Latest news with #MatadorRecords
Scoop
2 days ago
- Entertainment
- Scoop
Lifeguard Release Focus Track
Out Friday on Matador Records, Ripped and Torn is the eagerly awaited debut album by Chicago trio Lifeguard. Today, listen to the band's churning third single 'Like You'll Lose.' The dub-inflected track takes inspiration from Lee Perry's tight drum sound and expansive lo-fi atmospherics, with Asher Case 's baseline providing a center of gravity for skittering rhythms and tumbling echoes. Listen to 'Under Your Reach.' It's among the band's hardest-hitting tracks to date, expertly blending their experimental and pop-leaning impulses. Gritty drones and dub-inflected bass give way to a laser beam riff, with guitarists Kai Slater and Asher Case delivering the vocal in loose harmony. The song is drawn from the Chicago-based trio's forthcoming debut album, Ripped and Torn, out June 6th on Matador Records. The youthful trio of Asher Case (bass, baritone guitar, vocals), Isaac Lowenstein (drums, synth), and Kai Slater (guitar, vocals) have been making music together since they were in high school, nearly a quarter of their lives. Noisy and immediate, cryptic but heartfelt, they draw inspiration from punk, dub, power-pop and experimental sounds, and bring them all together in an explosive cacophony. Recorded last year in Chicago with producer Randy Randall (No Age), the album captures a claustrophobic scrappiness that evokes the feeling and energy of house parties and tightly-packed rooms, where ears are easily overwhelmed, and ragged improvisations connect with the same force as melodic hooks. Praise for Lifeguard: "Some of the year's tightest, catchiest rock songs, full of hooks that will ricochet around your head all summer." – Rolling Stone ('Artist You Need to Know') "Lifeguard may conjure sounds of the past but crucially, they make the future seem more exciting for their existence." – FADER "Ripped and Torn is renaissance post-punk with a twist of anthemic, post-Y2K bombast" – Paste "If you believe they don't make 'em like they used to, you'd better check these kids out." – Stereogum 'The Chicago three-piece (…) draw on the dissonant, melodic sounds of alt-rock heroes, but forge their own path' – The Observer 'Artist To Watch' 'A fresh addition to US alt rock's rich canon, headbangers everywhere will approve' – Music Week 'urgent, existential noise-rock' – NME '… nothing short of pure, menacing excitement' – DIY David Keenan on Ripped and Torn: Ripped and Torn, the debut album by Chicago three-piece Lifeguard, may or may not take its title from the legendary Scottish punk fanzine of the same name. Or perhaps it references the torn t-shirts that rock writer Lester Bangs claimed the late Pere Ubu founder Peter Laughner died for 'in the battle fires of his ripped emotions.' Or maybe it points to the trio's ferociously destabilising take on melodic post-punk and high velocity hardcore, signposting their debt to the kind of year zero aesthetics that would reignite wild improvisational songforms with muzzy garage Messthetics in a way rarely extrapolated this side of Dredd Foole & The Din. Either way, Lifeguard stake their music on the kind of absolute sincerity of the first wave of garage bands, garage bands that took rock at its word, while simultaneously cutting it up with parallel traditions of freak. The half-chanted, half-sung vocals are hypnotic. Songs aren't so much explicated as they are exorcised, as though the melodies are plucked straight from the air through the repeat-semaphoring of Asher Case on bass, the machine gun percussion that Isaac Lowenstein plays almost like a lead instrument, and that flame-thrower guitar that Kai Slater sprays all over the ever-circling rhythm section. Indeed, the trio play around an implied centre of gravity with all of the brain-razzing appeal of classic minimalism, taking three-minute hooks into the zone of eternal music by jamming in – and out – of time. And then there are the more experimental pieces – 'Music for Three Drums' (which surely references Steve Reich's Music For 18 Musicians), 'Charlie's Vox' – that reveal the breadth of Lifeguard's vision, incorporating a kind of collaged DIY music that fully embraces the bastardised avant garde of margin walkers like The Dead C, Chrome, and Swell Maps. But alla this would be mere hubris without the quality of the songs. The title track 'Ripped & Torn' suggests yet another take on the title, which is the evisceration of the heart. Here we have a beautifully brokedown garage ballad, with the band coming together to lay emotional waste to a song sung like a transmission from a lonely ghost. 'Like You'll Lose' goes even deeper into combining dreamy automatic vocals with steely fuzz on top of a massive dub/dirge hybrid. 'It Will Get Worse' is pure unarmoured pop-punk crush while 'Under Your Reach' almost channels the UK DIY of The Television Personalities circa 'Part Time Punks' but with a militant interrogation of sonics that would align them more with This Heat. Plus the production, by Randy Randall of No Age, is moody as fuck. Are they really singing 'words like tonality come to me' on 'T.L.A.'?! If so, it would suggest that Lifeguard are one of those rare groups who can sing about singing, who can play about playing, and who, despite the amount of references I'm inspired to throw around due to the voracity of their approach, are capable of making a music that points to nothing outside of the interaction of the player's themselves. And sure, there's a naivety to even believing you could possibly do that. But perhaps that's what I have been chasing across this entire piece, the quality of openness that Lifeguard bring to their music. You can tell these three have been playing together since junior high/high school: the music feels youthful, unburdened, true to itself, even as it eats up comparisons. Lifeguard play underground rock like it might just be as serious as your life, but with enough playful ardour to convince you that youth is a quality of music, and not just of age. With a sound that is fully caught up in the battle fires of their own ripped emotions, Lifeguard make me wanna believe, all over again.
Yahoo
14-05-2025
- Entertainment
- Yahoo
Queens of the Stone Age Announce ‘Alive in the Catacombs' Concert Film, Album
Queens of the Stone Age have announced the release of their unique live performance in the Catacombs of Paris as a concert film and album. Recorded in July 2024 and set to be released on June 6 via Matador Records/Remote Control Records, the unique performance saw the rock outfit head beneath the surface of Paris to perform within the sprawling 200-mile ossuary. According to a description of the location, its foundation is built out of 'several million bodies buried in the 1700s,' with many of the walls composed of skulls and bones. More from Billboard Adam David Delivers Teddy Swims' 'Lose Control' on 'The Voice' as Finalists Are Set Blake Shelton Drops 'Texas' on 'Fallon,' Says Post Malone Fueled His Return Amyl and the Sniffers, Royel Otis Lead Finalists for 2025 AIR Awards Frontman Josh Homme had dreamed of organizing such a performance since visiting almost two decades earlier, though was denied permission by the city of Paris, who had never previously allowed a band to play within. However, the respect the band held for the location ultimately resulted in their performance officially being sanctioned. 'The Catacombs of Paris are a fertile ground for the imagination,' said Hélène Furminieux of Les Catacombes de Paris. 'It is important to us that artists take hold of this universe and offer a sensitive interpretation of it. Going underground and confronting reflections on death can be a deeply intense experience. 'Josh seems to have felt in his body and soul the full potential of this place. The recordings resonate perfectly with the mystery, history, and a certain introspection, notably perceptible in the subtle use of the silence within the Catacombs.' The unique nature of the location results in Homme and his bandmates – Troy Van Leeuwen, Michael Shuman, Dean Fertita and Jon Theodore – being backed by three-piece string section as they perform a stripped-back set planned and played with deference to the Catacombs. Recorded live with no overdubs or edits, the performance is paired with the acoustic ambience of dripping water, echoes and natural resonance as atmospheric lighting spotlights the band. 'We're so stripped down because that place is so stripped down, which makes the music so stripped down, which makes the words so stripped down,' Homme explains. 'It would be ridiculous to try to rock there. All those decisions were made by that space. That space dictates everything, it's in charge. You do what you're told when you're in there.' Queens of the Stone Age: Alive in the Catacombs will be available to rent or purchase via the band's website, with an audio-only release to be announced in the coming weeks. Notably, this isn't Queens of the Stone Age's first subterranean gig, with the group previously performing 2,300 feet underground at German salt mine, Erlebnisbergwerk Sondershausen, in November 2007. Originally planned for wider release, the semi-acoustic performance is yet to see the light of day, with the band's split with Interscope Records assumed by fans to be the reason for its indefinite delay. Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
Los Angeles Times
08-05-2025
- Entertainment
- Los Angeles Times
Why the story of Pavement required a documentary, a biopic, a musical and a museum — all in one movie
Throughout its career in the 1990s, the band Pavement remained poised for a wider commercial success that it never quite found. As leaders of the lo-fi indie rock sound, the musicians remained something of a secret passed among fans, their air of willful inscrutability, ambivalence toward conventional success and general irreverence inspiring a dedicated faithful that has only grown over the years. The new film 'Pavements' is a fittingly unconventional one for this most unconventional of bands, combining documentary footage from a wildly successful 2022 reunion tour along with scenes from the production of an improbable jukebox stage musical, an exhaustive art gallery dedicated to the group's ephemera and a parody of a prestige Oscar-baiting biopic — all of it created especially for the movie. For director Alex Ross Perry, it boiled down to the admittedly unanswerable question of whether the band in its time could have been bigger than it was. Then he had a lightning bolt of inspiration. 'I wanted to make a movie from the perspective of Pavement [being] — as we say onscreen in the film — the world's most important and influential band, because that is literally true to 100,000 white Gen-X nerds,' says Perry on a recent Zoom call from his home in upstate New York. 'So what if the movie takes that not as a premise but as a fact?' asks Perry. 'And builds a fictional world where this music has inspired these other things people build as shrines to their favorite musicians — a museum, a Broadway show, a crappy biopic? Let's just do that and presume that is the cultural footprint of Pavement.' In an unexpected stroke of luck, during the years it took Perry to see his ambitious project through, a 1999 B-side called 'Harness Your Hopes' became the band's biggest hit ever, thanks to social media algorithms. Suddenly the success that had always eluded Pavement was happening at a level never seen before. The initial impulse behind the film came from Pavement's longtime record label. Chris Lombardi, founder of Matador Records, recalls first pitching Perry's idea to Stephen Malkmus, the band's notoriously laconic chief songwriter, singer, guitarist and nominal leader. 'The idea was to make it confusing and weird,' says Lombardi in a phone interview from Los Angeles, about explaining the concept to Malkmus. 'He was laughing about it and was like, 'If it sucks, the songs are pretty bulletproof.'' Perry, 40, is best known for seriocomic indie films such as 'Listen Up Philip' and 'Her Smell.' He also recently co-directed 'Rite Here Rite Now,' a concert film for the Swedish metal band Ghost that also blended fictionalized elements. The invented stage show, 'Slanted! Enchanted! A Pavement Musical,' included arrangements of the group's music by Keegan DeWitt and Dabney Morris and starred Michael Esper, Zoe Lister-Jones and Kathryn Gallagher. It was mounted for a few nights in New York City. The museum show in NYC's Tribeca, 'Pavements 1933-2022: A Pavement Museum,' mixed genuine memorabilia from the band's history with made-up awards, gold and platinum records the band did not actually earn, advertisements it was not really a part of and ephemera such as a toenail clipping supposedly from Gary Young, the group's original drummer. For the Hollywood biopic portion of the project, titled 'Range Life: A Pavement Story,' after one of the band's most ruefully wistful songs, Perry wrote nearly 50 pages of a traditional script covering 1995 and the making of the group's third album, 'Wowee Zowee,' a sprawling, three-sided record (the fourth was left blank) that confounded many at the time but is now widely lauded and beloved. 'If we're going to do a crappy, cliché, awards-chasing biopic, 'Wowee Zowee' is the moment,' says Perry. 'That is the meat — that's the best part of the biopic. That's when they slam the brakes on their own success. It's when they make an album that many now consider to be their masterpiece but was not seen as such at the time. 'It's the moment in every movie where something crazy happens at this big concert: It's Live Aid, it's Newport, it's whatever, we've all seen it,' Perry says, noting how the band was pelted with mud by the crowd at a stop on the 1995 Lollapalooza tour. 'So I only wrote the 'Wowee Zowee' part of 'Range Life.' I kept saying to people, 'Page 1 of my script would be Page 70 of 'Range Life.'' To play the band, Perry put together a cast of actors who might all credibly appear in a more conventional drama, including 'Stranger Things' breakout Joe Keery as Malkmus, Nat Wolff as guitarist and songwriter Scott Kannberg, Fred Hechinger ('Thelma') as percussionist Bob Nastanovich, Jason Schwartzman as Lombardi and Tim Heidecker as Matador co-owner Gerard Cosloy. Due to time and budget constraints, only about 15 or 20 pages of 'Range Life' were actually filmed, capturing such pivotal moments as an awkward band meeting in which label executives confront the group over the uncommercial approach of its latest album and another in which Malkmus blithely declines an offer to appear on an episode of 'Saturday Night Live' hosted by Quentin Tarantino. (Neither incident actually occurred.) 'Chris Lombardi said, 'You know, Malkmus said no to everything. I could almost see him having turned down something as big as 'SNL,'' Perry says. 'And I said, 'All right, well that's going in the movie.' Whether he turned down 'SNL' in 1995 or not, he's turning it down now.' Not that the band was ever above a little self-mythologizing in its day. Lombardi remembers how the label helped spread a rumor the band had turned down an offer to be on the TV show 'Beverly Hills, 90210' though it had never actually been asked to appear. 'We did a lot of TV,' says Nastanovich (the real one), the de facto internal historian of Pavement because he remembers the stories the best. 'Obviously the 'Leno' show we did was unusually poor, thankfully to the point of being so bad it was good. We clicked that button a handful of times. With the exception of 'Letterman' and 'Saturday Night Live,' we did a whole hell of a lot of TV. MTV, of course, was big at the time. We humiliated ourselves on all of those channels.' Weaving between the fiction and contradictions of the band's history led Perry to discover a more active, free-flowing process he has come to describe as 'four-dimensional filmmaking.' 'I'm not holding a script in my pocket and saying, 'Guys, we don't have these lines yet.'' Perry says. 'What we have is a public-facing film set where we had 3,000 people come through the museum in the four days it was open. Thousands of people came through a film set not knowing it's a film set. And they're being filmed and what's happening is exactly the dramatic structure I've conceived.' Malkmus himself played along at the museum, responding on camera to some of the most preposterously fake pieces in the exhibition such as an Absolut vodka ad ('Absolut Pavement') as if they were real, providing Perry with footage he wouldn't see until later. (Multiple cinematographers roamed at the event.) 'I didn't know how amused he would be by it,' Perry says of Malkmus' visit to the museum. 'The answer was extremely, which was delightful to see because I think he got the humor in that, because the humor was only derived from the way he's presented himself for 30 years, the way he's written lyrics, the distanced 'I'm playing the game, but I'm letting you know that I don't want to play the game.' That sort of dichotomy within him — the museum was created in that spirit.' Eventually, the band attended a staged premiere of the movie-within-the-movie. With all the trappings of an actual film premiere — red carpet photos and a postshow Q&A in front of an actual audience — 'Range Life' consisted of about 60 minutes of footage, assembled specifically for the event by the film's editor, Robert Greene, a frequent Perry collaborator and himself a director of doc-fiction hybrids such as 2016's 'Kate Plays Christine.' The event took place at a movie theater in Brooklyn. Everyone agrees the band was freaked out by what it saw. 'When you write something to not be good and to play every cliché note on the piano and you film it poorly where it's just the most traditional coverage — surprise, surprise, it's really tough to watch,' says Perry. As Lombardi recalls of the band's dismayed response, 'I told my girlfriend, 'I think I just killed Pavement.'' 'You certainly don't want to be misrepresented in a negative way,' says Nastanovich. 'And so that was my biggest concern walking out of there.' Lombardi adds, 'It's hard to see yourself up there depicted by other actors. And to see it onscreen, somebody talking about something about your life that didn't actually happen, is really kind of a mindf—. What is going on here? Is this funny? Or is this making me feel sick? I think it was a real process to bring it all around.' Perry completely understands why the band members were confounded by the work-in-progress that they saw. 'Imagine you're so cool that you've actually never watched a Hollywood biopic,' he says. 'Now imagine that you're seeing all of those clichés play out for the first time in your life and they're all about you. It would be extremely confusing. Nobody understood the tone because they'd never seen it before. 'Suddenly they were, 'This can't be the movie,' says Perry. 'And we were like, 'It's not. It's empirically not the movie.'' Yet even in the small snippets of 'Range Life' that appear in the final 'Pavements' film, Keery's performance as Malkmus is unexpectedly affecting. Behind-the-scenes footage of him diligently prepping for the part becomes something of a satire of Method acting intensity and the actor's loss of self. While working with a vocal coach, he uproariously obtains a supposed photo of the inside of Malkmus' mouth. Keery is currently on tour with his own band, Djo, and was unavailable for comment. But Perry acknowledges the challenge the project presented to him and the other actors. 'What he said yes to — and what he did when he showed up every day — is so risky,' says Perry. 'It's such a huge risk on the part of any actor to step in front of a camera, use your own name, make fun of yourself a little bit. Make fun of your profession, make fun of your peers, definitely make fun of your publicists and also capture all of that and not seem like an a—hole. 'This has never been done before,' he continues. 'If you're the first person to do something, you might be the first pancake and you just kind of have to throw it away. And that's entirely on the table here. There was no indication that what we were doing was going to work.' Perry appreciates the band for entrusting him with its story and capturing what has turned into a whole new chapter in the band's history. 'There's no other band where you have that 30 years of legacy and meaning and value but 0.0% of the protectiveness of that legacy that every other band has, that would stymie any attempt to do anything interesting,' says Perry. 'Any other band with that much value behind them would just want to make something that is a piece of marketing so they can make money to be that band.' The film premiered last fall at the Venice Film Festival before playing the New York Film Festival, where all five members of the band appeared onstage after the screening. 'Essentially two things happened that night,' says Perry. 'We took this band from humble beginnings — underground clubs, college radio — and we put them onstage at Lincoln Center, which is a phenomenal career arc,' says Perry. 'Three days earlier it had been Elton John presenting his Disney+ documentary. So that is not the company Pavement have ever been in. 'The other thing that happened is that I was proven right, which I really like,' he adds. 'I had been saying for four years: Trust me, this is going to be very cool. This is going to be unique. No one's ever done this before. I'm not saying it's going to be perfect. I'm not saying it's going to be without conflict or bumps along the way. I am promising if people see this movie for what it is, they will say, 'This is an absolutely one-of-a-kind achievement that truly captures who this band was, is and will always be.' And we pulled that off.' The unorthodox methods of 'Pavements' uniquely capture the elusive spirit of the band in ways a more traditional approach would not, even as it maintains a sense of mystique. 'They embody a spirit of a time of fanzines and putting out your own records and playing small shows and doing it because you wanted to do it,' says Lombardi of the band. 'And not looking to capitalize in a capital-C kind of way. Trying to just make great songs for your friends, play with people you like to play with, hang out at places that were fun to hang out at and do your own thing.' Of Perry's film, Lombardi seems impressed. 'It's a hard thing to tell,' he says of the band's vibe. 'They did understand where those guys are coming from and that's just not really an easy thing to convey. They did it and I'm really happy where we landed.' 'If it confuses people, then I'm pretty easy to contact,' says Nastanovich. 'I can tell them what's real and not real.'
Scoop
08-05-2025
- Entertainment
- Scoop
LIFEGUARD Deliver A Gritty, Hard-Hitting New Single
Listen to the new Lifeguard song 'Under Your Reach.' It's among the band's hardest-hitting tracks to date, expertly blending their experimental and pop-leaning impulses. Gritty drones and dub-inflected bass give way to a laser beam riff, with guitarists Kai Slater and Asher Case delivering the vocal in loose harmony. The song is drawn from the Chicago-based trio's forthcoming debut album, Ripped and Torn, out June 6th on Matador Records. The youthful trio of Asher Case (bass, baritone guitar, vocals), Isaac Lowenstein (drums, synth), and Kai Slater (guitar, vocals) have been making music together since they were in high school, nearly a quarter of their lives. Noisy and immediate, cryptic but heartfelt, they draw inspiration from punk, dub, power-pop and experimental sounds, and bring them all together in an explosive cacophony. Recorded last year in Chicago with producer Randy Randall (No Age), the album captures a claustrophobic scrappiness that evokes the feeling and energy of house parties and tightly-packed rooms, where ears are easily overwhelmed, and ragged improvisations connect with the same force as melodic hooks. David Keenan on Ripped and Torn: Ripped and Torn, the debut album by Chicago three-piece Lifeguard, may or may not take its title from the legendary Scottish punk fanzine of the same name. Or perhaps it references the torn t-shirts that rock writer Lester Bangs claimed the late Pere Ubu founder Peter Laughner died for 'in the battle fires of his ripped emotions.' Or maybe it points to the trio's ferociously destabilising take on melodic post-punk and high velocity hardcore, signposting their debt to the kind of year zero aesthetics that would reignite wild improvisational songforms with muzzy garage Messthetics in a way rarely extrapolated this side of Dredd Foole & The Din. Either way, Lifeguard stake their music on the kind of absolute sincerity of the first wave of garage bands, garage bands that took rock at its word, while simultaneously cutting it up with parallel traditions of freak. The half-chanted, half-sung vocals are hypnotic. Songs aren't so much explicated as they are exorcised, as though the melodies are plucked straight from the air through the repeat-semaphoring of Asher Case on bass, the machine gun percussion that Isaac Lowenstein plays almost like a lead instrument, and that flame-thrower guitar that Kai Slater sprays all over the ever-circling rhythm section. Indeed, the trio play around an implied centre of gravity with all of the brain-razzing appeal of classic minimalism, taking three-minute hooks into the zone of eternal music by jamming in – and out – of time. And then there are the more experimental pieces – 'Music for Three Drums' (which surely references Steve Reich's Music For 18 Musicians), 'Charlie's Vox' – that reveal the breadth of Lifeguard's vision, incorporating a kind of collaged DIY music that fully embraces the bastardised avant garde of margin walkers like The Dead C, Chrome, and Swell Maps. But alla this would be mere hubris without the quality of the songs. The title track 'Ripped & Torn' suggests yet another take on the title, which is the evisceration of the heart. Here we have a beautifully brokedown garage ballad, with the band coming together to lay emotional waste to a song sung like a transmission from a lonely ghost. 'Like You'll Lose' goes even deeper into combining dreamy automatic vocals with steely fuzz on top of a massive dub/dirge hybrid. 'It Will Get Worse' is pure unarmoured pop-punk crush while 'Under Your Reach' almost channels the UK DIY of The Television Personalities circa 'Part Time Punks' but with a militant interrogation of sonics that would align them more with This Heat. Plus the production, by Randy Randall of No Age, is moody as fuck. Are they really singing 'words like tonality come to me' on 'T.L.A.'?! If so, it would suggest that Lifeguard are one of those rare groups who can sing about singing, who can play about playing, and who, despite the amount of references I'm inspired to throw around due to the voracity of their approach, are capable of making a music that points to nothing outside of the interaction of the player's themselves. And sure, there's a naivety to even believing you could possibly do that. But perhaps that's what I have been chasing across this entire piece, the quality of openness that Lifeguard bring to their music. You can tell these three have been playing together since junior high/high school: the music feels youthful, unburdened, true to itself, even as it eats up comparisons. Lifeguard play underground rock like it might just be as serious as your life, but with enough playful ardour to convince you that youth is a quality of music, and not just of age. With a sound that is fully caught up in the battle fires of their own ripped emotions, Lifeguard make me wanna believe, all over again.
Yahoo
06-05-2025
- Entertainment
- Yahoo
Utopia Launches ‘Pavements' On '90s Indie Band As Hybrid Music Doc/Satire Hits The Road
Utopia, which knows its way around a music documentary (Meet Me In The Bathroom, Crestone) opened Alex Ross Perry's at the Film Forum in NYC to $13.2k with sold-out Q&As and plans to roll the Venice-premiering satirical hybrid doc/mockumentary across key markets in May ahead of a national release June 6. It's sitting at 97% on Rotten Tomatoes (31 reviews). Each stop of the road show from LA (sold out preview at Vidiots on the 8th) and Brooklyn next weekend (also holding at the Film Forum) to San Francisco, Nashville, Knoxville, Portland and Chicago — feature sold and selling-out sessions with directors and band members whose film is as much a satire of a music doc as the real thing. Actual archival footage and interviews alternate with a movie-within-a-movie that has actors playing band members (Joe Keery as Stephen Malkmus; Fred Hechinger as Bob Nastanovich; Natt Wolff as Scott Kannenberg) and Jason Schwartzman as Chris Lombardi, founder of the group's label Matador Records. There's a reimagining of an actual theatrical production called Slanted! Enchanted! and a museum memorabilia show. More from Deadline 'Rust', Western With A Tragic Past, Honors Work Of Slain Cinematographer, Proceeds Will Go To Her Family - Specialty Preview 'Pink Floyd at Pompeii - MCMLXXII' Remastered Concert Film Rocks Indie Weekend Faith-Based 'The King Of Kings', 'The Chosen' With Hatsune Miku Anime, 'Pride & Prejudice' Re-Release Indie Standouts Easter Weekend - Specialty Box Office The venerable slacker indie rock band came together in 1989 in Stockton, California. Utopia's head of marketing and distribution Kyle Greenberg says the Film Forum audience is multigenerational from Gen Z to boomers checking out the film with long lines and strong walk-up traffic. 'As we find on many releases, bands that might be a bit older, because of discoverability these days, there is a chance … for these bigger acts' to find new audiences. The indie film scene is a tough one and the overall marketplace crowded with new studio fare barreling into theaters at its fastest pace in months. Pavements' marketing, Greenberg says, will be 'hyper-localized' to the road show and mostly driven by social with paid picking up as word-of-mouth builds. The film will play a single screen in each market this month, leaning into its arthouse partners and activations around each theater, some of which will play bonus music videos before and after screenings. Others are creating Pavement museums and artifacts, 'having fun with the meta aspects of the film.' Before the real trailer hit (watch it here), Utopia released a fake teaser for the fake movie-within-the-movie. Other indie openings: Greenwich Entertainment's , a new adaptation of Françoise Sagan's coming-of-age novel, had a terrific debut with $102.6k on 228 screens. , a difficult movie to release, grossed $25k at 115 theaters, presented by Falling Forward Films. from Big World Pictures opened to $8.1k at the Film Forum. Oscilloscope's debuted at $5.2k. Joel Potrykus's fifth feature is a NYT Critics Pick and 98% with critics on RT. expands to additional screenings in NY and Los Angeles next weekend. Wide/moderate release indies include no. 7, Angel Studios' animated , which is sticking around in week 4 with $1.8 million on 2,035 screens. Closing on a $57.7 million cume. A24 is no. 8 with Warfare in week 4 on 1,315 screens for a $1.27 milion weekend and a $24 million cume. Sailesh Kolanu's Telugu breakout from Prathyangira debuted at no. 9 with $870k weekend on 590 screens, for a $2.1 million cume, as per Comscore. And from Roadside Attractions starring Nicolas Cage rounded out the top ten at $675k on 884 screens. Best of Deadline 2025 TV Cancellations: Photo Gallery Brad Pitt's Apple 'F1' Movie: Everything We Know So Far Everything We Know About 'Nine Perfect Strangers' Season 2 So Far
