-and-white photography. There’s some bouncing hail here, some bird mating there, and a beautiful, near-constant flow of nature and people drifting around in the background, lending an almost dreamlike state to the proceedings. Even the act of trying to cram a massive car into a narrow garage becomes an engrossing cinematic experience in ROMA’s universe. (There’s also, in a far less understated but no less fascinating moment, a pretty good nude martial arts demonstration, with a broken curtain rod tossed into the mix at one point.) Eventually, those same fine details start to creep into the dialogue and the character interactions. Allusions to political strife begin to pepper the domestic staff’s conversations. Sofia’s previously steely countenance crumbles when she embraces her husband for what at least a part of her must suspect is the last time. Cleo’s face, half-lit by a movie screen, falls apart in much the same way as she realizes that her boyfriend isn’t coming back for his jacket, or for her, after she tells him she’s pregnant during a movie date. Slowly, subtly, the visuals and the subtext of ROMA start to piece together, growing more dense and more intriguing by the scene. Then the events of the Corpus Christi massacre erupt in the background, in heart-stopping and haunting (but never exploitative) detail, forcing everything to the surface and propelling all of the film’s carefully nurtured developments into an explosive and absolutely devastating final act. It’s a lot to take in — and does, arguably, veer close to histrionic melodrama, especially compared to how understated the work is in its earlier scenes — but there’s not a single moment of it that hasn’t been earned in every rich shot and character moment along the way. With both great affection and great clarity, Cuarón has transformed the influences of his own childhood into a nuanced and reflective chronicle that manages to touch on political upheaval, class inequality, gender inequality, life, and death while still remaining firmly grounded in the intensely personal bond between its main characters in their day-to-day existence. ROMA is both visually and emotionally arresting, grandiose and intensely intimate all at once. By capturing and exploring Cleo’s individual life with such vision and thoughtfulness, he has managed to piece together a sweeping interpretation of life itself. It’s definitely something that requires a big screen to absorb in its entirety. Trailer: Source

In the months since releasing his stellar solo debut, last year’s Half-Light, singer/producer/songwriter extraordinaire Rostam has been busy contributing to projects from the Dirty Projectors, Lykke Li, and Maggie Rogers. However, the former Vampire Weekend member is back today with music of his own making. Rostam’s new single is called “In a River”, and sees him celebrating a number of firsts. The track, which chronicles the beginnings of a new relationship, is the first he’s written on a mandolin. It’s also the first of his to fuse traditional studio recordings with actual audio taken from one of his concerts. Take a listen below, then check out a lengthy statement from Rostam about the process of putting together “In a River”. “In January we started rehearsing the song for the Half-Light North American Tour and it became a staple of every show. When we came back from that month-long tour I booked time at Vox Studios in Hollywood and jumped into recording the song. At that point we had played it some twenty times in front of twenty different audiences across the country. About halfway through the tour I started bringing the audience into the song and asking them to clap along after that second chorus. I have memories of how those claps sounded, I can still remember how hard they hit in Grand Rapids, Michigan, in a packed theatre with a foot of snow on the ground outside. “When we got in the studio, I knew I wanted to capture the feeling we got when we played it live, so I pulled the audio off a YouTube clip from a few nights prior— in San Francisco— and dropped it in the Pro Tools session. That audio became a road map for how the song should move. The tempo fluctuates widely— kicking up as the drums enter and the violins solo, then settling into a slower groove when we get back to the chorus, finally slowing down even more as the song ends with the 808 bass and vocals. It’s so rare that modern music gets ‘off the grid’ but ‘In a River’ is a hybrid. It’s steady for the first half but then free in tempo from the moment the drums come in. “I often want the songs I produce to be meeting places for organic and electronic sounds — old traditions and new ones. ‘In a River’ is new territory for me because although it’s a studio recording, it’s pulling from one of the oldest traditions in music, a live performance in front of an audience.” “In a River” Artwork: Rostam is expected to debut this version of “In a River” live for the first time during a headlining show at the Fonda Theatre in Hollywood on September 14th. Source

Joel and Ethan Coen’s The Ballad of Buster Scruggs came into this world with dreams of being a six-part anthology series on Netflix, but the legendary filmmakers eventually decided the story was best told in their comfort zone of film. And, hey, the decision seems to have paid off, as the movie just scored a Best Screenplay award at the ultra-fancy Venice Film Festival. Now, with the film’s November 16th premiere date approaching, the Coens have shared a teaser trailer. (Read: The Coen Brothers in Five Films) Tim Blake Nelson stars as the titular outlaw, and the clips showcase a well-dressed criminal that, despite being a bit of a dandy, is lethal with a six-shooter. Elsewhere, we see James Franco, Zoe Kazan, Liam Neeson, and legendary musician Tom Waits populating an American West beset by violence, humor, and plenty of dust. Check it out below. Source

Two of rock’s strongest, most consistently innovative bands are hitting the road together this winter. Calgary’s Preoccupations and Detroit’s Protomartyr will embark on a co-headlining tour this fall of North America, with stops in Brooklyn, Chicago, DC, Omaha, and more. (Read: Preoccupations Share a Track by Track Breakdown of Their New Album, New Material: Stream) Preoccupations (fka Viet Cong) released its solid New Material earlier this year, and this summer Protomartyr doubled down on last year’s Relatives in Descent with a new EP, Consolation. The 12-date tour will feature full sets from both bands. See a list of the bands’ full itinerary below. Preoccupations and Protomartyr 2018 Tour Dates: 11/23 – Toronto, ON @ Lee’s Palace * ^ 11/24 – Ottawa, ON @ The 27 Club * ^ 11/26 – Boston, MA @ Brighton Music Hall * ^ 11/28 – Brooklyn, NY @ Warsaw * ^ 11/29 – Washington, DC @ Union Stage * ^ 11/30 – Philadelphia, PA @ The Foundry * ^ 12/01 – Columbus, OH @ The Basement * ^ 12/03 – Buffalo, NY @ Mohawk Place * ^ 12/04 – Ann Arbor, MI @ Blind Pig * ^ 12/06 – Chicago, IL @ Thalia Hall * ^ 12/07 – Omaha, NE @ The Waiting Room * ^ 12/08 – Kansas City, KS @ The Record Bar * ^ 12/10 – Denver, CO @ Bluebird * 12/12 – Salt Lake City, UT @ Metro Music Hall * 12/13 – Boise, ID @ Olympic * 12/14 – Portland, OR @ Mississippi Studios * 12/15 – Vancouver, BC @ Venue * 12/16 – Seattle, WA @ Crocodile * 12/18 – San Francisco, CA @ Independent * 12/19 – Los Angeles, CA @ Regent * ^ = w/ Rattle Source

Origins is a recurring new music feature that tasks an artist with taking us through the inspirations behind their latest song. Next month, Madeline Kenney will return with her sophomore record, Perfect Shapes. Produced by Jenn Wasner of Wye Oak, the effort has been previewed with a pair of singles — “Cut Me Off” and “Overhead” — tracks that have make Kenney’s intention to emphasize vibrant melodies clear. That thread continues in gorgeous fashion on the latest taste of the album, “Bad Idea”. The track winds tightly around taut synth lines, breathing and shrinking over a deceptively buoyant bass. Leaning more towards a dream pop feel than the previous singles, “Bad Idea” finds Kenney wading through her own subconscious to reach conclusions for which she wasn’t even aware she was searching. “Sometimes you know when something is going to end… without knowing you know it,” she tells Consequence of Sound. “I feel like that’s where ‘Bad Idea’ came from; only after recording it did I realize what I was trying to say to myself. I wrote it when I was starting to tour more and pursuing things that matter to me, while trying and failing to juggle things that remained back at home. It’s the feeling of being at once the driver and passenger in your life as it moves forward.” Take a listen via the lyric video below. Perfect Shapes is out October 5th via Carpark Records. For more on how the lovely “Bad Idea” came together, Kenney had delved into the track’s Origins. Boss Super-Shifter PS-5 Hums: https://consequenceofsound.files.wordpress.com/2018/09/hums.wavI got a Boss Super-Shifter PS-5 from a fellow intern at Women’s Audio Mission, and I just went crazy and started experimenting with it all over the place. I use it all over Perfect Shapes with different instruments and my voice. I have a little dinky mic I got for $4 at a garage sale with a ¼” jack, so I ran the mic thru the super-shifter and into my loop pedal to make those deep, octave-shifted vocals. Once that layer was down, the rest of the song kinda grew from there. Arthur Russell — “The Letter”: On a few songs on Perfect Shapes, I got really interested in combining programmed drums and live drums. My drummer, Camille, is an expert at weaving live percussion into the bones of the weird demos I send her. “The Letter” by Arthur Russell, is a great example of that technique really gracefully executed. Kate Bush — “Running Up That Hill”: I discovered before making my record that I have basically identical musical taste to Jenn Wasner, who produced Perfect Shapes. I think both of us were thinking a lot about Kate Bush and her fearlessness when it comes to crazy synth tones and both percussive and vocal experimentation. “Running Up That Hill” has it all — that genius synth hook, driving echoey percussion, and weird backing vocals mixed way up front. Midi and Prophet-6: I had written all the synth parts in my demo using midi, and we decided to keep the same chording and run the midi through the Prophet-6 in the studio. It was honestly one of the most rewarding and satisfying sonic experiences of my life. Does that make me sound like a nerd? Okay good!! [Above is] Jenn leaning into it. Source

Listen and subscribe via iTunes | Google Play | Stitcher | RSS Welcome back to another episode of This Must Be the Gig, the podcast that gives you an all-access pass to the world of live music! Long before the days of Mastodon, Brann Dailor was watching his mom’s cover band, drumming in the attic, and listening to classical music. In addition to dishing on all of those dishes, Brann chats with host Lior Phillips to go over highlights of metal magic from Mastodon’s tours, his appearance on Game of Thrones, and so much more. This episode was brought to you by our friends at Vivid Seats. Listen above and subscribe now to keep your finger on the pulse of the live music world. Follow the series on Facebook | Instagram | Twitter Source

Known as “the unicorn slayer” for his ability to magically hold down the dance floor with his open-to-close DJ sets, the Miami based Markus Schulz lets us in during our exclusive interview. As we pick the brain of a kingpin of dance music, we discover what it takes to build a proper set for various atmospheres, to develop a successful record label and DJ broadcast, what Schulz’s inspirations are and how Markus has grown into the person he is today. You will also get to learn about and listen to his latest nourishing release, “Upon My Shoulders” (Coldharbour | Cat Music), with Armenian singer/songwriter, Sebu Simonian, of the indie-pop duo Capital Cities. Then make sure to get a taste of how he got his call sign by listening to his 4-hour set during Coldharbour Day 2018. Welcome into the mind and heart of “America’s Best DJ” (DJ Times Magazine 2012 & 2014), Markus Schulz. photo credit Markus Schulz 1) “Upon My Shoulders” is your first single off your upcoming full-length studio album, We Are The Light (Coldharbour | Black Hole) and it’s the pop song that will catapult Schulz from clubland royalty into the pop music stratosphere. This song is a revelation. What makes “Upon My Shoulders’ different from the rest of your music? Markus Schulz: I wouldn’t necessarily describe it as being a sea change from the rest, but more of a sequel. “Facedown” (with Soundland) from my Watch the World album was the first instance in which my productions had an emphasis on using an acoustic guitar, and “Upon My Shoulders” follows in similar vein. Both of the tracks in question were actually inspired by the same event, and that was Tomorrowland. I have had the very fortunate role in performing the opening set on the main stage during one of the festival days – the Daybreak Session. When you perform in that setting, you are essentially building up the day and building up the audience from nothing at all. After my first experience of it, I was inspired to create “Facedown”, because when I was getting set up to begin my set, I looked out and could see couples out there, sitting on the grass and wrapped in a blanket. It gave me the vision about two people struggling through life, who have nothing but each other. If Facedown was inspired by the beginning of the Daybreak Session, “Upon My Shoulders” was inspired by the ending – the big crescendo of a set, where the couples are having the time of their lives, and they demonstrate this bond with one carrying the other on top of their shoulders. Markus Schulz ‘Upon My Shoulders’ Listen to Markus Schulz’s “Upon My Shoulders”(Coldharbour | Cat Music): Listen to “Facedown” from Schulz’s Watch the World album: 2) How did the collaboration with Sebu come to life for “Upon My Shoulders”? Sebu Simonian photo credit David Galstyan Markus Schulz: I had established a connection with Capital Cities a few years ago, due to remixing their tracks “Safe & Sound” and “One Minute More” alongside Grube & Hovsepian. When envisaging what “Upon My Shoulders” was about and had a rough idea of lyrically what it was going to represent, Sebu stood out to me as the obvious choice. So we reached out to Capital Cities, and Sebu came onboard right away. That vision of people carrying each other on their shoulders is incredibly powerful and stimulating and it sparks the imagination endlessly. Every one of those guys and girls has a connection with the other – a friendship and a story that very likely goes way, way beyond the physical bounds of the event. Having Sebu’s voice as the narration of those moments makes “Upon My Shoulders” carry a warmth and emotion few can convey. Okeechobee photo via Live Edits Lab Okeechobee photo via Live Edits Lab 3) What goes into planning one of your sets, especially at big festivals like Tomorrowland? Photo credit Alive Coverage — at Tomorrowland Markus Schulz: It ultimately depends upon the setting, because the key aspect to understand is that one set will not work in every single environment. With festivals, you usually only have between one hour and 90 minutes to do your thing, so there isn’t really a huge scope to explore. You tend to play a little safer, because if you make a programming mistake, it’s very difficult to recover in a short space of time. Festivals are also like a shop-window for DJs, because you’re playing alongside all the other top-tier guys, and in many ways, the fans may not necessarily be attending to see you yet they have the opportunity to enjoy what you do for the first time. Because of that, the festival sets are generally your signature tracks, presented in high intensity. And of course, you prepare some special surprises specifically for the occasion. With clubs however, you are almost always headlining, meaning everyone is there to see you perform, and more often than not you are presented with the opportunity to play longer. Festivals are hugely important, and I do enjoy the spectacular settings that somewhere like Tomorrowland presents, along with the opportunity to cast a wider net to your fanbase. Tomorrowland photo credit Markus Schulz I think that our biggest privilege as a DJ should be paying tribute to the art behind it. What I don’t like are the club nights where a promoter tries to present a festival-style lineup within a club, meaning everyone plays short sets and there’s no room to breathe or explore. Markus Schulz Live at Tomorrowland 2017 (ASOT Stage):  4) What do you like most about creating music? As one of the leaders in trance, how would you define trance music and how does it make you feel inside? Markus Schulz: It’s undoubtedly the best method in which I can express myself to the world, because I have always tried to base my music on how I am feeling emotionally and mentally. To me, trance is the one genre within the dance music spectrum that touches the soul, connects and resonates deeply with people more than any other. The fans are the biggest source of influence and inspiration in my career, because ultimately, us DJs would be nothing without them. My biggest inspiration for creating music actually occurs while on stage performing, because you see the passion and response of the fans, and how much this music means to them. That’s the one thing I feel trance has above any other genre. Many people regard it as this sort of antisocial music, but the people who follow trance love it with paramount importance. When we hear those arpeggiated melodies and complex chords, they invoke memories of places we have been and people we have met, and that’s what’s important. 5) How did you first get introduced to electronic music? Who has been your biggest influences? Markus Schulz: I had a difficult childhood and as a result of that, I discovered that my best escape from it all was music. I would listen to the radio at night and get lost in the sounds. A lot of people will be surprised when I say this, but most of my influence comes from classic rock. Bands like Pink Floyd, Led Zeppelin, ELO, Manfred Mann and U2. The Dark Side of the Moon by Pink Floyd for me is the best album that has ever been made and continues to inspire me today. On the electronic side, the likes of Kraftwerk and Depeche Mode were really pushing boundaries, and that captivated my imagination too. I would go on to discover DJs playing this music, such as Mr. Magic, Red Alert, Tony Humphries and the Latin Rascals. 6) What efforts did you make that made Coldharbour Recordings so successful? Coldharbour Recordings Markus Schulz: Coldharbour is one of my babies! I am incredibly proud of what it has become. What still amazes me is how passionate the fans are for the label, and how they feel part of it as much as the producers. What I’ve always strived to achieve with Coldharbour, along with Global DJ Broadcast, is to provide a platform for showcasing new talent. I think it’s really important for your legacy to take people under your wing and guide them, and I feel incredibly proud to contribute towards their growth through releases and remixes on the label. Our Coldharbour family is incredible, and I am so grateful to them all for their endeavors. The most important thing for me in any track is that it needs a melody and a groove that grabs my attention. Because of my solo sets and playing across the board, I am always open to differing styles, whether they are the peak-hour upfront tracks with aggressive leads, or the deeper progressive material that helps build a night. Developing relationships with the talent is absolutely vital. You need to be passionate, dedicated and open-minded. All of the producers on the roster combined feel like a big extended family to me, and each person is helping to contribute in their own unique way. One of the most important aspects for a producer is that they need to be flexible and alter a track if necessary. Sometimes I’ll hear a track and find something within it I like but need fixes in order to play it in my sets, so it’s important to have the producer on board and willing to adjust their piece. On many occasions, I’ll be in contact with them firing back notes until we get the product right. The Coldharbour club nights are all built with a team ethos. We imagine it as one overall presentation with each member playing a vital piece towards the story being told across the night. Every one of our members supports each other very well. Listen to Markus Schulz set for Coldharbour Day 2018: 7) Tell me what life was like for you in the 8th grade. Markus Schulz: Well, when I was 13 years old, I immigrated to the United States, without knowing a single word of English, and lived just outside of Boston. It was such a culture shock for me, and I struggled to become part of the fabric due to a lack of self-confidence. Again, this would be where the radio would save me – I would come home from school every day, put my headphones on and listen to the radio. When it was cloudy, I was able to tune in to some college radio stations at night, where they would be playing more interesting electronic music. Along with that, I quickly developed a love for breakdancing, and gravitated towards all the other misfits and outcasts at school as a result. Two things mattered to me when at school – creative writing and making mixtapes. I’d trade tapes with other people at school and as we got older, we would start organizing our breakdance parties. The creative writing is actually something that as an artist, I had been itching to rediscover for years, because when I started producing it was almost entirely all about making music and twisting the knobs in the studio. My previous artist album, Watch the World, provided me the platform to delve back into that creative writing world, and the new album coming, We Are the Light, facilitates the same passion. 8) Since the 8th grade, how have you evolved into who you are today? photo credit Markus Schulz Markus Schulz: Incredibly fortunate, but I have gone from a 13 year old outcast, living in a foreign country without knowing the language and really struggling to find my purpose in life; to being able to connect and entertain people through a passion and love for music. I take absolutely none of this for granted, and I count my blessings every day that I am one of the lucky ones who get to do what they love for a living. There are so many talented producers and DJs out there who never get the breaks in their careers and have to give up their dream to find other jobs in order to support themselves and their families. I still feel as passionate about our scene as ever and am determined to continue adding those building blocks towards whatever may be my legacy at the end of it all. Over the next couple months, Schulz is booked all around the world with stops in London, Australia, Malaysia, Japan, Philippines, Chicago, Canada, Kansas City, Mexico, Amsterdam, Czech Republic, Miami and New York. If you are fortunate enough to be in Canada or Chicago on the 6th and 7th of October, then you will be able to experience his open-to-close solo set. Also, on October 19th in Amsterdam you will be able witness him in full “Unicorn Slayer” fashion. Check out his tour dates and locations to find out when you can enter the state Markus provides. Follow Markus Schulz: Official | Facebook | Twitter | Instagram The post Welcome into the Mind and Heart of “The Unicorn Slayer”, Markus Schulz [Exclusive Interview] appeared first on EDM | Electronic Music | EDM Music | EDM Festivals | EDM Events. Source

Mitski put out what will surely rank as one of the year’s best albums, Be the Cowboy, just last month. The record has skyrocketed the indie favorite into a new echelon of notoriety, something demonstrated by her appearance last night on The Daily Show with Trevor Noah. She sat down with Noah to talk about her record’s title, specifically the “arrogance and freedom” of the cowboy myth and how it relates to her life as an Asian American. Other points of discussion included the specific “structural, societal loneliness” of touring, as well as the gendered viewpoints presented in critiques of her work. “I don’t think I would get as many critiques where people say my music is ‘confessional’ and ‘raw’ if I wasn’t who I am,” Mitski said. “I think there’s so much effort in taking away my authority or autonomy over my music. It’s coming out of my own brain… but for some reason people really need to imagine me as some sort of vessel for emotion or vehicle for music instead of the creator.” After the charming and insightful interview, Mitski delivered an acoustic performance of her single “Geyser” on a rainy set. Check out video of both segments below. Mitski is just about a week away from kicking off a new European tour leg. She’ll follow those dates up with a stretch of North American shows, one of our most anticipated tours of the fall. Source

The Pitch: On August 4, 1892, in a prosperous town in Massachusetts, Andrew and Abby Borden were viciously murdered in there home, the victims of a grisly attack. Ever since, the mythology surrounding Andrew’s daughter Lizzie (Chloe Sevigny) has shifted wildly. Lizzie was suspected but never actively tried with the murders; after the case moved on, nobody else was, either. However, Lizzie isn’t about the Borden murders, at least not for most of its runtime. This is a film more concerned with the interiority of Lizzie Borden, of who she was and what about that particular time in history might have pushed her to cross the line she (allegedly) did. Lizzie Borden Was Eventually Pushed To An Axe: For years, the Borden murders have existed as a source of fringe fascination in American folklore. As the legend goes, Andrew (Jamey Sheridan) married Abby (Fiona Shaw) after the death of Lizzie’s mother; as Lizzie saw it, Abby was merely interested in the Borden family fortune. Lizzie, as director Craig William Macneill posits, was a black sheep within the Borden family long before Abby’s arrival, the “difficult” daughter against sister Emma (Kim Dickens) and her more agreeable demeanor. Lizzie, as visualized by Sevigny, is a taciturn woman, deeply intelligent but wracked with constant paranoia and fear, abrasive to her peers in the local gentry and even more so to her disrespectful stepmother and openly abusive father. In its most compelling moments, Lizzie picks apart the psychology of its titular killer, framing the film’s events not as the tense crescendo to a vicious murder, but instead as a tragic and inevitable progression of slights and humiliations which can only possibly end in one way. From the moment the new housekeeper Bridget Sullivan (Kristen Stewart) arrives, and Lizzie begins to look at her in ways that no other person in her life is granted, it’s clear given the film’s time and place that only tragedy will follow. To its credit, however, Lizzie manages to queer the Borden legend without turning lurid or exploitative; Sevigny and Stewart’s work may be understated to the occasional point of stiffness, but that’s hardly the fault of either performer when the film actively invokes that particular tone at many points throughout. There’s a delicacy to both performances, particularly Sevigny’s, that stops Lizzie from sliding into the exploitative territory that so many other stories of the Borden murders tend to take. Macneill’s perspective is refreshing (if, again, fairly starched from start to finish) in that it sees Lizzie Borden not as a folk murderer, but as one of so many perpetually abused women living in a time where those concerns were simply not shared by the world around her. There’s still eventually the axe violence with which the story must concern itself, as well, but that moment is complicated by the context the film establishes for why a person might do such a thing. The Verdict: Lizzie isn’t exactly an exciting film, but it’s absolutely a compelling one. Much of that, again, emerges from Sevigny’s work, who finds the notes of delicacy that the film around her occasionally lacks. (Denis O’Hare can deliver the smarmy menace he lends to her uncle John Morse in his sleep, but his unveiled threats land as clunkers in an otherwise thoughtful and deliberate piece.) As interpreted by the veteran indie performer, Lizzie isn’t the kind of protagonist one follows for her depths or multitudes. She’s an angry, often mean person, but Lizzie effectively argues that this shouldn’t matter. She was an odd, singular individual in a time where odd men were given the moon and odd women were demeaned into obedience. It’s no surprise that most of the film’s best material comes from Sevigny and Stewart sharing the screen. The latter has been doing stunning work of late, playing with her natural inclinations toward silence and evocative stillness, and here the two convey the kind of relationship which couldn’t then declare itself aloud by leaning into both. If that makes Lizzie the kind of film that’s either referred to as “patient” or “boring,” depending on one’s preferences, it also puts it a cut above its peers in either respect. The halted nature of their dynamic, from initial attraction to more, generates far more tension than most of the film’s intimations of violence to come, and it allows Lizzie to consider its subject as a human being in a way that many historical biopics fail to even attempt. It may not make for a particularly showy film, but it allows Lizzie a thoughtfulness that stories of troubled women throughout history often elide as well. Where’s it playing?: Lizzie will enter into limited release on 9/14, and roll out in select theaters nationwide in the following weeks. Trailer: Source

Henry Cavill is hanging up his red cape. It appears the actor will no longer play Superman in Warner Bros. Pictures’ DC Extended Universe films, according to The Hollywood Reporter. WB had apparently been courting Cavill for a Superman cameo in the upcoming Shazam!, which hits theaters April 5th, 2019. However, much as it caused the infamous mustachioed issues with Justice League reshoots, the actor’s commitment to Mission Impossible: Fallout conflicted with the Shazam! schedule. It appears that the contract breakdown led Cavill to sign onto Netflix’s new series The Witcher, which many took as a sign that WB was indeed moving on from their current Clark Kent. Whatever the case, WB will instead shift its focus to its upcoming Supergirl movie from writer Oren Uziel (22 Jump Street,The Cloverfield Paradox). That story is set to follow a teenaged Kara Zor-El on Krypton, meaning her younger cousin, Kal-El, would be far too young to don the S. (Read: Why Justice League Is the End of the DC Extended Universe as We Know It) That’s likely okay with WB, as the studio appears to have no plans for another Superman film “for at least several years,” according to THR. “Superman is like James Bond, and after a certain run you have to look at new actors,” a studio source told the publication. Cavill had in the suit for five years, beginning with 2013’s Man of Steel, followed by 2016’s Batman v. Superman: Dawn of Justice and last year’s Justice League. Update: Though a new Superman movie appears to be a long ways off, WB and DC are eyeing Michael B Jordan as a possible replacement to Cavill. Update: WB has released a statement that does little to clarify any misunderstandings regarding Cavill’s future as Superman. “While no decisions have been made regarding any upcoming Superman films, we’ve always had great respect for and a great relationship with Henry Cavill, and that remains unchanged,” said a studio spokesperson. While that emphasizes that the future of Superman solo films in the DCEU is up in the air (zing), it doesn’t exactly confirm or deny that Cavill is still their Man of Steel. Making matters even muddier, Cavill’s manager, Danny Garcia, tweeted a message saying, “Be peaceful, the cape is still in his closet.” Even that, though, was followed up by saying the studio “has been and continues to be our partners as they evolve the DC Universe,” which again casts doubt on Cavill’s involvement. Be peaceful, the cape is still in his closet. @wbpictures has been and continues to be our partners as they evolve the DC Universe. Anticipate a WB statement later today. — Dany Garcia (@DanyGarciaCo) September 12, 2018 With Cavill gone, it looks as if the DCEU will be losing two of its Big Three. Ben Affleck isn’t expected to return to the cape and cowl of Batman, whether its because of his rising insurance costs or writer/director Matt Reeve’s desire to go for a younger Dark Knight in his standalone Batman film. As the only proven successful solo Justice Leaguer, Gal Gadot seems safe as Wonder Woman, while Jason Momoa’s Aquaman solo film is coming this December and Ezra Miller is expected to begin shooting his Flash movie early next year. Studio insiders confirm to THR that, “There’s a recognition that some parts of the previous movies didn’t work.” That’s a sentiment echoed by WarnerMedia CEO John Stankey at a recent investor conference, where he said, “Some of our franchises, in particular at DC, we all think we can do better.” As such, ousting Cavill seems like another step by WB/DC Films to try to course correct the critically and financially disappointing DCEU. Source

Earlier this year, LCD Soundsystem scored a Grammy for Best Dance Recording for “Tonite”, off their 2017 album, American Dream. For a new Spotify Singles session, James Murphy and the gang have recorded that same award-winning track as well as a special cover song. LCD Soundsystem’s two-song studio session features a rapturous rendition of “Tonite”, one that, according to a number of fans on reddit, captures the dynamic energy of their recent live shows. The Brooklyn natives also chose to take on the 1979 Chic classic “I Want Your Love”, which they mashed up with their own This Is Happening cut “Home”. (Read: The 25 Most Anticipated Fall Tours of 2018) Take a listen below. LCD Soundsystem spent the better half of 2018 on the road, sharing the stage with the likes of Yeah Yeah Yeahs and TV on the Radio and hitting up major music festivals. This fall, the ladies of the band, Nancy Whang and Gavin Rayna Russom, are heading out on a tour of their own. Source

Five Finger Death Punch and Breaking Benjamin are using a portion of the proceeds from their summer co-headlining tour for the greater good. Five Finger Death Punch donated $95,000 to C.O.P.S.-Concerns of Police Survivors, which helps rebuild the lives of survivors and co-workers affected by line-of-duty deaths, while Breaking Benjamin gave $95,000 to Prevent Child Abuse America, which promotes services that improve child well-being and develops programs that help to prevent all types of abuse and neglect. “We’ve had the privilege to work with veteran and police organizations for years,” Five Finger Death Punch guitarist Zoltan Bathory said in a statement. “Today, we are making this donation as a token of our respect and gratitude to those who committed to protect and serve, to those who signed up to bravely hold that thin blue line between ‘civilization as we know it’ and ‘lawless savagery and chaos’. Unfortunately, every 58 hours a police officer who believes in something sacrifices everything and dies in the line of duty. C.O.P.S. (Concerns of Police Survivors) helps and benefits the families of our fallen heroes in blue.” “C.O.P.S. is grateful to be the recipient of such a generous donation from Five Finger Death Punch,” added C.O.P.S. executive director Dianne Bernhard. “We not only appreciate their amazing musical talent, but their support for surviving families and co-workers of America’s law enforcement truly sets them apart. Thank you on behalf of over 47,000 survivors!” “We’re honored to be able to utilize the thing we love to do most as a tool to help children in need,” stated Breaking Benjamin frontman Ben Burnley. “Organizations such as Prevent Child Abuse America remind us that we are the voice of the voiceless and positive change is possible in otherwise hopeless situations for these kids. We offer our utmost gratitude to every fan who bought a ticket this summer and made a difference. And last but not least, thank you to the selfless people at Prevent Child Abuse America for inspiring greatness and all that you do to make the future brighter for so many.” “We are very grateful to the members of Breaking Benjamin, not only for this incredible donation, but for helping to spread the word that child abuse and neglect prevention is possible,” added Dan Duffy, PCAA president and CEO. “This donation from Breaking Benjamin and their fans will go directly towards programs like Healthy Families America that are making a difference in local communities across the country. At Prevent Child Abuse America, we say that ‘we all have a role to play,’ and we hope that others are inspired by Breaking Benjamin to learn more about the ways that each of us can make an impact in our local community. Thank you again to Ben, Aaron, Shaun, Jasen and Keith for your generosity on behalf of our nation’s children.” Five Finger Death Punch and Breaking Benjamin will hit the road together this fall for another co-headlining run. The tour, which kicks off Nov. 6 in Wichita, Kansas, also features Bad Wolves and In Flames appearing on select dates, with From Ashes to New opening for the full run. Find the full list of tour dates here. Source

Our best days are behind us. That’s how the music industry makes us feel about the fall. We’re packing up our songs of the summer along with our beach blankets. Album releases will start dwindling in the next month or two to match the shortening days. The most bustling weekends of festival season are in our collective rearview. And before you know it, we’ll be looking back on 2018 and talking about the best and worst of the year that was. [See Also: The 25 Most Anticipated Albums of Fall] But between the fading of summer and the hopeful prospects of the new year, let’s not forget all that fall brings: namely fall tours. It’s a chance to see those festival sets turn back into full-length headlining shows, an opportunity to find more intimacy than summer fests or massive outdoor venues can offer, and a reason to pull out your favorite band hoodie — you know, the one you couldn’t have imagined ever wearing again just a few weeks ago when you were riding the festival rails in 90-degree heat. When you put it that way, fall doesn’t sound so bad. And when you take a look at the 25 tours below that are heading your way, you have all the more reason to rethink any gloom the end of summer might bring. So, chin up, cheer up. And, like always, we’ll save you a seat. –Matt Melis Editorial Director __________________________________________________________ Deafheaven Deafheaven, photo by Spencer Kaufman Black metal titans Deafheaven have expanded their touring schedule to include a new leg of US tour dates in continued support of their latest album, the excellent Ordinary Corrupt Human Love. It’s not surprising given how the band have turned your average indie rock fan into a burgeoning metalhead. As for Deafheaven’s travel plans, the new stateside dates begin at the end of October and run through mid-November. DIIV have been tapped to support. Just remember: if it’s too loud, you’re too old. –Lake Schatz (Read: 10 Other Metal Albums Deafheaven Fans Should Check Out) __________________________________________________________ J. Cole J Cole (Philip Cosores), Jaden Smith (Philip Cosores), and EarthGang J. Cole knows as well as anyone that hurricane season can bring about scheduling conflicts with festival season. Sadly, this weekend’s one-day Dreamville Festival won’t be happening as Hurricane Florence creeps towards land. Better safe than sorry, of course, and not to fret. There are still a month and change of dates left on Cole’s slate. That means lots more J. Cole, Young Thug, Jaden Smith, and our personal favorites, Atlanta duo EarthGang. They don’t wrap until October 10th in Boston, so don’t let Flo spoil your flow. –Regan Bexler __________________________________________________________ Drake and Migos Drake and Migos In June, Drake released his new album, Scorpion. In support, he mapped out a gigantic North America tour with fellow hip-hop titans Migos. The aptly titled “Aubrey and the Three Amigos Tour” kicked off August 12th in Kansas City after a series of postponements. Spanning over 40 dates, the tour includes multiple nights in Drizzy’s hometown of Toronto, Chicago, Boston, Miami, and Houston, before wrapping up with a pair of shows in Migos’ hometown of Atlanta in mid-November. –Alex Young __________________________________________________________ Childish Gambino Childish Gambino, photo by Ben Kaye Childish Gambino has officially extended his 2018 tour itinerary into the fall. Previous reports said the Renaissance man aka Donald Glover would be going on this October run with Tyler, the Creator, but it turns out he’ll be joined by Vince Staples instead. The new dates follow Gambino’s run of shows with Rae Sremmurd throughout September (an additional New York City gig has been added to that stretch on the 15th). Staples will join Gambino the following month for dates in San Jose, Inglewood, Glendale, Denver, and Nashville. All of this precedes Gambino’s “immersive virtual reality, multi-sensory concert experience” known as Pharos, which is set to land in Auckland, New Zealand, on November 23rd-25th. –Ben Kaye __________________________________________________________ 4U: A Symphonic Celebration of Prince Prince in Concert Questlove has curated a Prince tribute tour called “4U: A Symphonic Celebration of Prince.” The 36-date trek, which was officially approved by the late musician’s estate, features a 27-piece orchestra performing Prince’s iconic songs alongside a full band and guest vocalists. The celebration began last week in New Jersey and will continue on through late October across much of the country. According to a press release, some of the songs that will be featured on the tour include “For You”, “Nothing Compares 2 U”, a medley of “Venus de Milo” and “Alexa de Paris”, and another medley of “All My Dreams” and “1999”. Now what could compare 2 that? –Ben Kaye __________________________________________________________ Source

Red Hot Chili Peppers will soon hit the studio to begin work on a new studio album. That’s according to frontman Anthony Kiedis, who told the New York Post that the band has plans to recommence in two weeks’ time (via Alt 92.3). Kiedis spoke to the Post during a Fashion Week event in New York City earlier this week. Red Hot Chili Peppers have kept a low profile since wrapping up a world tour supporting their 2016 album, The Getaway. The forthcoming release will mark the band’s twelfth studio album to date and third with the current lineup of Kiedis, bassist Flea, drummer Chad Smith, and guitarist Josh Klinghoffer. Recently, Flea announced plans to release his memoir. Source

Brody Dalle reunited The Distillers earlier this year for their first tour dates in over a decade. Now, the band has revealed a new single called “Man vs. Magnet”, its first such release in 15 years. The single’s B-side is a new version of “Blood in Gutters”, which was originally released as a solo single by Dalle in 2014, as Pitchfork points out. Take a listen to both tracks below. The Distillers’ last full-length album came back in 2003 with Coral Fang. The Distillers are amidst a run of west coast tour dates with Starcrawler. Find those dates mapped out below. The Distillers 2018 Tour Dates: 09/12 – Portland, OR @ Roseland Theater 09/14 – Oakland, CA @ Fox Theater – Oakland 09/15 – Hollywood, CA @ Hollywood Palladium 09/18 – San Diego, CA @ Observatory North Park 09/20 – Las Vegas, NV @ Brooklyn Bowl Source

Future may not be heading out on his canceled tour with Nicki Minaj, but that doesn’t mean he’s ceased promoting his new mixtape, Beast Mode 2. Last night, the Atlanta MC made a stop by The Tonight Show Starring Jimmy Fallon on Tuesday to perform the track “31 Days”. He delivered the song bathed in purple light and standing at his scarf-adorned mic stand. Check out the replay below. The North American leg of the “NICKIHNDRXX Tour” may not be going on as planned, but Future and Nicki still have some dates lined up for Europe later in the year. Find Future’s dates via his website. Tour Update: Nicki Minaj & Future Announce Their NICKIHNDRXX Fall Tour Wiz Khalifa & Rae Sremmurd’s Dazed &; Blazed Hotline Tour The Come Up: Closed Sessions Childish Gambino’s Top 5 Songs Janelle Monae’s Top 5 Songs Nicki Minaj's Top 5 Verses Source

Lana Dey Rey has announced the release of two new songs, which serve as a precursor to a new studio album due out in 2019, according to a press release. The first song, “Mariners Apartment Complex”, arrives today (September 12th) at 2:30 p.m. EST. The second song, “Venice Bitch”, will follow on September 18th. In an Instagram post teasing the release of “Mariners Apartment Complex”, Del Rey tagged producer Jack Antonoff. Antonoff, our 2017 Producer of the Year, has worked on a string of high-profile pop music projects of late, including Lorde’s Melodrama, St. Vincent’s Masseduction, and Taylor Swift’s Reputation. Del Rey’s last album came in 2017 with Lust For Life. Recently, she postponed a scheduled concert in Tel Aviv, Israel, but “plans to return when she can both in both Israel and Palestine and treat all my fans equally.” Source

ODESZA are an interesting couple of dudes. One one hand, they are the bringers of soothing, emotional electronica that has you feeling a strange mix of nostalgic and loving. Late Night is a great example of that melancholy sound they often channel from their latest album, A Moment Apart – read more about that here. However, the other hand is dedicated purely to heavy-hitting anthems that are handcrafted for a more large-scale setting. Their forthcoming release is precisely that. Having already given this tune plenty of run in previous shows, the Seattle duo are finally giving Loyal the official release it deserves, having made this pretty damn clear in the way of a teaser video across their social feeds today. Check it out below: pic.twitter.com/7IMwGkIRF6 — ODESZA (@odesza) September 10, 2018 As mentioned above, the track has been getting spins for over 3-years without actually being released, and now that day is finally upon us, with the premiere coming tomorrow at 9am PST via Beats1. Set that alarm clock and get yourselves ready! Check out a fan’s recording of Loyal from Coachella earlier this year to hold you over below. Source

Fan favourite Australian act Carmada will no longer be with one half of the group making the decision to leave indefinitely just prior to their heavy Australian tour through October! It was the decision of LDRU to break the news to fans that he’ll be focusing his efforts on his solo career after citing ‘…for better or worse the two of us have grown apart creatively and personally over the last two years.’ as the main reason for the split but added ‘I wouldn’t be doing this now unless it meant good things for everyone involved.’ so hopefully an amicable end to what seemed like two pretty chummy dudes. Carmada have had a huge impact on the Australian dance music scene with their take on big trap and house sounds that have seen fans flock to their sets and shows throughout many festivals over the years including the just-passed Splendour In The Grass as well as releases on Skrillexs NEST HQ label and more. The good news is Yahtzel will continue to steer the ship through the tour and continue the legacy. Check out the full spiel below. Who cant forget this banger? Source

Subscribe via iTunes | Google Play | Stitcher | RSS Our weekly coverage of Hulu’s Castle Rock wraps up as Mckenzie Gerber, Michael Roffman, and Randall Colburn close out the first season of the series with its highly anticipated finale, “Romans”. Join the Club: Support The Losers and Grab a T-Shirt! Together, they meditate on the strength and weaknesses of the season, bemoan that ridiculous post-credits scene, and make some future predictions for the series. Listen above and remember to stream our exclusive interview with showrunners Dustin Thomason and Sam Shaw. Though, if you’ve already listened to it, why don’t you leave us a glowing review on iTunes. Chapters include: Intro, Greetings from Castle Rock (28:00), Shining Moments (1:45:30), The Sematary (1:52:30), Misery (1:55:15), King’s Dominion (2:04:00), Room 237 (2:08:00), Final Thoughts (2:23:45), Outro (2:30:00) — Follow us on Facebook, Twitter, and Instagram — E-mail us tips. Links — Listen and Follow: Coach Hop — In Case You Missed It: Recapping Castle Rock: “Henry Deaver” Proves There Are Other Worlds Than These — Editorial: The Generation That Grew Up on Stephen King is Taking Him Back — Editorial: Let’s Not Fuck Up This Stephen King Renaissance, Okay? — Feature: Behold, The Stephen King Cinematic Universe! — Guide: Stephen King in Five Films — Ranking: Every Stephen King Movie, Miniseries, TV Show from Worst to Best — List: The Top 10 Stephen King Film Adaptations Source

Echo and the Bunnymen are revisiting a number of past favorites on their first album in four years, The Stars, The Oceans & The Moon. The October 5th release includes updated versions of classic Echo tracks, like the previously revealed “Seven Seas”, alongside of pair of new tunes, including last month’s “The Somnambulist”. The latest taste of the effort finds the iconic post punk outfit turning one of their most beloved hits, “The Killing Moon”, on its head. On 1984’s Ocean Rain, the original “The Killing Moon” rolls in over reverberating guitars and bass, but all those things are gone in this “transformed” version. Instead, the drama has been heightened by replacing the instrumentals with piano keys and strings. Take a listen below. This fall, Echo and The Bunnymen will support The Stars, The Oceans & The Moon on a European and North American tour. Buy your tickets here. Source

The legendary Norm Macdonald has a new Netflix talk show on the horizon and, if it’s anything like his Norm Macdonald Live web series, it’s gonna be really, really good. It looks like it will arrive with its own share of controversy, however, as the comedian just dropped some unfortunate takes in a new interview with The Hollywood Reporter. In it, he revealed that he served as a friend and confidant for both Roseanne Barr and Louis C.K. in the wake of their career-imploding scandals, the former for her incendiary and racist tweets and the latter for a history of sexual misconduct. He even encouraged the two to commiserate. “Roseanne was so broken up [after her show’s reboot was canceled] that I got Louis to call her, even though Roseanne was very hard on Louis before that,” he said. “But she was just so broken and just crying constantly.” He added, “They both said they had a good conversation and were just giving any advice you could give to each other. There would be no way for me to even understand that advice, because who has ever gone through such a thing? All their work in their entire life being wiped out in a single day, a moment.” While Macdonald’s empathy is admirable, his comments indicate that it comes at the cost of marginalizing their victims. “There are very few people that have gone through what they have, losing everything in a day. Of course, people will go, “What about the victims?” But you know what? The victims didn’t have to go through that.” C’mon, dude. The majority of Macdonald’s comments won’t surprise anyone those with his standup or web series, where he routinely mines comedy from the logic behind a number of progressive issues, but several of his comments here come across as uncharacteristically callous, especially when he all but disregards the account of Chloe Dykstra, who, earlier this year, thoroughly documented the abusive behavior of a former boyfriend revealed to be TV host Chris Hardwick. “I’m happy the #MeToo movement has slowed down a little bit,” he said. “It used to be, ‘One hundred women can’t be lying.’ And then it became, ‘One woman can’t lie.’ And that became, ‘I believe all women.’ And then you’re like, ‘What?’ Like, that Chris Hardwick guy I really thought got the blunt end of the stick there.” Norm Macdonald Has a Show premieres this Friday, September 14th. Update: In a follow-up tweet, Macdonald sought to clean up his comments and apologized for “minimizing the pain” of Roseanne’s and Louis C.K.’s victims. Roseanne and Louis have both been very good friends of mine for many years. They both made terrible mistakes and I would never defend their actions. If my words sounded like I was minimizing the pain that their victims feel to this day, I am deeply sorry. — Norm Macdonald (@normmacdonald) September 11, 2018 Source

BROCKHAMPTON have had a wild 2018, and they’re not slowing down anytime soon. They’re about to kick off an Australian and New Zealand tour, after which they’ll return to North America for another string of dates. Amidst their travels, they’ll release a new album, Iridescence, along with a just-announced documentary film called The Longest Summer in America. (Read: The 25 Most Anticipated Albums of Fall 2018) Drected by Dude Heifetz, the documentary touches upon the many highs and lows of the hip-hop boyband’s last few months. As the below trailer reveals, things start with the group’s signing to RCA, but quickly shift to the sexual abuse allegations levied against former member Ameer Vann. “That’s the last time I saw Ameer,” one of the BROCKHAMPTON members says in the preview. The band struggles with “growing in front of the world” before heading on a massively successful European tour which ends with them recording their new album, Iridescence, at the iconic Abbey Road Studios. Watch the trailer: THE LONGEST SUMMER IN AMERICA pic.twitter.com/84cDXVMV14 — BROCKHAMPTON (@brckhmptn) September 11, 2018 The Longest Summer in America will premiere at Los Angeles’ Arclight Sunset Theater on September 17th. Screenings — with a $1 entry fee — will then follow in other parts of the world. See the full schedule below. BROCKHAMPTON are expected to release Iridescence later this month. Their North American “I’ll Be There” tour kicks off October 5th at Austin City Limits Festival. Source

One keen hardstyle fan has taken matters into her own hands in finding out the rather precarious drug dog detection situation that may be present at this weekends sold out Defqon festival that will see some 25,000 revellers descend towards the Sydney International Regatta Centre just outside of the city for a bit of a hak and gab. The reason for the curious push has come after some rather sticky policing earlier this year in which punters, detected by sniffer dogs at a dance event were turned away from the venue even without being found in possession of any illegal substances, something reinforced by NSW Police with an ominous statement targeting another event in June. Super-fan Jade Doran took to Facebook to let friends know that she’d given the local cop shop a buzz and enquired about similar tactics that might be used on the day. Thankfully the officer on the other end of the line said yes there will be drug detection dogs but if you aren’t found with anything on you, you’re all good to continue into the festival! While this may seem like a solid indication of what will be happening this is not a clear statement and anything really could really happen on the day, so obviously use your head and look after yourself and your mates. To those not familiar with the festival or those looking for a serious untz to get you ready, check out the sheer scale and effort that goes into the annual event by checking out last years after-movie below, holy hell! Source

Along with the tragic news of We Came as Romans singer Kyle Pavone’s sudden death late last month came the question of whether the metalcore act would continue on as a band. Today, in a new Facebook video, the band’s co-vocalist Dave Stephens announced that not only will WCAR remain a band, they will stick with their original plan to tour this fall with Bullet for My Valentine. Stephens said, “We decided that the best course of action for the band is to do the Bullet for My Valentine tour. We feel like this honors Kyle.” He continued, “We can talk about … the Kyle Pavone Foundation, and carry on doing what he would have wanted us to do and us be together on stage, playing music together, with our fans.” He concluded, “We will not be replacing Kyle. We’ll be continuing on the five of us, and honoring his life for the next few weeks while we’re on tour.” Kyle Pavone died on August 25 of an accidental overdose. TMZ later reported that Pavone was found passed out by his girlfriend in his bathroom, with a used syringe nearby. He later died at a hospital. According to the band’s Facebook events page, We Came As Romans were scheduled to hit the road this Saturday, September 14th, to play a couple of headlining shows before joining the Bullet for My Valentine trek. But, according to Stephens, they will start their tour on September 18th in St. Louis as part of the BFMV trek. Source