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Auxiliary №03

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Auxiliary Magazine is an alternative fashion, music, and lifestyle magazine available online for free. APRIL / MAY 2009
combichrist . the prodigy KMFDM . marching dynamics julien-k . synapscape . net labels . DAF fluevog . kitchen orange . jane doe latex futurstate . catwalk tragedy
spring fashion . purrfect pineapples
AUXILIARY april 2009
edi tori al
4 edi tor’s l etter
4 mi ssi on statement 5 don’t worry i t’s j ust a phase
6 guyl i ner
Tom Stack of The Rockstar Sui ci des recreates some of musi c’s cl assi c l ooks
12 l oose eye shadow
what are the best opti ons out there?
13 true neuromance
androi d beauty
14 faux hai r i nc. a styl e gui de to faux hai r
medi a
16 fi l m pri mer : post-apocal ypti c ci nema
17 cyberpunk NOW!
musi c
18 on tour wi th Combi chri st...
23 guest musi c revi ews
Ami r Derakh of Jul i en-K and Mi chael Morton aka Di spl acer
on the cover
combi chri st : 18 musi c : 23
fashi on : 38
24 musi c revi ews
KMFDM, Marchi ng Dynami cs, Synapscape,
DAF, :wumpscut:, and Femme Fatal i ty
27 my l abel i s the i nternet
28 edi tor musi c pi cks
28 mi x tape
l i festyl e
29 the Pi nUp
Steffani e Sherwood i n Purrfect Pi neappl es
and Fl uevog
33 my l i fe as a goth gi rl
34 summer festi val s
35 decorati ng on a di me
refreshi ng your space for spri ng 36 Absi nthe
the green goddness and her star cal l ed
37 dear chri ssi e
fashi on
39 catwal k tragedy
40 styl e : MILITARY 42 99 l uftbal l ons
48 syntheti c organi sm
the future of fashi on i s sl eek sophi sti cated
cyberware for the cool ni ghts of spri ng
59 where to buy
april 2009 AUXILIARY
Photographer : Jenni fer Li nk
Wardrobe, Makeup, and Hai r for stage
Model : Andy LaPl egua
Welcome to Auxiliary Magazine issue number three, my personal favorite so far. I’m happy to say that each issue we’ve done seems to be better than the last. But this one I feel has taken a bigger leap than the others. I think a lot of things have contributed to this feeling. Firstly, we have a lot of new people on board this issue. This issue has a new photographer, Jessica Banks, contributing a full-blown photo editorial with designs by Jane Doe Latex and a handful of new writers. Second has to be the con-
tent. This issue brings our first music photo editorial featuring, I could not think of a better first, Combichrist. We’ve also been able to include some fashion designers that have branched out to a wider audience while still remaining unique and keeping their alternative edge. Lastly, and maybe this is why this issue really feels so differ-
ent, is that the whole team of editors and contributors that make up Auxiliary have been working together for a few issues now. It’s starting to feel like a family! It’s a great feeling to work together with so many creative and amazing people and in the end have an awesome result. I’m guessing it’s a combination of all three of these, or maybe it’s simply, three’s a charm. In any case I truly believe you have our best issue yet ahead of you. As far as themes go, this one is all about music and fashion, the roots of alternative culture and Auxiliary Magazine. It also has themes of spring and the future. With a handful of spring themed articles, including one on spring clean-
ing and a real green drink, Absinthe. With our PinUp featuring the fun, fresh, and perfect for spring designs of Purrfect Pineapples. And with a fashion editorial that blends spring with the future showcasing sleek cyberware designs. Moving onto the future… there is a film primer about post-apocalyptic films, an article on the state of cyberpunk literature now, an article on new innovative types of record labels, and a beauty guide for androids. So like always, enjoy, and thank you for your support.
Sincerely, Jennifer Link
Auxiliary Magazine. Auxiliary = alternative, supplementary, to provide what is miss-
ing, to give support. We have always had a love for the dark, the different, the unique, the creative. But from all sides we’ve heard what we love is on it’s way out, is suffering, is dying, is dead. Today an alternative aesthetic is seen more than ever. Yet the core, the base, the scene (gasp!); everyone is telling us is in a sad state. Reality is what you make it. Our goal is to provide high quality fashion editorials, photographs, and articles; unique reviews and insights on the best music out there; and to create discussion and passion about alternative lifestyles. There is a lot of amazing and creative stuff hap-
pening. We hope to find it, highlight it, and encourage it to grow.
And that is why we’ve created Auxiliary Magazine; an online magazine dedicated to fashion, music, and lifestyle with a darker aesthetic. There are no other boundaries than that. That is the strong point of alternative culture; and we hope to include it all.
And that is a lot of ground to cover. So contribute! Send us your fashion, your music, your events, your opinions, your projects, your ideas. This magazine isn’t for a select few, we don’t know it all, this magazine is for you and what we all love.
AUXILIARY april 2009
Editor in Chief
Jennifer Link
Fashion Editor
Meagan Breen
Music Editor
Mike Kieffer
Associate Editor
Luke Copping
Copy Editor
Keith Bergeron
email :
issue 3 : april 2009
No part of this publication may be reproduced in any form or by any means, electron-
ic or mechanical, without the permission in writting from the publisher, except small excerpts for review purposes. Submitted work, reviews, ads, and photographs are copyrighted by their respective owners and fall under previous declaration. Copy-
right Auxiliary Magazine 2009.
Jennifer Link
Luke Copping
Jessica Banks
Photographs on 12 and 13
Luke Copping
Photographs on 14 and 15
Luke Copping
model : Melanie Beitel
Illustration on 17
James S. Cole
Illustration on 28
Maki Naro
Photograph on 35
Jennifer Link
Photograph on 36
Luke Copping
Photographs on 38 and 39
Adam Au
Photographs on 40 and 41
Jennifer Link
Aaron Andrews
Melanie Beitel
Keith Bergeron
Meagan Breen
Luke Copping
Amir Derakh
Mike Kieffer
Alex Kourelis
Jennifer Link
Gia C. Manalio-Bonaventura
Rachel Mazurek
Paul Morin
M. Morton
Sally Reardon
Lizz Schumer
Vanity Kills
Graphic Design
Logo Design
Melanie Beitel
Layout Design
Jennifer Link
Luke Copping
Let us know what you think! 5
don’t worry it’s just a phase
When I was sixteen, I dyed part of my hair bright pink and upon seeing it, my mother cried. I mean cried like I had just killed the family pet or driven the car through Grandma’s living room. What would people think of her little girl who was once so quiet and shy, played the flute, and got good grades? What would people think of her, the mother of this freaky pink-haired girl? It wasn’t long before she found out what people would think when she hosted a Tup-
perware-type party with many of her closest acquaintances. When I walked into the room, conversation stopped, or at least conversation that didn’t involve that tiny part of my hair. A couple of the ladies liked it. Some said they were glad their daughters didn’t have pink hair. All of them told my mother it was just a phase.
After a while, my folks came to believe that maybe all the kids were doing it. But the truth was all the other kids weren’t doing it. If they were, I would have been a lot more popular. It wasn’t about the other kids; it was about me. When I was in elemen-
tary school and junior high, I followed all the trends, but always had my own little twist. Later in life, I put on black clothes, ripped fishnets, big boots, and smeared black eyeliner. There was good reason for my parents to believe that I would give up this style as I had the others.
This time things were different. I had found a style through magazines, music, and music videos which made me feel comfortable in my own skin. Well, at least as comfortable as you can be in your angsty teen years. In doing so, I had found friends that accepted me for who I was. They were punks, new wavers, deadheads, and one guy who even wore a bathrobe to school everyday his sophomore year. It was like we had found a uniform; an alternative suit, no matter which genre we picked. We wanted to say that there was more to beauty than what convention told us. Through our style, we expressed that everyone had a right to be who they were and that wasn’t going to change. Another thing that wasn’t going to change was that we wanted to be taken seriously and make our mark. We were going to make a difference. I’ll admit that by the time high school was over, some had given up their phases, including bathrobe boy. At the end, I may not have had pink hair, but I still embraced the alternative and darker things in life. Despite my mother’s fears, this hadn’t led me down the wrong path. My personal taste did not inhibit me from graduating with good grades, ambition, and entrance to New York University. I remember the weekend I came home from school looking like I had robbed Robert Smith’s makeup case. By that time, I had bought my first pair of Doc Martens and wore them faithfully. My wardrobe was quite a bit more New York punk and I was full of stories about CBGBs, Trash and Vaudeville, and Washington Square Park, of protests, job opportunities, and dancing all night. I thought my mother, and a lot of the folks in my smallish town, were going to have a heart attack. Everyone was sure that when I graduated and went out into the real world, I would give up my lifestyle.
After college I returned to my hometown. I had lost the white makeup but pretty much nothing else. I got my first job in an office and became an office manager where I was required to be professional. I also got my first facial and belly button piercing around the same time. As time went on, I got better jobs with more responsibility and that were better suited to my interests and education. Eventually, I landed in the world of publishing, which is where I really wanted to be. I then got my first tattoo in the middle of my shoulders. Within a couple of years, I got seven more, my left full sleeve is almost done. All the while, I was successful in publishing. My books did well and my authors praised my work. I was dedicated, literate, enthusiastic, and worked extra hours because I took pride in my work and wanted to make their manuscripts as fantastic as possible. I’m pretty sure they didn’t picture me with my tattoos and piercings, sometimes with hair falls or dread extensions in an almost colorless wardrobe sitting in a cube decorated with Voltaire posters and music festival passes, and Combichrist playing in the back-
ground. In fact, I know they didn’t because after I left the job, I sent many authors my wedding photos (in which I thought I looked super conservative for me) and they admitted their shock. Shock at my appearance, I’m sure, but I’m also sure the shock was that someone with my appearance could actually be a very competent part of the publishing industry, or any professional endeavor for that matter. My coworkers who saw me daily confirmed my suspicion. One woman, whom I became particularly close to, told me that I defied any preconception of goth she had had. She was confused that I led this lifestyle, yet worked hard, was friendly and bubbly, and liked animals. She told me I gave her hope that her “goth” teenage niece would grow up to be a productive member of society. And that wasn’t the first time I had that experience. At a graduate seminar a few years before this encounter, after I finished reading my proposal “Vampires, the Human Condition, and the Way We Grew Up,” a student came up to me and confessed that she and her family wor-
ried about a “goth” in her family, but my thesis had given her hope. She had hoped we could chat and I could assure her that the future of her family member would be just fine. I wanted to jump up and down and scream that looking alternative or not always following the norm does not damn you for life. In fact, it could often make you original and creative. But I had to refrain, I was after all, despite my body mods and my semi-autobiographical reading, in a professional situation.
“What about my personal life?” my mother would always ask, “What type of man is going to find your tattoos attractive?” The answer is a man who likes women with tattoos and who probably has some of his own. My husband, the most wonderful man I’ve ever been with (and my parents will be the first to agree with that assess-
ment, and are just fine with his tattoos) loves my tattoos. He encourages me to get more as he, a RN and environmental maintenance engineer, works on his body suit.
Right now as I type this, I am thinking how tomorrow I will be subbing in the middle school I work at. Part of my reason for being a teacher is that I want to help kids like myself, who found out early that they were different and weren’t sure how to accept themselves. I want them to show them that it is okay to be yourself. Imagine a child’s reaction when I first took off my jacket to reveal my ink or the day I wore platform boots. My school ID hangs from a lanyard with skulls on it. I understand the system, though, and I do dress and act appropriately. But I have these little things that allow my personal sense of style and taste to show through. The kids respect this and in turn, act respectfully in my classes. What is even more important than any tangible item is the fact that I show respect for each and every student, no matter who they are.
So what do I think about my “phase” now that I’m nearly 40 years old? Well, I just bought a very cute corset and Tripp arm warmers. Tomorrow night I’ll touch up my black dye job, and not just because I’m covering the gray. I don’t really think about it, this is simply who I am. The people in my life, both professionally and personally, have accepted this and I believe they are actually proud of the person I have become and the person I continue to grow into. april 2009 AUXILIARY
by Gia C. Manalio-Bonaventura
We think it is important that alternative culture has a voice on important and current topics. Our editorial section is for your opinions.
email :
edi tor s letter
mi ssi on statement
photographer : Luke Coppi ng
makeup : Rachel Mazurek
hai r : Jenni f er Buscagl i a
model : Tom Stack
april 2009 AUXILIARY
Tom Stack of The Rockstar Suicides recreates some of music’s classic looks
AUXILIARY april 2009 april 2009 AUXILIARY
april 2009 AUXILIARYAUXILIARY april 2009
by Vanity Kills
True Neuromance
by Rachel Mazurek
beauty pi cks to turn you i nto an androi d
AUXILIARY april 2009
Scientifically fictitious glamour designed for wannabe fembots who dream of being an amalgamation of flesh and technology. Products intended for a clique composed of girls who smile and say “thank you” after being compared to plastic fashion dolls. Dystopian future chic suiting the needs of fearless women warriors who need to look their best while hacking into mainframes, shooting zombies atop an armored vehicle, or leading a rebellion against alien overlords. Bold hues adorning the eyelids of luminous street samurai who hide both strawberry flavored Pocky AND switchblades within the confines of their Hello Kitty backpacks. Enter the high tech, low life, artificially sweetened world of cybergoth beauty. Please make sure to check those hideous monster fur leg warmers and dollar store swimming goggles at the door.
available at . $30
Androids are idealized due to their lack of what us humans perceive as flaws. Cyborg ladies are never plagued by pesky acne, wrinkles, or ginormous pores. Biological females attempt to replicate the illusion of having a faultless face by mastering the fine art of digital photo retouching. Alas, you can’t Photoshop yourself in real life. Thusly, applying a powder that imitates a camera’s soft focus lens effect is as close as you’re going to get. Make Up For Ever HD Microfinish Powder is designed to combat and camouflage complexion faults such as blemishes and discoloration. It is suitable for all skintones and functions as a mattifier, giving your face a uniform tone. Formulated with camera whores in mind, Make Up For Ever HD Microfinish Powder prepares you for your close up. I recently wore this product whilst modeling in a fashion show. The powder was lightly dusted on my face prior to the application of a bright eyeshadow. Being light and airy, it lasted all afternoon and into the night, withstanding the harsh stage lights and hours of running around prior to the show’s start. My skin looked and felt like porcelain, which epitomized a synthetic sexy.
HD Mi crofi ni sh Powder - Make Up For Ever
fl awl ess ski n for post-human per fecti on
available at . $6
Gunmetal nail varnish will have to hold you over until the day when you can wholly copy Molly Millions and opt for surgically implanted razors placed under your fin-
gernails. Meanwhile, don two coats of a sleek silver gray polish, such as Zoya Nail Polish in Freja for a truly neuromantic manicure.
Nai l Pol i sh i n Frej a - Zoya
gunmetal nai l s
available at . $20
Color On Animal Instincts Variety Eyeshadow Kit does for your lids what a tightly laced camouflage Deadlygirlz corset does for your waistline. The kit consists of five transferrable eyeshadow applicators, setting powder, and a small brush. I’m partial to the camouflage, but each package also contains one leopard and two ze-
bra applicators. The camo shadow marries wonderfully with shredded post nuclear war-esque ensembles suited for surviving amongst the ruins of civilization while defeating hordes of flesh eating mutants. Warning: Might not protect you from actual radiation!
Ani mal Insti ncts Vari ety Eyeshadow Ki t - Color On
post apocal yp-chi c
available at . $38
MAC Cosmetics Hello Kitty Eyeshadow x 4 in Too Dolly is a pressed eyeshadow quad that pays homage to the Japanese influence on cyber culture. Try Too Dolly on the outer lid, blended into Romping on the inner lid. Apply a generous amount of Stately Black to the outer crease and finish off by using Yogurt as a browbone highlight. You’ll be constantly asked if you just stepped off the streets of Harajuku. Perhaps your trend setting droid dolly look will persuade Gwen Stefani to pay you tons of money, if you consider being a part of her entourage.
Hel l o Ki tty Eyeshadow x 4 i n Too Dol l y - MAC Cosmetics
futuri sti c fel i ne
available at . $14 each
Pink lips for girls that are just as influenced by the plastic fantastic world of Barbie as they are by mechanical humanoid beauties of the distant future. These Technicolor tarts pay homage to the SCI FI-esque idealized female form, while maintaining an air of playfulness, so an attraction to the queen of all things fake, fashionable, and envy inspiring shouldn’t come as a surprise to anyone. Rock a fabulous fuchsia shade like MAC Lipstick in Girl About Town while dancing to Icon of Coil’s “Shallow Nation” at the club or in the privacy of your room in your underwear. Top of with high shine pearlized pink gloss, such as MAC Lustreglass in Venetian for that extra dance floor visibility.
Li psti ck and Lustregl ass - MAC Cosmetics
barbi e l i ps
available at . $12
Perhaps you feel that Barbie epitomizes all that is evil and the mere thought of pink makes you want to instantaneously puke. You’re jonesing to bring back the essence of goth to cybergoth’s future perfect neon empire. Sephora Brand’s Lip Attitude Star lipstick in Audacious Violet is half lipstick, half gloss, and all pristine purple pout perfection. For chicks that are so over black lipstick, yet would gladly choose death before letting a tube of anything pink come within a five mile radius of their mouth, this shimmering rich berry shade is bound to cause a scene, in a good way. Warning: When opting for a vibrant lippy shade, choose a simpler, more classic eye look in order to avoid being mistaken for a domestic abuse victim.
Li p Atti tude Star i n Audaci ous Vi ol et - Sephora Brand
putti ng the goth back i n cybergoth
available at . $12 each
Futurist architecture, technology and now, fashion, draws influence from insects. Hive like office buildings, bombardier beetles aiding research in the field of aircraft gas turbine engine development, and Lip Service’s Insecticide line have all been inspired by those creepy invertebrates. While I am not about to suggest that you trap bioluminescent beetles and rub their internal organs all over your face in order to glow in the dark at the club, I will urge you to take beauty cues from bugs. Using the Insecticide Metamorphosis Mini Skirt as inspiration, gently tap Lime Crime Magic Dust in Empress onto your entire eyelid with a slightly dampened MAC 239 brush. Clean your brush and follow up by adding Lime Crime Magic Dust in Elf to the lower lash line using the same method as described above.
Magi c Dust i n Empress and El f - Lime Crime
haute hempi tera
Now put down your dog eared William Gibson novel, remove yourself from the en-
gulfing depths of cyberspace social networking sites and be the Idoru of the bar.
NYX NYX Chrome Eye Shadow i n Sunny Day
available at . $5
NYX Chrome Eyeshadows are available in 60 different shades that generally lean towards bright and vibrant tones. This loose shadow provides smooth, even coverage and goes on quite easily. It is also rather easy to blend when applied dry, but does not seem to reach its full potential of vibrancy if done that way. The product performs extremely well when applied with a slightly damp brush. The color is brighter, more vibrant, and takes on an iridescent, almost metallic quality. However, there is one minor downside to the product; the powder is extremely light and loose, which can cause some dusting and spread for those less experienced in using products like this. While it isn’t as saturated as some other brands, the affordable price and wide range of color options makes this product a bargain. NYX Chrome Eyeshadows are a useful addition to the makeup kit of any adventurous everyday user.
Urban Decay
Loose Pi gment i n Graffi ti available at . $20
One of the first things that you will notice about Urban Decay’s Loose Pigment collection is their innovative packaging and application. Unlike many of the brands that feature an internal sifting screen in the jar, the loose pigment tube contains a very nice, small applicator which most consumers will find handy in keeping the mess to a minimum, though most professionals will probably cut it off. These pigments looking similar whether being applied either damp or dry. Each loose pigment is extremely easy to blend and provides a wonderfully silky coverage. This particular product from Urban Decay is available in twelve colors, including some bright electric tones. There are also some very nice metallic colors in this line. These pigments are definitely built for those with rock star aspirations. While the price may be higher than most lines, rest assured that you will absolutely get what you pay for. Urban Decay offers extremely high quality products and is worth being included in most kits. The primary downside to the collection is that with only twelve colors currently available, you might yourself wishing that they had a bit more to offer in the bright, warmer tones.
Suzi Q Cosmeti cs Eye Dust i n Deep Sea available at . $15
This product line is extremely pigmented and available in a number of unique colors and shades. Suzi Q Eye Dusts apply evenly and smooth, even after picking up a very small amount of product. This is great for those concerned with getting the most bang for their buck. This eye dust can be applied either damp or dry with very little difference with the overall look. The only difference that I noticed was a very slight shift in tint, depending on how you apply it. The dry application leans towards a blue tone, while a damp application results in a very slight and beautiful green tone. Applied damp, the makeup seems to set very well, whereas a dry application is easily smudged. This could lead to a small problem for those with slightly unsteady hands. Overall, this is a very high quality product, and one that could easily find its way into the kits of both professional artists as well as casual users.
You definitely get what you pay for with all of these product lines, but each one is a standout in its price bracket. I was most pleased however, with the raw quality of Suzi Q Cosmetics, which provides excellent coverage and color for a very reasonable price. NYX Cosmetics are a great option for those looking to experiment with color at an affordable price. Finally, Urban Decay is an excellent line with a high quality product, and while more expensive and limited in color selection, their innovative and hip packaging does bring a new dimension to this type of cosmetic.
what are the best opti ons out there?
AUXILIARY april 2009
april 2009 AUXILIARY
Section your hair into ponytails high on top of your head, leaving two front pieces loose to frame your face. Twist the ponytails into equal sized buns and secure with bobby pins. The buns need to be at the very top of your head for the best possible appearance and comfort. These hair buns will be the foundation for the synthetic bun covers.
Place the covers over your own hair buns and secure them to your buns with bobby pins. This is the base from which you will build the hairstyle.
It is time to use the four separate braids you made out of the synthetic loose hair. At-
tach braids with bobby pins under the front (towards the face) part of the bun covers. Put two braids on each side, making sure to hide the ends you are attaching under the bun covers. Take a braid from each side and make loops on the front side of your face, then over and back to the top of your head. The braids should rest on the top of your head be-
tween the bun covers. The braid ends should hang down in the back and be secured with bobby pins.
Criss-cross the remaining two braids over on top of your head (creating an X), loop them on the sides of your face, and then pin the braid ends back under the bun covers. The placement of these hair pieces gives a geisha-like feel to the style.
Accessorize! We used black silk flowers, yet any sort of hair accouterments can be added. Be aware of hair accessories placement, as it is key in achieving this hairstyle’s desired effect. The synthetic flowers pictured on Melanie were incorporated in the front and top of the braided pieces to enhance a geisha-like feel to the final hair style.
Faux Hai r Inc.
by Meagan Breen and Melanie Beitel
a styl e gui de to faux hai r
Tired of your hair’s styling limitations? Bored of wearing your dread falls? The world of synthetic hair can open you up to many more hair style options that includes much more than just dread falls. When incorporating your real hair with synthetic, loose hair and bun covers, you can create a large array of unique looks. This DIY ar-
ticle will show you just one of the many hairstyles you can create. The advantage to using synthetic hair in hair styling is that you can create temporary new looks without having to commit to changing your own hair!
Synthetic Hair Synthetic hair is non-human hair made of artificial, hair-like fibers. Look for the kind that comes packaged loose and is not attached to any material, tracking, or hair acces-
sory. It can be found in a variety of natural and unnatural hair colors. For this hair style you will need to purchase two loose, bulk packages of kanekalon or tayokalon fiber hair at your local beauty supply store. You can also order from a hair supply website, such as Depending on length and brand name you choose to purchase, bulk hair can range in cost from $2 to $4 per bag. The loose hair needs to be braided, by you, into four separate braids before it can be incorporated into your hair. We used blue hair to make our braids, but feel free to experiment with whatever color you like!
Bobby Pins
Bobby pins are a girl’s best friend! Make sure to get bobby pins that match your own hair color so they are camouflaged. One package of bobby pins will be more than enough to help secure all the hair for this style.
The possibilities are endless with a little imagination, time, and patience, so have fun and experiment! Say good-bye to the hair blah’s and hello to many hair compli-
what you wi l l need
Bun Covers
Bun covers are synthetic or human hair sewn onto mesh-like bases with an elastic drawstring closure. The bun cover is then attached over your own hair bun and se-
cured by pulling the elastic cord closed. You should buy bun covers that match your own hair color as closely as possible. Bun covers will range from $10 to $15 per piece and can be found at the same locations as synthetic hair. It is best to buy two bun covers that are the same style (curly, straight, wavy, etc), length, and color shade because you will be putting your hair in pigtails for this style. We recommend a bun cover with a drawstring closure as it is easier to install over your own hair bun.
You can use barrettes, bows, ribbons, or what-have-you to hide any flaws in the hair style as well as to jazz up your �do! For this particular style we would recommend flowers to balance out the final look; you can use as many or as few as you prefer. A good place to find quality synthetic flowers would be your local chain craft store.
si xfi vetwo
film primer :
Post-Apocalyptic Cinema
by Luke Copping
AUXILIARY april 2009
With the number of films looking at post-apocalyptic scenarios slated for upcoming release, such as The Road and 2012, Auxiliary thought it was time to look back at the films that look forward. In our ongoing examination of subcultural archetypes it is cinema examining what might take place after the end times that provides us a unique opportunity to examine these archetypes in interesting and speculative permutations. Some of these examples take the form of cult films with a humorous outlook, while others take a more serious cinematic view. Regardless of perspective, there a many options available to explore.
Hell Comes to Frogtown
directed by : Donald G Jackson and R.J. Kizer
Starring professional wrestling and B-movie legend Roddy Piper as Sam Hell, Hell Comes to Frogtown is a campy take on the post-apocalyptic adventure film, complete with a definite sex-comedy twist. The bad special effects and dialogue cannot stop this film from being ridiculously entertaining.
The Road Warrior
directed by : George Miller
Mel Gibson stars in this sequel to Mad Max, launching his U.S. career. The Road Warrior follows the breakdown of civilization from the first film to an even more extreme point. Fuel is scarce, and only clusters of civilization and marauding bikers, led by the awesomely named Lord Humungus, are left to scavenge the wastelands for food and supplies. The film’s desert scenery and post-technological imagery has be-
come the visual template by which many other post-apocalyptic settings are made.
directed by : George Miller
The cold and distant feel of Tarkovsky’s film is notable for long slow takes and de-
liberate imagery implying a world that has decayed from what we might know now. While the dialogue relies more on philosophical discussion about personal wants and desires as well as man’s place in the universe, the imagery and plot are rich enough to carry this film. Stalker should be seen by anyone serious about post-apocalyptic film.
12 Monkeys
directed by : Terry Gilliam
Gilliam’s time-line hopping odyssey is a mind bending and stylized adaptation of Chris Marker’s La Jatée. The intricate dynamic between co-stars Brand Pitt and Bruce Willis is seamless as they encounter each other multiple times in the past as well as in the dreary underground future society. Humor, madness, delusion, and the recurrent nature of time are all topics touched on in this film. Gilliam’s show of restraint in his style gives this particular apocalypse an extremely authentic feel.
Tank Girl
directed by : Rachel Talaly
Rock and roll, violence, comic book humor, and Malcolm McDowell are all the ele-
ments needed for a perfect cult film cocktail. Based on Jaime Hewlett’s enormously influential comic series of the same name, Tank Girl was notoriously re-written by the production studio and several elements of the original script was lost. However, it is still one of the finest movies to watch while drinking a whole case of beer.
Escape from New York
directed by : John Carpenter
There are a few great director/actor combos in the world of blockbuster cinema:
Scorsese/De Niro, Spielberg/Hanks, Burton/Depp, but genre cinema has its great team-ups as well. One of the greatest examples is John Carpenter and Kurt Russell. Russell’s gruff, one-eyed convict hero, Snake Pliskin, is one of those characters that gets people thinking. Even after 27 years since the film has been released, Snake Pliskin is about to have a comic book series dedicated to him. This film is far superior to the overproduced sequel, Escape from L.A..
Wild Zero
directed by : Tetsuro Takeuchi
Zombies, aliens, explosions, violence, and the true meaning of rock and roll! Wild Zero is a hyperactive and memorable Japanese road movie set in the zombie infested bad lands of post-apocalyptic Japan. Starring Japanese rock superstars Guitar Wolf and number of other memorable characters, not much else needs to be said about this movie other than that there is a drinking game to go along with it.
directed by : Marc Caro & Jean-Pierre Jeunet
One can see the stylistic vision that Jeunet uses to great effect in his later films, City of Lost Children and Amelie, begin to take shape in Delicatessen. Set in a world where food has become so rare that it has become a viable currency. Dominique Pinion plays a clown that moves into a building run by a butcher with a sinister plan to provide fresh meat to his tenants. Jeunet melds a twisted, dark atmosphere with a lighthearted and almost childlike appreciation for the different in one of his best and earliest feature outings.
Six String Samurai
directed by : Lance Mungia
After nuclear war decimates the now Russian controlled United States, Elvis, the king of the last free city, Lost Vegas, is dead. Enter Buddy, a guitar slinging samurai with a resemblance to another famous deceased rocker. Six String Samurai is a low budget martial arts masterpiece with a soundtrack by the Red Elvises. This movie takes a look at post apocalyptic culture from another point of view. Rather than the leather clad sado-masochism survivalist style that movies like the Road Warrior rely on, Mungia’s film focuses on surf rock and rockabilly visuals to craft a world where roving gangs of bowlers haunt the desert and Death fronts a metal band.
Nausicaä of the Valley of the Winds
directed by : Hayao Miyazaki
Like many of Miyazaki’s films, this one has an ecological and pacifistic subtext that makes it one of the more hopeful entries into the genre of post-apocalyptic cinema. Nausicaä contains all the elements that make Miyazaki’s movies great; emotion, stel-
lar animation, action, and the courage to not back off from infusing an animated film with realism, trauma, and real world themes. Miyazaki fills this film with optimistic but realistic portrayals of war mongering and environmental devastation in a world where most of the earth is covered by a toxic jungle infested with giant insects.
Establishment science fiction in the early 1980s was much like the Detroit auto-
makers of the same time, producing terribly inefficient dinosaurs that no one wanted to buy and deeply engaged in a campaign of self-delusion about its own growing irrelevance. It was in this decay of giants and in the rise of new communication technology that a group of young writers found a niche of inspiration that would later become the movement known as cyberpunk. Outwards, along the newly formed network of British Broadcasting Service bulle-
tin boards and office fax machines, these young writers launched a guerrilla attack on the establishment. A single page front-and-back literary criticism newsletter, titled Cheap Truth, fueled by word of mouth and bands of DIY mimeograph pirates, worked to cut the industry to size and berate them for what they had done to the art. In the ensuing years, The Movement, as they called themselves at that time, grew in number and popularity, offering encouragement to the other writers that were daring to reach into the brave new territory largely ignored by the publishing world. The whole network held together by the growth in computer technology that would later become the web that we know. These young writers, Bruce Sterling, Rudy Rucker, Lewis Shiner, at the core of The Movement were in search of a new aesthetic; one that would be relevant to the world in which they lived, an aesthetic that would be an answer to the dark shadow of The Cold War and growing power of multi-national corporations. They found that answer in 1983, in the noir prose of William Gibson’s debut novel, Neuromancer. Here was a definitive reworking of the symbols of our future. Gone were the rocket ships, the spacesuits, toothpaste food, and monorail trains of a space age that never happened. In their place, Gibson’s Neuromancer, gave us a vision of a world rife with corrup-
tion and technology advancing beyond our control, a vision of a world engaged in the wholesale destruction of the earth and a deliberate blurring of the line between man and machinery.
Cyberpunk is the aesthetic of the post-industrial age, of our age, and it was born in the dark industrial language of Neuromancer,
“The drug hit him like an express train, a white-hot column of light mounting his spine from the region of his prostate, illuminating the sutures of his skull with x-rays of short-circuited sexual energy. His teeth sang in their individual sockets like tuning forks, each one pitch-perfect and clear as ethanol. His bones, beneath the hazy envelope of flesh, were chromed and polished, the joints lubricated with a film of silicone. Sandstorms raged across the scoured floor of his skull, gen-
erating waves of high thin static that broke behind his eyes, spheres of purest crystal, expanding... The anger was expanding, relentless, exponential, riding out behind the betaphenethylamine rush like a carrier wave, a seismic fluid, rich and corrosive.”
By the early 1990s the movement had hit its stride. Literary editorials began an-
nouncing the death throws of Cyberpunk. Lewis Shiner, author of the formative cyberpunk novel Frontera, wrote in his Confessions of An Ex-Cyberpunk (1991), that he was fed up with the “street-wise, leather-jacketed, amphetamine-loving pro-
tagonists” that other writers had turned into a stagnant fiction formula. The effects of commoditization by the cultural business world weighed as heavily on cyberpunk as it had on punk, and would later on goth subculture. Yet, in 1992 the old formula would be challenged by the publication of the first ground breaking cyberpunk novel of the decade, Snow Crash by Neil Stephenson.
Under the old cyberpunk formula the world of unchecked technological acceleration is destined to result in an anarchic dystopia where humanity would become lab rats in the experiments of the powerful, or as Bruce Sterling put it in his essay, Cyberpunk in the Nineties,
“The idea that, under these circumstances (technological acceleration), Human Nature is somehow destined to prevail against the Great Machine, is simply silly…Anything that can be done to a rat can be done to a human being...This is a hard thing to think about, but it’s the truth. It won’t go away because we cover our eyes.”
With Snow Crash Stephenson doesn’t cover his eyes. Instead in his work, which would later be termed post-cyberpunk, the protagonist, a would-be lab rat of old cy-
berpunk, learns to make use of the same technology used by the powerful to protect the innocent and maintain social order. This positive view of technology was seen by many literary critics as a major break into a new genre, but in reality it is merely the other side of the cyberpunk coin that was ignored by the earlier writers. Other notable authors whose work fleshed out this new perspective in the cyberpunk move-
ment include none other than Bruce Sterling himself in the Hugo nominated Holy Fire in 1996, Ian McDonald’s Necroville, and then in 2003 Cory Doctorow’s Down and Out in the Magic Kingdom.
The expansion of post-cyberpunk narratives have lead many to think that cyberpunk must be now and forever dead, but the new ideas found under post-cyberpunk are really only expansions made upon a much larger conception of what it is to be cyber-
punk. Cyberpunk is about understanding technological control, and the various ways in which we are deeply intertwined with our technological world for-better, as in post-cyberpunk narrative, or for-worse, as in traditional cyberpunk narrative.
All throughout the last twenty-five years technology has continued to advance; the world has not been any kinder to the cyberpunk authors than it was to the authors that penned the first rocket ship dramas. The future does not politely contain itself to being like the stories we write. Though, unlike the space age authors who refused to accept their irrelevance in the information age, cyberpunk continues to evolve. In 2003 William Gibson stole the vanguard position again with Pattern Recognition, and then again in 2007 with Spook Country, both novels are definitively cyberpunk novels in theme and scope, but they are different in that they are set in the present day. The evolutionary step here might not be obvious to those who can’t remember a time before the Internet, satellite television, or Ronald Regan. To us, all cyberpunk stories look like overly dramatic versions of the world outside. This is the evolutionary step recognized by William Gibson: we are all living in a cyberpunk dystopia now, with all the things that it implies, for better or for worse.
by EJTower
april 2009 AUXILIARY
april 2009 AUXILIARY23
With live percussion and a commanding stage presence, they pound through each show with fanatical energy, setting this act apart from the sea of contemporary acts that just occupy stage space as their laptops play. Combichrist seems that they would happily stomp those automatons to dust in their quest to deliver a unforgettable show. The experience of their live performance in not to by missed and certainly won’t be forgotten by those who’ve lived through it. Their most current tour adventure, “Demons On Tour”, started off in North Amer-
ica with Black Light Burns before they split off and engaged a European leg. We caught up with LaPlegua and the current tour line-up, Joe Letz, Z_Marr, and Trevor Friedrich in Toronto just before their show at the Opera House, where they were gra-
cious enough to take the time to meet with us.
It looks like you’ve got a long tour ahead, US then Europe; do you enjoy being on tour?
Andy - Yes and no.
What do you specifically enjoy, what don’t you enjoy?
Andy – Nah I mean I enjoy being on tour; it’s rough, but it’s cool. It’s what we do, I guess. It’s rougher to not be on tour.
Z_Marr – Never a dull moment.
Is it the variety that entertains you?
Andy – It is just the life on the road, living in a bus, being on the road all the time; that’s basically what I do. When-ever I am at home it’s really weird.
Joey – It’s really hard to do this, it’s fun, but it’s really hard. And once you get home, you are always like, �I needed to be home.’ Then after a couple days you are like, �what the hell am I doing? I got to get on the road.’
Z_Marr – There is this weird decompression period where I run around trying to find things to do and there is noth-ing. You wake up and you’re like, �fuck I missed sound check.’
Do you find touring to be necessary to your music career?
Andy – Oh yeah, for sure, especially with illegal downloads and the lack of money in the music in general. It’s the only way to stay alive, in our case, is to be on the road.
Tell me about the average day on tour?
Andy – Average day… doesn’t really exist. You wake up way too tired, should have been sleeping more, you get up and do all the stuff that is necessary, but I don’t really want to do. Then you do sound check, then you get ready, do the show, and you get wasted and do a lot of stupid shit that you don’t remember; that’s basically a normal day.
Is there an exceptional day, like something completely unusual?
Joey – Every once in a while, maybe one or two times out of every tour. He [Andy] has this day where he goes, �maybe I am not an alcoholic.’ Then he goes to bed early and yells at all of us for making noise.
Andy – I go, �Maybe I am not an alcoholic! I haven’t been drinking today! I feel so much better! …I don’t know why my hands are shaking! I have anxiety, there is something wrong, and it has nothing to do with alcohol.’
So what do you guys eat while on the road?
Andy – Alcohol! Peanuts and Jagermeister!
Get the urge to stop for BBQ while your driving?
Joey – Yeah, they just ordered some BBQ actually.
Z_Marr – We like BBQ in Austin Texas.
Joey – There’s cities where we have special things we eat and one of our favorites is this place called Stubs in Aus-tin, it has awesome BBQ.
Z_Marr – I think we have a menu on the table that we stole.
Any other favorites?
Andy – I get so bad heartburn from drinking everyday I’m trying not to eat.
Z_Marr – Vortex Burger.
Joey – Yeah they live there. That’s what I was going to say. Best burger ever. I had this burger from there, it’s called “The Triple Bypass”. It’s like, the bun is two grilled cheese sandwiches, half pound burger with an egg, five pieces of bacon, five pieces of American cheese, and they put a scope of blue cheese, it’s so great. They have this “Elvis Burger” there it’s like peanut butter, bacon, and bananas on the burger, I’ve never had it though.
Do you have anything ridiculous on your band rider? Andy – I had strippers and midgets on the last one, but we never had them. We had strippers but not from the pro-moter. [laughs] And some accidental midgets in the audience, I guess.
Joey – Our rider is like always, when put together and like brainstormed before a tour, we’re like, �hey, is there anything you need to add to the rider?’ And it’s when we’re home for a little while and probably eating healthy and we’re like, �yeah, how about some Nutrigrain bars, or this cereal?’ And every once in a while they get us every-
thing, and today is one of those days, you walk in there and you’re like, �Oh my god, they got us everything that was on our rider!’ And the only things we are going to use is all the beer… everything else is a waste. Andy – [laughs] And half the peanuts!
What’s the best show you played?
Andy – Best show on this tour was Chicago. Phoenix was really good, LA was good, Seattle was good. We had a lot of really good shows through this tour. I mean one of the other shows that was one of the best shows too, was Jacksonville, third day on the tour. We walked into this little dump, we go, �Oh my god! I can’t believe we are playing here this is going to suck so bad.’ And it turned out to be a lot of fun. It’s different you can’t really com-pare because it’s so different from day to day, because it might be really good sound and the audience is ok, or you go in and there is shitty sound but the audience is awesome. There are so many elements that make a good show. I think Chicago is the place where we had good venue, good stage, good sound.
Joey – Yeah, usually you to go the House of Blues [Chicago], I always felt that secu-
rity is so strict, and everyone is kind of like, �alright, stand here, don’t like ya know.’ And I always felt that the audience is really stale because of that. But it totally blew that out of the water the other day, because it was awesome. The other show that was the most craziest show I think I ever played, in any band I was in, was in Portland. People were stage diving but they were doing it so much they just keep falling on the stage. They started the show where they tried to have an all ages side and a 21 and over side, separated by these two really crappy barricades. Everyone’s falling on stage and even-tually people were getting on the stage, and drinking our waters, and standing there and throwing shit.
Z_Marr – People from the all ages sides would run up and dive out to the 21 plus side. There was no security and our gear got wet.
Andy – It was complete chaos, it was like the most insane Agnostic Front show.
Joey – The best was Gabe my drum tech, he pushed this one girl in pink off the stage and she got pissed and came back up and started beating the shit out of him. I saw it going down, and she had him like this on the floor, and I had to get up from playing drums in the middle of the song and chase her off the stage! It was chaos.
Was there ever any technical difficulties, embarrassing kind of things, like you started playing and the power cut out?
Joey – Yeah that happened the other night like four times.
Z_Marr – Yeah we blew the power four times in Minneapolis.
Andy – But it wasn’t embarrassing, no it wasn’t. We had a lot of fun, we turned it around. [I] Threw the micro-phone away and yelled at the top of my lungs, �thank god we were playing an acoustic set.’ You just do the best out of it. It’s never really embarrassing, you just do whatever you can out of the situation. We’ve played so many shows so it’s like there is never really a situation anymore that it is embarrass-
ing. You just take it for what it is and know how to turn it around.
Andy - Well actually this one show that we did, was not on this tour though, the worst… nightmare… ever. We played in Sydney…
Joey - I don’t even want to talk about that.
Andy – It’s stuff you would have nightmares about if you were in a band, and it just happened. I walked back stage and I’m like, �this is not happening! This is not hap-
pening! What the hell is going on!’ We were three songs into the set and my old keyboard player worked tracks, and we had more on tracks back then too, and on the laptop. And he managed to loose the laptop from his table, and he fried the laptop, and we couldn’t restart, and this was like three songs in. First show in Australia, ever, no it was the second. We played in Brisbane, but this was in Sydney, it was in the biggest city there. We couldn’t get it started again. We had no idea what to do, combichrist
Combichrist . . . MUSI C
on tour with
Combichrist is the brain child and creative baby of Andy LaPlegua, first known here in the States for another of his bands, Icon of Coil. Andy took time away from that project to create Combichrist’s Kiss the Blade, first released in 2003. What started out as an exploration of harsh beats and noise has morphed over the course of six years into an aggro/electro industrial project producing four albums and five EPs, as well as a number of remixes.
In the studio, LaPlegua writes and produces the material for Combichrist alone. When he takes the show on the road the whole project not only comes to life but ex-
plodes into full being. The project has manifested as an exciting and energetic stage act, winding the audience into a frenzied, throbbing hoard bent on losing themselves in the beat. This kind of high-octane live presentation feeds back into LaPlegua’s studio work for the next Combichrist release, creating a cycle that has an infinitely building momentum.
photography Jenni f er Li nk
i ntervi ew Aaron Andrews
Combi chri st Li ve
Andy LaPl egua
Trevor Fri edri ch
Joe Letz
april 2009 AUXILIARY
april 2009 AUXILIARY
we just freaked out, we had no back up, no nothing. We were like, �alright, we could play vocals and drums for the rest of the show.’
Is that what you did?
Andy – No! We, uh, I don’t know, I don’t want to talk about it anymore. [everyone laughs] But that was the only time in my entire career that was just absolutely, ab-
solutely, horrifying.
Do you have any songs that you don’t play because you don’t think they will go over well, or you don’t have the time in your set?
Joey – I do!
Andy – There are a couple of songs he wrote that we never want to play. [everyone laughs]
Joey – I didn’t write any of the songs. But I think that “Enjoy the Abuse” is a really popular song, and I just think it sucks live, and I refuse to play it. And everyone’s been asking for it. We played it once.
Andy – I don’t remember, I was drunk? Joey – It sucked!
Z_Marr – We played it in Chili.
Andy – Yeah I don’t remember. I was wasted. I was like, �Really did we play it? Yeah it sucked. Alright.’
Joey – One song we actually, we never were playing that we are playing now live before we changed our arrange-ment around a little bit and it works better.
Andy – Yeah it’s the title track off the previous album, “What the fuck is wrong with you”. We never played it be-cause it never sounded right live, ever. And we just re-
did some of the arrangement and now it sounds awesome. Now it’s actually one of our favorite songs to play, which is really weird. Went from being a song we didn’t want to play at all, to being one of our favorite songs to play. There is always a of couple songs that will be huge for the clubs and people really want to hear live, but it really doesn’t work out playing it live, in the same way as it works in the club. There are a few songs we never play. We never play “Tractor”. [To Joey] I don’t even think you know that song. Probably never even heard it. Joey - I don’t know what that is. [everyone laughs]
What do you feel you have to play, a song everyone expects you to play?
Joey - What do you think?
Hm… well I think it’s “This Shit Will Fuck You Up”, that it?
Andy – I call that my fat lady, �cause the show is never done until that fat lady sings. We didn’t play it the other day. It was awesome.
Get some satisfaction out of that?
Andy – Yeah! I get a little satisfaction, you get a feeling when you walk off stage, and you go, �if I don’t want to, I don’t have to.” [laughs] It is getting to the point where everybody expects you to play it, so it kind of gets to the point where it’s annoying, almost because I have to play it. One of the reasons why I got to where I am with music is because I never listened to anybody, always did what I wanted to do, and I feel like that is one of the reasons why we always stood out from all the other bands, because I never compromised. I would never let anybody else tell me what to do. And that is kind of what I feel now when we play, “This Shit Will Fuck You Up”. I just feel like I just play it because people tell me I have to play it, and that makes me not play it. Even though I know people are happy when we play it, so it’s a mixed feeling. We want people to be happy, too.
You’ve got a few meet-and-greets on the tour, what do you think about those? and do you enjoy doing them?
Andy – It’s weird; it’s fun, but it’s still weird. It’s just really weird to be sitting behind the table and write your name on a piece of paper they really appreciate it, it’s really weird. It’s really weird because I feel like I am just like them, the people on the other side of the table. It sets me in a really weird position. I never started doing music to be superior. It feels really weird to be sitting on that side of the table sometimes. Sometimes it is really awesome, too. You meet people who[m] you feel really ap-
preciate what you do a lot, and not just being fans, but you actually understand them, you have a connection with them because of the music and that’s the people that are always cool to me. When you feel that connection and not just that “OH MY GOD!”, but when you actually have a connection because of the music.
Have you ever had any crazy fan that’s more then you ever expected?
Andy – All the time there are crazy people. I love crazy people, it keeps me feeling a little more sane. Like how many tattoos of yourself have you seen on other people?
Andy – I’ve seen the craziest things. This one chick had an entire back piece, from neck to ass was a Combichrist tattoo and then her entire leg was a picture of my face. And you go like, �that’s flattering, I guess. Don’t kill me.’ It’s really really disturb-
ing but it is awesome too, but at the same time it is really scary. It feels like I would never turn my back to that person, they are probably going to eat me. [everyone laughs]
Z_Marr – They will make a jacket out of you. Joey – A lot of times people after a show go, “Sign my arm! Sign my arm!” and you don’t think twice about it be-cause you’re drunk and you scribble on their arm. Then you see them a year later and they are like, “Look! I tattooed it!” and you’re like, �NO!’ [everyone laughs]
Andy – That’s not my signature that’s the penis I drew on you.
How’s touring in North America vs. Europe, is there differences depending where you are?
Joey – A lot of times in Europe, we will be flying place to place, a majority of the tour will be on a bus, but a lot of it, in the beginning or the end or whenever we will be flying and then playing and then flying and playing, every day. And that really sucks the life out of you.
Z_Marr – Brutal absolutely brutal.
Andy – I hate it. I absolutely hate it. It’s like when you spend most of your time in the airport, or in the plane, or in the lobby of the hotel to check in. It’s just killing; soul sucking. It just kills everything that is awesome about touring.
Z_Marr – You got no privacy, no personal space. Even on a bus you have a bunk, but when you are flying every-where you have a bag. Andy – You have the option on a tour bus to not party and just go to bed. Or if you are sick, you could just stay away from people, you just keep to yourself. Touring like that there is no option of anything, you just have to follow the program and it’s just horrible. But sometimes shows are making up for it. Joey – Especially in South America, that was one of the most grueling. We played in Chile and then the next night we did this festival in Chile at like 3AM and then went to the airport by 5. Then we get to Colombia and we got sound check all day long. Andy, you write and record as a solo artist, then you put together a band and go out on the road, do you find that things change when you guys get together and play a live set? Like your music evolves?
Andy – Yeah, sure, sure. Yes it’s just me in the studio. But if it weren’t for what we do live and what they bring to it on live recordings, then it would not have been the same in the studio. Because I kind of bring that inspiration with me and I have that in the back of my head while I am recording and writing. Like, �What would this sound like live.’ So that has changed a little bit in the last couple years. Until a couple years ago that’s something I never really thought of. I just did tracks for whatever they were and didn’t even consider if it would sound good or any-thing.
How did you gather up this particular group of guys?
Joey – We met on the Genitorturers tour.
Andy – Going on so many different tours, you meet so many different people, and some people you just get a con-nection with. And then you go, �Shit, you should be playing for me.’ Or, �it would be cool if we do a show together one time,’ and it just sticks with you. And you get to the point where you create an artistic relationship with somebody on a personal and artistic level. Some people are not cut out for tour-
ing because it is a really rough life. There are very few people who can deal with this on a daily basis the whole year round. Some people you are not able to work with and some people you are. You kind of get to know people that way, and after I don’t know how many years of touring I have done now, you kind of start knowing the right people for the right job. MUSI C
Michael Morton aka DisplacerAmir Derakh of Julien-K
guest music reviews
The Prodigy - Invaders Must Die
released by Take Me To The Hospital on 24 February 2009
data : 5th album . 11 tracks . 46:01 run time .
reviewed by : Amir Derakh
genre : electronic, breaks, alternative
I’d be lying to say that Liam Howlett’s program-
ming skills haven’t been a huge influence on me over the past ten years, and I’m very excited that these Essex boys haven’t let me down with their latest effort. In a return to arms, Invaders Must Die is their fifth full length studio album and it’s packed with what I’ve always loved about The Prodigy since the 90’s: furious punk rock breaks, devastating bass lines, and systematic vocals that sound like the Sex Pistols making rave music. Their pulverizing first single “Omen” has an amazing anthem-
like chorus that shows off vocalists Maxim and Keef (yes, it’s spelled that way in the album credits) Flint’s vocal stylings to the max. That track and the title track were co-produced by Does It Offend You, Yeah? front man, James Rushent, to great avail, but some of my favorite tracks like “Thunder” and “Take Me To The Hospital” are really where it’s at. The beats are crushing and the splintered vocal edits are where their programming techniques shine through like battle-earned medals. Still, one thing that I feel is a bit lacking on the album are the vocal hooks and lyrics. There’s definitely not a “Smack My Bitch Up” on here, and at this point in their career, there probably shouldn’t be something so derivative of their earlier endeavors. However, I wish there was at least one song as dirty and as catchy. I do love a few of the song titles on the album, such as “Take Me To The Hospital” and “Invaders Must Die”. Although I’m not a big fan of the Foo Fighters, I’m a fan of Dave Grohl’s drumming. His appearance on “Run With The Wolves” takes the track and the album to a new head-bashing level. I’m glad to see these guys didn’t forget where they came from, but I’m more excited that they are continuing to push forward with such a hard-
hitting approach. I hope that there will be more remix collaborations emerging from this album. I’m already enjoying the Noisia remix of “Omen” that came with the digital single. The bottom line is that this is my favorite new album of 2009, so far.
recommended tracks : Omen, Thunder, Take Me To The Hospital, World’s On Fire
if you like you may like : The Crystal Method, Hyper, Vandal, Far Too Loud, Noi-
grade : overall 8 - music 9 - lyrics 7 - recording quality 10
Kill Memory Crash - Of Fire
released by Ghostly International on 25 November 2008
data : 3rd album . 5 tracks .
reviewed by : M. Morton
genre : techno, industrial, IDM
Chicago’s Kill Memory Crash have been pro-
ducing dark electronic music for over 10 years. Growing out of the 90’s rave scene with early influences of dark industrial noise and sharp programming, they gained their own style, and landed themselves on Ghostly International with their 2003 debut album, When The Blood Turns Black and follow-up album, American Auto-
matic in 2005. Three years later came the five track EP, Of Fire, with tracks “Hell on Wheels”, “Shots”, “Slug Song”, “Hit + Run”, and “Ever Experienced”. Stripping back to an earlier Detroit techno feel, the band drops a lot of the ambiance that was present in American Automatic. Kill Memory Crash keeps their dark edge on Of Fire with gritty bass lines and cutting rhythms. I feel an old Twitch era Ministry in this release, but with a more harsh or modern sound mixed with the classic Nitzer Ebb bass style. Fans of KMC should already know this and won’t be surprised. Of Fire is more of a familiar extension of what they were already doing with American Automatic. I’m not unhappy about the release, although I feel it’s not a new thing. After a three year hiatus of sparse single releases, I expected more from the Chicago duo. Maybe this is to tide us over until a new album? “Hit + Run” is a stand-out club single and I think it is the most successful of tracks. I miss their songwriting side and look forward to more amazing music from them in the near future.
recommended tracks : Hit + Run, Slug Song
if you like you may like : Ministry, Nitzer Ebb, Combichrist, KMFDM, Fractured
grade : overall 8 - music 8 - lyrics 6 - recording quality 10
Toronto-based electronic music composer and visual artist Michael Morton is Dis-
placer. With a back catalog of three albums on the label M-Tronic and his latest release The Witching Hour in 2008 on Tympanik Audio, Morton has established him-
self as a driving force in the world of modern dark electronica. Morton is no stranger to the stage, performing live with many of the legends of electronic music. Morton’s talent has also brought Displacer appearances on multiple compilations and gained a multitude of remix credits. His artistic side doesn’t manifest itself in music alone. Working under the alias Anti/Matter, his imaginative digital artwork has earned much praise. In July 2009, we can expect to see a new EP on Tympanik Audio, X Was Never Like This, with slatted remixs by Daniel Myer, Marching Dynamics, and Lucid Static.
Amir Derakh is one of the founding members of the platinum selling group Orgy. He has worked extensively in music industry as producer, engineer, and mixer with several bands and on many soundtracks. His current project is Julien-K, which was formed by himself and Orgy member Ryan Shuck. With Ryan Shuck picking up the mic and Amir laying down the guitar they are joined by drummer Elias Andra and Brandon Belsky on keyboards. Their unique style is a fusion of dark electronic club music with styles of modern rock and pop. Julien-K is forging a path rivaled by few in the electronic scene. Their debut album, Death to Analog was released on March 10, 2009 on Metropolis Records and has received rave reviews, landed at #10 on the Billboard Electronic Chart, and #37 on the Heatseekers chart.
Are Combichrist shows different then your other projects?
Andy – Yes very much. I don’t really tour with anything else. It’s Combichrist then it’s that other project, and that’s whatever I do when I got extra time. So Combichrist is definitely my main thing. If I do shows for other pro-jects, it’s always different, also because its totatly different people, totally different style of music, and it’s a totally different way to do live shows. Like for example if I play with Panzer AG, it’s a lot more based on a setting and a mood and there is not as much energy as it is with Combichrist. But it is still fun in a completely different way. I don’t know how to explain it, it’s just different. What do you guys listen to yourselves? Any groups you would like to share with the world?
Andy – There is so much good music out there. It’s just hard to pin down.
Z_Marr – We listen to a lot of Clutch.
Joey – Always for me the more aggressive music I’m playing on stage, the gayer the music I want to listen to off stage, like The Village People and shit like that. I eat that shit up, it evens everything out.
Andy – It keeps yourself objective to the music. Like I don’t listen to industrial at all, unless I DJ I guess. Usually I don’t listen to industrial or barely any electronic music at all. Just because I try to keep myself objective, I don’t want to have some crunches. It is very easy with electronic music to blend into somebody else’s terri-
tory. I am trying to keep myself objective by listening to other different types of music like rockabilly and rock n roll stuff. You’re DJing later for the after party. What do you play as a DJ and how do you approach that in general?
Andy – We’ll see, we’ll see how drunk I get. If I get really drunk I’ll be playing gay disco stuff. If I am in a really good mood, I’ll bust out some swing music or some-
thing. I don’t know, we’ll see, I usually DJ instrumental indus-trial stuff and some electro stuff, electroclash stuff. Alright guys that about wraps it up. Thank you!
Combichrist credits
makeup artists on set : Cynthia Jade Farkas and May Jung
fashion stylist on set : Meagan Breen
assistants on set : Mike Kieffer and Derek Hendrickson
shot in Toronto, Ontario at Studio 204
april 2009 AUXILIARY
april 2009 AUXILIARY25
music reviews
musi c revi ews
Julien-K - Death to Analog
released by Metropolis on 10 March 2009
data : 1st full length album . 14 tracks . 59:25 run time .
reviewed by : Aaron Andrews
genre : alternative rock, synthpop, electro
The layout has some creative use of typography and exhibits an excellent mood instigated by the black and red color scheme. A blood drenched, goggled model/mannequin appears several times in the spread and blurs the line between the real and synthetic.
Death to Analog is the first time outing of Orgy members Ryan Shuck and Amir Derakh’s side project, Julien-K, where they’re joined by Brandon Belsky and Elias Andra. Produced by Derakh and Anthony Valcic (of Skinny Puppy & Download fame), the album leans further into the electronic world than Orgy ever has. Death to Analog is a hook-laden pop album with good low end and excellent programming. At its best, the album has both an aggressive and sexy attitude. At its worst, the album slows to a crawl. The tracks that start it off (the first five) are so attention grabbing that the middle of the release kind of drags. Fortunately its exciting side comes back Synapscape - Again released by Ant-Zen on 18 February 2009
data : 8th full length album . 13 tracks . 56:06 run time .
reviewed by : Aaron Andrews
genre : rhythmic noise, IDM Packaging:
The cover art is black and white blend of tech-
nical drawing and illustration over an orange background and the artist’s name and album title are clearly displayed. It’s not as cool a cover as the band had for Positive Pop, but it’s fitting and looks decent enough. Following up the 2007 release of Now, Again is another solid release from this long time Ant-Zen act made up of the duo Philipp Münch and Tim Kniep. The band has released a decent sized catalog of albums and EPs and this is just as good as any of them. In Again, Synapscape has created another release for us that is an excellent combination of thud and thought. While other powernoise acts get caught up in delivering a pounding assault on the ears, Synapscape pulls back a little and instead, mixes in IDM flavored complexities in order to keep it interesting. Tucked amongst the pounding and moaning bass are tiny gems of melody and sound design. Repeated listens had me finding new interest points in almost every song. The sound creations which make up Synapscape’s musical palette are creative and engaging. When they all get pulled together, the harshest and most unnerving parts stand in the foreground while the subtleties of melody tickle your ear in an unobtrusive way. Kniep’s vocals occasionally appear but always to good effect. His vocal treatment is consistent throughout the songs on which they appear but the lyrics are repetitive; a perfect fit on both counts. “Alone”, in particular, stands out as a favorite. This track features a slow, plodding vocal progression that provides an excellent marriage of vocal line, low bass and high chirping rhythms with a sporadic, plunking synth. Regardless that this album is more of the same from Synapscape, Again manages to avoid becoming stale or tired.
recommended tracks : Who Painted My Cat Black, Alone, Countercroque
if you like you may like : Noisex, Gridlock, P.A.L.
grade : overall 8 - music 8 - lyrics 6 - recording quality 8
released by Metropolis on 24 March 2009
data : 16th album . 11 tracks . 52:32 run time . reviewed by : Mike Kieffer
Being a longtime listener of KMFDM, I was excited to get my hands on Blitz. I was hopeful that my socks would be rocked off and I would give a glowing review. Unfortunately, my socks are still on my feet. Despite this, I wasn’t about to toss this out the window and curse the band for disappointing me. Much like all the albums that came out since 2000: Attack, WWIII, Hau Ruck, & TOVUBAHOHU, it needed to grow on me. Perhaps this is because their back catalog is so ingrained in my head that I don’t know how to accept change. Regardless, this album took a few more listens then a typical album would for me to enjoy it. Right from the get go, the track “Symbol” brings back the harsh vocals of Sasha and ample guitar thrashings; there is no mistak-
ing it, this is a KMFDM album. Lucia makes her presence on the next track “Bait & Switch”, and her vocals on this track gave me a sense of being lured into something MSTRKRFT - Fist of God
released by Downtown/Dim Mak on 3 March 2009
data : 2nd full length album . 11 tracks .
reviewed by : Paul Morin
genre : indie electronic/dance
I’ve got about 300 words to sum up this al-
bum, but I think I can do it in one: Disposable. MSTRKRFT’s Fist of God is a celebration of sex, drugs, and rock-n-roll; a theme that is re-
peated on every track on the album. Buzz-saw keyboard lines, trunk-thumping bass lines, and hip-hop spit out a frenetic pace like a cocaine and amphetamine binge party. The music seems to want to keep pace with the likes of indie-electronic dance acts, particularly Justice, which will, more often than not, remind the listener of. Lyrically, Fist of God is on par with Andrew W.K.’s “Party, party, and party”. Whereas it was easy to forgive Jesse Keeler’s previous incarnation, Death From Above, when it became sleazy or raunchy because the music carried such a wild kinetic energy, MSTRKRFT seems to hide behind the sleaze, bringing the lyrics to the forefront and using the music as a simple backdrop. This has been much better before. Furthermore, I could have sworn I heard Lenny Kravitz on a couple of the tracks. I know it wasn’t really Lenny Kravitz, but man, this guy could easily be a dead ringer at karaoke night, if that’s your sort of thing. If you forgive all of that, the album isn’t a complete loss. Fist of God crashes along at a break-neck pace and offers more than enough great moments for stepping on the accelerator while weaving in and out of rush-hour traffic. However, cookie-cutter beats, so-so melodies, factory preset sounds, and dull lyrics don’t leave much of an imprint on the listener. The music is so easily disposed of that it will likely be forgotten before the engine even cools off.
recommended tracks : Bounce, Vuvuvu
if you like you may like : Justice, LCD Soundsystem, The Presets
grade : overall 5 - music 5 - lyrics 4 - recording quality 8
various artists - Pop Ambient 2009
released by Kompakt on 23 February 2009
data : 12 tracks . 60:00 run time .
reviewed by : Paul Morin
genre : ambient, minimalism, electronica
Kompakt is home to some of the most interest-
ing and original ambient techno being produced anywhere in the world, and they have put out another annual compilation of the year’s best offerings. As with other volumes in the series, it favors a minimalist mantra of “less is more” and textures that pass over the listener like clouds. For the 2009 edition, Kompakt has selected pieces closer to the classical end of the spectrum. Samples of horns, strings, and piano are given ample space to float around in, and only a handful of the tracks con-
tain anything that approaches a solid beat; most create their own rhythm by swirling sounds around in slowly moving patterns. The overall effect is probably closer to the ambient moments on a Sigur Ros or Tangerine Dream album than on contemporary electronica or IDM. This year also features more melancholy and mellow pieces than previous years. Most of the tracks are in a minor key and don’t offer many rays of sunlight. Hypnotic and meditative at its best points, boring and disengag-
ing at its worst, it takes a great degree of patience to give the songs the proper time and attention they deserve; much like a piece of art rather than a slice of dance floor stimulation. In other words, this collection is more ambient, less pop. Although I generally like the sounds and textures in this collection, many of the pieces wander off in their own world and don’t really go much of anywhere. Some people will take great delight in that and this collection is most certainly created with those people in mind. Others may immediately press the skip button and move on without a second thought.
recommended tracks : Fly Like a Horse (Sylvian Chauveau), Frieden (Burger/
if you like you may like : Brian Eno, Gas, Steve Roach, The Field
grade : overall 7 - music 7 - recording quality 10
DAF - Best Of
released by Mute USA on 30 March 2009
data : 8th album . 20 tracks . 71:49 run time .
reviewed by : Alex Kourelis
genre : EBM Who are DAF (or Deutsch-Amerikanische Freundschaft)? It’s been 30 years since DAF started out and throughout their careers, they helped other bigger names like Skinny Puppy, Nitzer Ebb, and Front 242 form the framework of EBM. They are certainly worthy of being called one of the cornerstones of the genre, just as much as the other big three. The signature techno-punk sound of the 80s resides firmly with DAF as their songs are easily iden-
tifiable with minimal grinding basslines repeating every 4 bars, pounding drums, and often spoken, not sung, German lyrics. Such is their reverence within the electronic scene that Mute has released DAF: Best Of (or more properly, Beste Von). This album is available on March 30, 2009, showcasing a massive twenty original DAF tracks in a remastered format that gives the proper light of day to each blip, grunt, and pang residing in the original material. While previously released, each track has undergone a grueling remastering process which was never available when originally released. This has resulted in a wider dynamic spectrum. In laymen’s terms, there is more definition to each part, bringing out the true studio feel in which DAF worked on for so many years to achieve but vinyl or cassette could never present in an end product. Truly, these tracks finaly shine in all their restored glory. Der Mussolini’s warbling bassline is now very distinct and the original energy of DAF is retained with other classics like “Verliebe Dich In Mich” and “Ich Und Die Wirklichkeit”. For fans of a truly unique and classic German electro and EBM, this release is truly a compendium that is a must-have.
recommended tracks : Der Mussolini (their “hit”), Sex unter Wasser, Ein bisschen Kriegif you like you may like : Nitzer Ebb, Front 242, Einsterzende Neubaten
grade : overall 8 - music 9 - lyrics 8 - recording quality 9
at the end of the album and gets more total airtime being by far the more attractive side. This album seems to be aimed at about the same spot which Blaqk Audio’s Cexcells had but Julien-K definitely made a better, more rich album with Death to Analog. There’s a good marriage of alternative rock and electronics here. The songs are all well composed and the programming adds a lot of shine. Lyrically, you won’t find any great, insightful poetry, but they are above average for pop fair. The vocal performance is good all around and fits very well with the song compositions. The chorus’s are sometimes reminiscent of Orgy, with the soaring vocal line over the lower one, but why kill what works? The guitar hooks help build the overall picture. However, they don’t feel like they’re there to help the comfort level for the listener, who may not be into electronic music. I wouldn’t chalk this up as the most innova-
tive album of the year, but I enjoy listening to it and have recommended it to several people. It is a delicious synthpop-rock record that feels inspired both by many of the 80’s acts that the band claims they grew up on and their other project, Orgy.
recommended tracks : Death to Analog, Futura (DTA Mix), Kick the Bass, Systeme De Sexe, Someday Soon
if you like you may like : Orgy, Dave Gahan (solo), Blaqk Audio, HIM
grade : overall 7 - music 7 - lyrics 6 - recording quality 8
bad. Track three brings back the German vocals, one could even say this is more clas-
sic KMFDM; an Angst era sounding song. The album continues with good tracks, but nothing truly great. However the end of Blitz is the strongest part with the track “Bitches” starts it off with a nice grinding guitar, hard bass lines, and angry vocals. “Me & My Gun” follows bringing the nice deep bass with vocals flawlessly delivered by Lucia. “Take’m Out” will get the dance floor hopping with a simple 4-4 beat, complex acid lines over the top, and provides a nice groove to smooth the album to a close. Blitz is a typical KMDFM album, so if you like KFMDM you’re going to get it. I don’t think this will be your favorite album, nor do I think you will pick tracks off of this if you are making a “best of” compilation CD for a long road trip. But with the number of albums KMFDM has, I guess there has to be an average one every once in a while. recommended tracks : Bitches, Me & My Gun, Take’m Out
grade : overall 7 - music 7 - lyrics 8 - recording quality 10
AUXILIARY april 2009
AUXILIARY april 2009 27
my label is the
The great conundrum of the internet is if it’s good music and you downloaded it, you must have stolen it. The RIAA (Recording Industry Association of America; you know, the guys who are inclined to sue 12-year old girls for downloading music) would have us believe that turning on our computers, tuning in to the webstream, and dropping out of the physical unit purchase of music, is equivalent to stabbing our favorite artists in their tortured, money-starved livers and leaving them to bleed out in a back alley. Actually, in the case of a quality netlabel, the somewhat new and relatively unknown outcropping of the evolving communication matrix, download-
ing music is what they stake their very livelihood upon. OK, so let’s be fair, I did say “quality netlabel.” That’s not only a broadly subjective term, but many may equate it to an oxymoron. The very makeup of the internet is an evolving concept, and as Devo so rightly put it in the 70s, “today’s noise is to-
morrow’s hootenanny.” One of the big problems with finding those rare gems in the rough on the �net is that anyone with a computer and a few kilobytes of webspace can claim they’re an artist or that they run their own label. If you look at, it is rife with both past and present releases of all types. Popular social network sites such as MySpace and Facebook have music sections, and we all know how trolling though the mass amounts of self proclaimed rockstars is tedious at best. While music sites like Last.FM’s recommendation system can be considered top-notch, it doesn’t suggest labels which may have many other similar artists. It’s a real free-for-all with no policing or quality control out there. But don’t despair, there are several ways to separate your golden audio treasure from the rest of the online flotsam floating about. While searching for a prime netlabel, you should consider a few points. Do they provide proper filenames with id3 tags and high bitrates with good sound quality? Is there a consistent roster of talent and releases? Is the artwork unique or generic? This criteria to start with, as all of those point to an efficient system of quality control and is a portent that a netlabel is serious about their product. In addition, checking for frequent RSS updates, podcasts, and the professionalism of the material represented are great indicators as well.
The real question is how can something of a high quality and more often than not, of-
fered free of charge, remain viable? If an artist’s goal is to make a living on their craft then compensation will naturally be expected. The flip side of the coin is the label’s expenditures: bandwidth, promotion, etc.. How can a netlabel provide their services without charge and maintain a stable infrastructure? To say that investing funds into artists, webspace, and bandwidth with a slim hope of reimbursement can be challenging, greatly understates the issue. It shouldn’t be a shocking realization that many quality netlabel owners have a passion for their craft and genres. Most run their labels in their spare time, out of their houses with personal funds, and do their own website coding, maintenance and design work and promote as best they can. The costs of running a responsible label that offers their catalog for free download can be justified and recovered at certain levels. Merchandise sales and sharing the earnings from a well paying gig, or by sucking it up and implementing the ever dreaded banner ad are ways that this can be achieved. Promotion and providing a high bandwidth is expensive, so common sense and a keen eye for financial manage-
ment are probably the best tools in use by far. So, is file sharing with applications like Bittorrent or Azureus a threat to an artist on a netlabel? Ray Vincent, known better as Ekoplex from Ektoplazm records says, “Not if you embrace it and use it to your benefit, like getting shows out of it, which I have already gotten because of the releases I have done with Ektoplazm. As far as I’m concerned music should be shared and there are other ways an artist can make money. Even with the album being a free download, we were still able to sell 160 hard copies of the album, which shows there will always be people who are still happy to buy and support an artist album.”
It’s clear that netlabels who do well offer something that fills a niche in their respec-
tive genres. Toronto-based psytrance label Ektoplazm is a small operation headed mainly by DJ Basilisk as a labor of love, and boasts itself as the number one source for free, legal psytrance downloads. Ektoplazm offers distribution options alongside its own roster of artists ranging from physical CD media, .WAV, FLAC and .MP3 files, all in the same central location. The netlabels Thinner and now-defunct Au-
toplate offer not only the option to download .MP3 files, but also feature animated flash album covers.
Sebastian of Thinner clarifies two prime considerations for the physical product: “First, netlabels are neglected from the media for the reason that netlabels don’t have a budget available to buy content in print magazines (by placing adverts). Besides, the elite DJs receive hundreds of promotional copies a week, so only stand-out tracks have a fair chance of getting played out. And if an artist has killer tracks available it’s unlikely that he will send them to a netlabel.”
Consider this the next time you’re put off by a netlabel switching from a free format to a pay-to-download structure. Popular digital services like iTunes and Beatport don’t offer netlabel content that is free of charge because there is no benefit to them. While they may take a percentage of a normal MP3 sales, any percentage of zero is still zero. A difficult choice needs to be made when evaluating other ways to balance the books if the netlabel is going to continue offering digital product. Subscription services or paid downloads depend greatly on the popularity of the label and artists in question. Having recently swapped the 100% free model for a pay-by-download method, Thinner cites their increased popularity and need to retain and develop their artists as a way to stay viable. I don’t doubt that after years of grueling work to get where they are, that a little extra scratch doesn’t hurt. a l ook i nt o net l abl es
by Alex Kourelis
musi c revi ews
:wumpscut: - Fuckit
released by Metropolis on 7 April 2009
data : 12 tracks . 44:40 run time .
reviewed by : Paul Morin
genre : EBM Two decades into the game and :wumpscut: is still digging the graves left behind by Skinny Puppy. Not a bad place to draw inspiration from, and unlike many of the Puppy clones out there, :wumpscut:’s Rudy Ratzinger has devel-
oped his warped and distinct sound by adding to the template rather than just repeating it. His style reveals both a reverence for the past and an ambition to create something new and original. Fuckit presents the familiar elements of :wumpscut:. There aren’t any drastic changes or particularly shocking moments, but it is a strong album. There are plenty of moments on the album suitable for scar-
ing the neighbors: Eerie synth lines, jack-hammer rhythms, blasts of white noise, downright creepy vocals, and samples bathed in distortion; everything you’ve come to expect from :wumpscut:. As far as that goes, it’s probably not likely to gain any new fans, nor is it likely to alienate old fans. Simply put, it’s a solid set of good songs put forth by one of the genre’s best.
recommended tracks : Broken, Fuckit
if you like you may like : Skinny Puppy, Funker Vogt
grade : overall 8 - music 8 - lyrics 7 - recording quality 10
Gabriel Le Mar - Dubwize
released by Thinner on 23 January 2009
data : 9 tracks . 67:54 run time .
reviewed by : Alex Kourelis
genre : dub techno
In a vein of music as pigeonholed as electronic music, Gabriel Le Mar keeps your interest, not with ethereal ambience or hard driving beats, but with a mindful eye on detail. Hailing from Frankfurt, Germany, Le Mar brings us a fine selection of dub techno entitled Dubwize from the German label, Thinner. From the onset, this album gives you rising organ sounds with mini-
mal percussion on the single “Dubster” (also released with a video). An unobtrusive yet hypnotic and mesmerizing selection of cuts follow, each resonating with style and mastery. While many artists within this genre tend to focus on the next dance floor filling track, Le Mar’s toolbox seems more oriented on the vibe that is consistent in style. While listening to Dubwize, I reflected many times on how well this album’s tracks complement each other. The listener moves from the brilliant opener into a dub category with “Nova Bluez” and settles in with “Funkstern”; a decidedly more per-
cussive affair. Further within the album, “Love Dub” and “Motorace” up the tempo slightly, ringing true of the Thinner style that can be attributed to the majority of their artists. Dubwize is fantastic for an easy afternoon listen or equally as fantastic for the more fervent dub fans. Dubwize is an album which promises to grow on the listener with each play. Indeed, I found myself neglecting my own iTunes library over time with this gem of an addition to my heavy rotation. Songs such as “Seasonal Dub” (featuring MC Markie J) in particular, brought me back over and over as I settled into the groove. While many may question the necessity of so many near-eight-minute tracks (of the 9 tracks on Dubwize, 8 of them top seven minutes), for me, it marked the style of the album as more of a journey and it stands better for it. recommended tracks : Dubster, Seasonal Dub, Motorace
if you like you may like : Nulleins, Deadmau5
grade : overall 9 - music 9 - recording quality 9
Marching Dynamics - The Workers Party Of Haiti
released by Hymen Records on 13 February 2009
data : 2nd album . 13 tracks . 57:22 run time .
reviewed by : Mike Kieffer
genre : IDM
I believe in mental telepathy and I also believe that if you listen to this album at night, be-
fore bed, there is a good chance you will have nightmares. Much like their previous release Nailsleeper, The Workers Party Of Haiti is full of darkness, but the major difference is the step away from ambient and into dance. Although this is not by any means a techno dance party album, it is just friendlier to the dance floor. This is quite evident with “Confederate (Elementals’ Soul Fire) Remix Edit”; a fast paced, dark breaks track. “The Spoor of the Wolf in the Wet Earth” is a nice, dark stomper running around 112 bpms. The last track, “Eschelons (The Ninth Life)”, has complex rhythmic patterns that grab hold and command all of your attention from beginning to the very end, and is a very nice way to finish out the album. Throughout this album, you will find deep heavy bass laying the foundation for the layers of synths, acids, samples, and other various sounds that all flow together to make something special. The Workers Party Of Haiti is a wonderful trip as a whole, and if you decide to pick and chose you will still be full of yummy enjoyment. I recommend blasting this in a car with a pair of subwoofers; 12” minimum. If this is not an option, then you need to get somewhere where the punches hit hard and the droning bass shakes your inner core. The shower radio will not cut it.
recommended tracks : Bizango Datura, Doorbells in Amsterdam
if you like you may like : Somatic Responses, Mika Goedrijk
grade : overall 8 - music 8 - recording quality 9
Femme Fatality - One’s Not Enough
released by Stickfigure on 13 March 13 2009 (UK) and 27 May 2008 (US)
data : 2nd album . 12 tracks . 42:15 run time . reviewed by : Mike Kieffer
genre : electo-punk Femme Fatality’s One’s Not Enough was re-
leased in the US back in May of ’08 and now it is getting the UK treatment this March. If you live in the UK, or you have been living in a cave, with only the albums by VNV Nation available to you, then you are about to be delighted with songs about devoted love, friendship, and uni-
corns that are so beautiful they will make you puke up kittens, well, maybe not. Femme Fatality is two brothers from St. Louis, Missouri, US, and they know how to party. The album is full of themes regarding the debauchery of sex, drugs, liquor, and behavior that your mom would not be proud of. I wouldn’t say the lyrics are totally offensive, but they are definitely dirty, in a good way. The songs are fun and full of energy. Mix synth-pop and electro-punk style with rapping vocals and a variety of other vocal styles, all done with multiple, effected voice tracks that you would swear are from five different vocalists. Each song jumps all over the place, changing tempo and even genres. Perhaps the most dramatic example of this is the track “Pretty Mess”, in which it starts out with an electro sound and by the end dives into hardcore. The toughest part about listening to this album is having the patience to get through each song. You know the next one rocks just as hard, and you can’t wait to hear it. Each song has its own uniqueness, and lengthens the replay value of the album. Overall, this album is good but not perfect, and that is exactly what makes me happy. I’m already highly anticipating the next album because I know it can and will be better. Until then, I will continue to enjoy listening to this one. recommended tracks : Connections, Bullet Train, Pretty Mess
if you like you may like : Mindless Self Indulgence, Rip Slime, The Faint
grade : overall 8 - music 7 - lyrics 8 - recording quality 7
april 2009 AUXILIARY
photography : Luke Copping
makeup artist : Rachel Mazurek
hair stylist : Jennifer Buscaglia
featuring Purrfect Pineapples lingerie
and shoes by John Fleuvog
Auxiliary Magazine Presents
music picks by editor Keith Bergeron
The contributors and editors of Auxiliary Magazine have a wide range of musi-
cal tastes. This issue copy editor Keith Bergeron picked out his current favor-
Gogol Bordello -
Super Taranta!
Without a doubt, Super Taranta!, is perfect for just about any party. Imagine a smörgåsbord of Eastern European/Russian gypsy music with a healthy punk rock flavor. Whenever boozing with my pals is a goal, I put in Gogol Bordello to keep things interesting. Pick this album up and you’ll be amazed at how much an accordion and fiddle can tear it up.
Lustmord - Other
More often than not I’m working and don’t necessarily want to be distracted by listening to something fun, energetic, or simply anything with lyrics. Lustmord is frequently played in my house and creates, for me, the perfect atmosphere for concentration. With a dark and moody atmosphere, Other oozes droning, deep base rhythms under deliciously creepy ethereal waves of I-don’t-know-
what. This album debuts some eerie guitar tracks which have gotten some mixed reviews from die-hard Lustmord fans but I found them to be thoroughly enjoyable.
Hanzel und Gretyl - 2012: Zwanzig Zwolf
Growling vocals and heavy guitar thrashing really brings me back to the days of my checkered, metal-head past. The surprisingly hilarious lyics add a tongue-
in-cheek quality to an otherwise serious sounding album. There is just enough synth to keep my current tastes satisfied when I want something hard and fast to invoke my silly angst but don’t want to replay any of my tired albums from the teen years.
Ayria - Flicker
Jennifer Parkin’s hauntingly intense vocals have evolved into a rich and com-
plex fullness on this album. Although I’m a fan of all of Ayria’s work, this album shines as being the first where their instrumentals fully revolve around and support Parkin’s vocals. Ayria’s addictive beats and melodies inject each track with a freshness that keeps the majority of Flicker in all of my favorite play lists. Peter Gabriel - The Passion of the Christ
It isn’t often that I sit for my daily meditation with music, when I do, it’s always to this album. I’ve never come across music that inspires introspection so natu-
rally. Relaxation is almost instantaneous when I start playing this soundtrack. This score, in my opinion, far exceeds the boundaries of the movie, remain-
ing timeless and unassociated with any specific message that the movie may portray.
april 2009 AUXILIARY
Here at Auxiliary Magazine we spend many hours staring into our closets and even more time in front of the mirror in the attempt to look our best for all our friends and strangers that we might encounter at the dark and dirty clubs. While doing this, like most people, we like to crank up the tunes and let the music put us in a party state of mind. We compiled a mix tape of the songs we often listen to while we get ready for a night on the town. “Girls Night Out” – The Knife
(Mike Kieffer)
“Do You Want To” – Franz Ferdinand
(Jennifer Link)
“Blue Lights” – Fictional
(Keith Bergeron)
“The Choke” – Skinny Puppy (Aaron Andrews)
“Love Like Blood” – Killing Joke (Paul Morin)
“Le Triangle” – Rinocerose
(Alex Kourelis)
“She’s In Parties” – Bauhaus (Meagan Breen)
“Sexy M.F.” – Prince
(Luke Copping)
“Pretty Mess” – Femme Fatality
(Mike Kieffer)
“Daddies Making Monsters” – Demented Are Go! (Meagan Breen)
“The Prayer” – Bloc Party (Luke Copping)
“Kill Bella Donna” – Belladonnakillz
(Jennifer Link)
“Bleeder” – Zombie Girl (Keith Bergeron)
“Daft Punk is Playing at My House” – LCD Soundsystem (Paul Morin)
“Born Slippy NUXX (Rick’s 2003 Mix)” – Underworld (Aaron Andrews)
“Give It Up” – iiO (Alex Kourelis)
edi tor pi cks mi x tape
the Pi n Up
Auxi l i ary’s pl ayful t ake on t he sexy cent erfol d pi n up. Fl i p t he page, cut out, and t ac on your wal l! AUXI LI ARY apri l 2009
Purrfect Pineaples and John Fluevog
my life as a goth girl
by Vanity Kills
april 2009 AUXILIARY
Dear Diary,
Last time we checked in with each other (ahem… earlier today), it was yet another day of slavin’ away in my cubicle to bring home the bacon. Yet, sometime between delivering my resignation letter and lunch, my life began to resemble a plot to a bad soap opera. My ex-arch rival turned secret admirer turned coworker was back in town after his dreams of stardom in the City of Angels had flat lined. He was all about making up for lost time at his place, trying to bait me with wine and Repo! The Genetic Opera. Naturally, in male speak, this translates to, “I want to see you naked.” My B.S. detector was ringing off the charts, yet surprisingly, I didn’t deck him right in his face, his perfectly angular face. At least he didn’t ask me if I came here often. Was I actually making excuses for Eli’s thinly veiled attempts to lure me into his bou-
doir after years of calling me every variation of the word skank under the sun? Not to mention the fact that my hot, but sorry excuse of a boyfriend was waiting at home.
Was it 5:00 PM yet? I desperately needed to blow this joint and have my girls slap me back to reality, at once.
A quick glance at my phone told me that I missed 8 “WTF” return messages from my posse, whom I texted frantically this morning in order to call an impromptu get-
together at Hallowed Be Thy Grounds. We usually met on Wednesdays and Fridays, but if Eli Erickson suddenly coming out of the woodwork and trying to become co-
workers with benefits wasn’t a life or death scenario then I didn’t know what was. Oh yeah, the digital display on my cell also told me that it was 4:45 p.m.. Thusly, I fabricated a tall tale about having cramps and bailed early.
I hopped in my dilapidated Honda (my paychecks are clearly invested in corsetry, not automobiles) and headed for the coffee shop. I turned up The Cure because only Robert Smith could help me now.
Hallowed Be Thy Grounds was a hipster infested joint on the east side of town that made Starbucks’ prices seem budget. Decked out in French Quarter-esque New Or-
leans tourist style, it sported posters advertising the Voodoo museum, taxidermied alligators, and Mardi Gras paraphernalia. Luckily, we were collectively spared from jazz, since the owners preferred to play post punk and new wave, which was favored by the above mentioned hipster clientГЁle.
I spied Cassy, Morgan, and Justine in a dark corner of the cafe, all greeting me with a puzzled look on their faces. Justine started the interrogation, “So, Kimmy, what kind of apocalyptic train wreck did you unleash upon the world now?”
The floodgates opened and I spilled every juicy tidbit of this morning’s bizarre Eli encounter. The look on their respective faces was that of shell shock. I might as well have told them that I’m flying to Phuket, Thailand first thing in the morning for gender reassignment surgery.
Cue a moment of awkward silence that seemed to last for eternity. Morgan decided to break the Helen Keller routine first, “You do realize that once Shayne catches wind of this,” she paused to take a breath and a sip of her café au lait, “he’ll sleep with every girl you hate within a 200 miles radius just to spite you. Then he’ll cash in his 401k so he can fly cross country to screw every girl you’re hostile toward on MySpace.”
Morgan pulled no punches when it came to doling out the cold harsh reality. I’m fairly certain that if I were to announce that I’m wasting away with some terminal illness, Cassy and Justine would be reassuring me with hugs and singing praises of the advances of modern medicine, while Morgan would sit back totally incapable of forcing herself to lie.
Morgan Bordeaux was one of a kind. She was born in Louisiana, moved up north in her late teens, and is currently a student of Mortuary Science. One of the first things she’d tell new people upon meeting them is that she prefers to the company of corpses to living beings.
We attributed her frankness and inability to see any sort of gray areas to her border-
line personality disorder. In Morgan’s world, there was either black or white, life or death; no half truths or white lies. Her talk was as straight as her waist length glossy, flat ironed within every inch of its life, burgundy dyed hair. It was my Morgan and I loved her.
Cassy shot Morgan her infamous “you’re being a joy kill again, Ms. Bordeaux” glare. Cassy Black was the blow torch that melted Morgan’s ice queen routine. “It’s only cheating if you get caught,” she said in between bites of a macadamia nut cookie, “plus if you need an alibi, I’m here babe. I don’t really need to reiterate how I feel about Shayne.”
Justine nodded in agreement whilst offering to concoct a cover up plan if the need for such arose. I knew I could count on one of these two to encourage my Cheaty McHomewrecker (the homewrecker part is a long story best saved for another time) ways.
Cassy “I’m so goth my last name is Black” Black wasn’t the biggest fan of mo-
nogamy. She equated committed relationships to the death of all things fun. The same sex preferring Miss Black had no trouble finding hot chicks from all walks of life, despite her love �em and leave �em reputation. It seemed like the more she shut the girls she’d hook up with out of her life, the more they wanted to be the one that tamed the emotionally unattainable Cassy Black.
Ironically, Cassy was the owner of a rival coffee shop on the west side of town. Her conquests knew this, so she’d often be ambushed at work by some chick that she promised she’d call but didn’t. She didn’t believe in mixing business with pleasure, so she frequented Hallowed Be Thy Grounds alongside Morgan, Justine, and myself to escape the drama. The KMFDM shirt wearing, black BDU sporting, combat boot loving ladies’ (wo)man was the recipient of more female attention than that of any man I ever knew.
Justine grabbed my hand and profoundly looked me in the eyes as Cassy focused all her attention on digging some mystery object out of the depths of her pocket. “It’ll be okay, sweetie. Shayne needs to see what he’s in danger of losing. Eli or not, you need to sample what else is out there,” she said with a devious smirk on her perfectly red rouged lips.
Justine was the owner of an exclusive dungeon where businessmen, local athletes, and frustrated husbands came to get humiliated as a means to decompress from the stress in their lives. She started out as a Domme, but thanks to a near scandal in-
volving the mayor and an adult baby fiasco, Justine was able to purchase the space courtesy of some hush money. She always had stories to tell.
Cassy triumphantly retrieved a quarter from her pants. “I think I have a solution to your moral dilemma, Kimmy,” she grinned. “Tails you blow Eli off, heads you go and see where the night takes you. That way you can blame it on the coin.”
“Ooooooooooooooooooookay,” I answered with a hint of nervousness in my voice. The coin was promptly launched into the air. Aaaaaaaaaaaaaaaaaaaaand...
Yikes! Time to go, to be continued later...
name : Steffanie Sherwood
nickname : Steffie Ann
birthday : April 25, 1986
birthplace : Buffalo, NY
eye color : hazel
hair color : always different!
turn-ons : tattoos, genuineness, intelligence, having a drive in life, and shaved heads :)
turn-offs : smoking, being too cocky, lying, and big muscles
why do you model? : modeling is how I express myself!
favorite musical artists : Gracer, Jimmy Eat World, Death Cab for Cutie,
and Radiohead
favorite TV show : Boy Meets World
favorite book : Night by Elie Wiesel
favorite cocktail : anything girly
favorite color : probably black
favorite article of clothing : my brown corduroys!
favorite outdoor activity : swimming in the summer
favorite indoor activity: just hanging out with my friends
favorite club/place to go out : I rarely go out
anything you’d like to say to our readers? : thank you to everyone! keep reading Auxiliary Magazine!
AUXILIARY april 2009
by Lizz Schumer
refreshi ng your space for spri ng
decorating on a dime : The air is warmer, the sun is coming out, and the inside of your house is as dreary and gray as a February sky. Are you tired of staring at the same old stuff? It’s time to make the inside of your abode match your penchant for freshness. If you’re like most Americans this spring, your budget is stretched tighter than last year’s bathing suit after six months of more cookies than crunches. Fortunately, this year’s designs offer a myriad of options for turning drab into fab, without breaking the bank. Begin this makeover by thinking small. Your old room can get a new look without investing in large pieces like furniture or repainting the entire space. Reinvigorating a room can be as easy as changing accent pieces like candlesticks, pictures, table-
cloths, throw pillows, and other decorative items. Pick and choose carefully where to spend and save. Get creative with little things, and splurge where you will definitely notice the difference.
This spring, designers are showing luxe colors that can go a long way to making your space look more luxurious than it is without making a dent in your 401K. Color authority Panetone is showing a rainbow of colors perfect for adding panache to your palate, such as deep purples paired with gold, black, and silver, forest greens, and a variety of bright colors to add a pop of interest on a darker background. Do you want to freshen up your walls without painting the entire expanse? The writing is on the wall. Adhesive inspirational phrases or individual words can be found at decorating stores and places like Kohl’s and Target, and can add a quick, inexpensive splash of interest to an otherwise uniform space. You can also invest in a set of letter stencils or freehand your own sayings with a good sponge brush and a can of opaque paint. Color presents one of the easiest and cheapest ways to update your look. Instead of buying throw pillows, tablecloths, curtains, or other textiles at pricey boutiques, try making your own. Fabric stores offer large amounts of multipurpose fabrics for a fraction of the price. A quick turn with the sewing machine, and you can completely change the look of an anchor piece, such as a couch, chair, bed, or table. If sewing is not your strong suit, fabric stores will have patterns or how-to books for guidance. Fabrics can also act as matting for pictures, art, or even cover shelves and mantel-
pieces to add a stunning background for decoratives. Other trends to watch include peacock and ethnic themes, with a heavy emphasis on Japanese and Asian influences. Bold vases filled with pussywillows, stark branches, or cherry blossoms create instant, long-lasting centerpieces and are sure to add a touch of drama. Tall screens can change the look of a room and provide added privacy in common spaces. Also watch for deep teak and painted black wood with strong, clean lines such as the Victoria Hagan collection from Target. Hagan also shows plenty of Victorian influence as well as black and white prints; two styles eas-
ily copied for much less than retailers at thrift stores or garage sales. For a personal touch, try taking your own prints in black and white and framing them for a combina-
tion conversation piece and decorative focal point. Metalworks, stainless steel, and found art trends can also be mimicked on the cheap. Practice the three Rs: re-use, recycle, and re-purpose. Chances are, you have old pieces lying around that can find a new life in a different way. Funky mismatched candlesticks make great decorations, both on and off the the table. Old concert post-
ers, photographs, and even vinyl covers can be put into inexpensive frames and hung alone, or in interesting groups to give a room new life. For a vintage feel, dig up old toys, knick-knacks, even dishes and electronics and display them as curiosities. Items such as uniquely patterned cups and plates, old records, worn-looking dolls or stuffed animals, bird cages, and even costume jewelry can be grouped together for a Bohemian style. Don’t have any junk lying around? A local thrift store would be happy to help you out, and often for just a few bucks per item. Try draping an old string of pearls over a light fixture, looping it over a curtain valance, or just letting it pile on the edge of a shelf for instant lackadaisical elegance.
Finally, don’t be afraid to branch out to new venues. Specialty shops can get expen-
sive, and while buying the entire spring line from your favorite designer is tempting, a conglomeration of pieces from different places can be much more interesting. Try big-box stores such as Ikea, Target, Pier I, even Wal-Mart and K-Mart for unexpected finds. The John Derian or Victoria Hagan collections from Target are great for whim-
sical accents for under $50. Pier 1 Imports has an excellent array of eclectic ethnic accents. Be sure to check K-Mart and Wal-Mart for cheap chochtkes. By getting creative with old items and selecting a few key new ones, you can stretch your imagination and your budget this spring to refresh your life without going mon-
etarily overboard. By utilizing a few of these tips, shopping smart, and looking at old stuff in a new way, you can go from flat to fabulous with some money left over to restock your spring closet. LI FESTYLE
35 april 2009 AUXILIARY
pillow, picture frames, wooden wall plaques, vase with flowers, candlestick holders, fabric covered tote and bo x, and table runner all available at Target
Spring is here and that means it is time to emerge from your winter hideout and get out there and do stuff! This year get out there and get to some festivals! With so many great festivals happening this spring and summer there is no reason not to go to at least one. Attending a festival is the perfect mini vacation. Normally lasting three to four days and taking place over a weekend, the event planners have been kind enough to create a vacation itinerary packed with more stuff than you could possibly find time to do. Below you will find some of this year’s highlights.
FAT – Toronto Alternative Arts & Fashion Week
April 21 - 24 in Toronto, Canada
FAT or Toronto Alternative Arts & Fashion Week is an arts festival rooted in fashion and it’s exploration of clothing and the body. Being a very unique festival, it is one of the few in the world dedicated to alternative fashion. It is also unique for a fashion week/festival in that in addition to fashion design, it also showcases photography, in-
stallation, video, performance, music, and dance, all with an aim to push forward and redefine our perception of the fashion phenomenon. FAT takes place in the Distillery District, a historic part of Toronto with many cafes, restaurants, and shops, all in the former Gooderham and Worts Distillery complex. It is a beautiful venue for this event and viewing the district alone is reason enough to go. The complete schedule for FAT has yet to be announced but it is sure to be worth attending. Toronto is home to some of the best designers for alternative fashion including Plastik Wrap, Artifice, Ego Assassin, and Futurstate, to name a few. It almost seems like Toronto fashion means alternative fashion. Go and get a chance to view some alternative fashion runway shows outside a club setting, as well as live performances and innovative installations. Keep checking their website for updates, but plan now because this is one festival not to be missed.
May 14 - 17 in Montreal, Canada
Kinetik is the festival to go to for industrial/EBM music, especially if you don’t want to make a trip overseas, unless you are overseas, in which case, come visit us for a change! Kinetik is a four-day festival with four phases, each dedicated to a style of music, opening night (okay, not a style of music), harsh industrial, rhythmic noise, and lastly EBM. The headliners of this year’s lineup are Project Pitchfork and Icon of Coil (yes Icon of Coil!, back at it again for this festival). Some highlights include, Winterkaelte, Noisex, Architect, Dash Ich, Marching Dynamics, and Headscan. For a full line up check out their website, and there is much more to this line up, about nine bands a night! If this isn’t sounding good enough, it all goes down in Montreal; one of the most beautiful cities in North America.
May 23 - 25 in Detroit, Michigan
DEMF or Movement: Detroit’s Electronic Music Festival is a celebration of techno in its birthplace. Happening over Memorial Day weekend, it is a city sanctioned and supported outdoor festival right on the water in downtown’s Hart Plaza. Per-
formances take place on multiple stages from noon until midnight, and many of the clubs and venues in Detroit throw parties and events afterwards. The goal and vibe of the festival is to bring people together through electronic music and it defiantly brings a large and diverse crowd. Some of the most notable artists and DJs on the line up this year are Derrick May, Carl Cox, Marco Carola, Steve Bug, and Ellen Allien.
Hell City
May 29 – 31 in Columbus, Ohio
One of the largest, Hell City has everything you could possibly want from a tattoo festival. A long long list of tattoo artists set up tables to show off their art, network, and possibly tattoo you. There is also a whole slew of other stuff based around the art of tattooing and body modification to enjoy. Some events of particular interest are an interactive live painting exhibition, Hell City Sinema showing tattoo and in-
dustry related films, multiple art shows, seminars, freak shows, live suspension acts, live music, and my personal favorite and new addition this year: tattoo forums. The forums will feature today’s top tattoo artists and industry leaders discussing topics ranging from the art of tattooing to the current state of the industry. If you can’t make it to this one, take a “Tattoo Vacation” with Hell City over Labor Day weekend, Sept 4 – 6 at the Biltmore Resort and Spa in Phoenix, Arizona.
Northside Festival
June 11 - 14 in Brooklyn, New York
The Northside is a brand new festival hosted by The L Magazine; a free New York City event guide with focus on the artistic, the independent, and the hipster. The Northside Music and Arts Festival will be a four-day celebration of New York’s inde-
pendent music and art scene that takes place at over fifty music venues and galleries throughout the Williamsburg and Greenpoint neighborhoods of Brooklyn. The music portion will be a mix of concerts organized by both The L Magazine and local busi-
nesses and venues. For the art portion, The L Magazine has teamed up with the Wil-
liamsburg Gallery Association and Brooklyn galleries will be planning exhibitions and various events to coincide with the festival. None of the concerts have yet been announced but knowing The L Magazine it is sure to have many indie rock artists of interest. If you are not a frequenter of Williamsburg, this festival is the perfect time to visit the unique neighborhood. With so many events happening, you won’t need any local knowledge of the area and the concentration of unwelcoming Williamsburg hipsters will be diluted by festival attendees. If you are a frequenter of the neighbor-
hood, I’m sure you already plan to go. Gothic Cruse
October 11 - 18 departing from Tampa, Florida
That’s right, Gothic Cruse; when I first heard of it, I had visions of goths covered in goopy sunscreen and a giant tent over the deck and pool. But really, all joking aside, this sounds like a good time! A week long festival that is a cruse, with con-
certs by international goth industrial bands and, wait for it… alcohol and food is included with your ticket. This year features concerts by The Cruxshadows, State of the Union, Modulate, and Cruciform Injection. The ship departs from Tampa, Florida and makes stops at Grand Caymen, Cozumel, Belize, and Isla Roatan. Start saving your pennies now.
If none of these events are happening in your neck of the woods and you don’t have the time or money to travel to these far away places, don’t be discouraged. Chances are that there are plenty of events happening in your town. County fairs with local food, cultural exhibits, music, and art festivals, though not as tailored to specific interests as the above mentioned events, are at least something to check out, and if attended with a good group of friends, can be a fun time. Another great option that happen all over the country and world are conventions. There are conventions for just about everything so dig around and see what is happening near you. Some sum-
mer conventions of note are Fetish Con (, happening August 13 – 16 in Tampa, Florida; Gen Con Indy (, also happening August 13 – 16 in Indianapolis, Indiana; Comic Con (, happening July 23 – 26 in San Diego, California; and New York Anime Festival (www.nyanimefesti-, happening September 25 –27 in New York, New York.
We at Auxiliary Magazine will be out and about this summer, so check the website all summer long for blogs, photos, and coverage of these festivals. We hope to see you there!
by Jennifer Link
dear chrissie
I’m sure you are all familiar with the “Dear Abby” column. Well this is “Dear Chrissie”, a similar column for those of you with questions about like and love, relationship beginnings and endings; all those things that occupy so much of our lives and thoughts. I know I’ve had my share of all that I just mentioned, some fortunately or unfortunately more than others, and I hope to share my wisdom, or at least experience, with all of you.
So please write me with your questions regarding relationships and the like. Send me your lovelorn letters or just your simple ponderings. Don’t be too embarrassed to write about anything you’d like, I’ll keep everything confidential and change the names.
I look forward to hearing from you and helping you out with your questions! Until then, this is Dear Chrissie.
: dearchri ssi e@auxi l i arymagazi
The Green Fairy is back! After nearly a 100 year ban, absinthe production is once again legal in the United States. For decades this legendary indulgence has been shrouded in mystery and it is of no wonder as to why. Absinthe has had its fair share of bad press and rave reviews, and the effects of this herbal tonic are still being exaggerated. Luckily, the facts are coming to light through the hard work of many connoisseurs, both here in the States and abroad. Absinthe is a special combination of herbs distilled with either grain-neutral or grape based alcohol. Depending on the recipe, the exact ingredients may vary but the core herbs, including grand wormwood, fennel, hyssop, licorice, and anise will always be present to give absinthe its distinctive flavor. Contrary to popular belief, absinthe isn’t always green. A great deal of high-quality absinthes are clear. The trademark hues of green depend on the amount of chloro-
phyll in the plants used for distillation. When you see people drinking absinthe you will notice that the liquid in the glass is typically a milky white. Absinthe is tradi-
tionally enjoyed diluted with water, and more often than not a sugar cube is added to cut the bitterness. I personally find the concoction to be no more bitter than a cup of black coffee, and more often less so. Most imbibers enjoy the ritual of preparing the beverage as much as the drink itself. With a standard 3:1 ratio of water to absinthe (depending on your taste), a person would place a sugar cube on an a specially made slotted spoon on top of the glass, slowly dripping water over the sugar, dissolving it until the the green or clear liquor transformed into a beautifully green tinged opaque opalescent cloud. This change in color and opacity is called the louche.
Over the years, our imaginations have been tantalized with appearances of the forbid-
den digestif in a wide variety of avenues. With absinthe regaining popularity, we have been seeing more and more of the Green Fairy on television and in movies. Famous writers including Charles Baudelaire, Oscar Wilde, and Aleister Crowley have all ro-
manticized absinthe’s effects with entire works dedicated to the drink. Such artists as Vincent Van Gogh, Henri Privat-Livemont, Victor Olivia, Edouard Manet, and Henri de Toulouse-Lautrec have created masterpieces using absinthe as their subject. Some have lured our thoughts into a world of elegant women and sophisticated aristocrats casually sipping the green tonic from special glasses. Images of society’s well-to-
do loitering around ornate fountains filled with cold water and absinthe in hand are easy enough to find. While writers have generally glorified the supposed effects of absinthe, artistic portrayals are more of a mixed bag. The majority of artists depict absinthe in the scenery described above but certain painters show a seedier side ab-
sinthe, adding to its unjust stigma. A few examples of this are paintings by Manet and Toulouse-Lautrec, both of which are entitled The Absinthe Drinker. Whether for good or ill, all mentioned have declared that inspiration came from the Green Fairy.
Wormwood, the primary ingredient in absinthe, has been used to treat a variety of stomach and intestinal ailments throughout history. Its earliest uses can be traced all the way back to Egypt during the 18th Dynasty (approximately 1600 BCE). It wasn’t until much later that what we now know as absinthe was created. The detail on which all historians can agree about the origins of absinthe is that it began as a tonic. Gaining immense popularity among the working class, and later the elite of many European countries, absinthe soon became more popular than wine. It was even rationed out to French troops during the Algerian Campaign. Containing an average of 70% alcohol, absinthe worked well to kill any harmful bacteria in the soldier’s drinking water. The main ingredient in absinthe is grand wormwood (Artemesia absinthium). It is this ingredient, more specifically the chemical thujone that it contains, that has caused so much hullabaloo. The reputed effects of absinthe range from euphoria to hallucinations. From a great deal of personal experience, I’ve found that the latter to be completely false. Any such reports are blatant lies, psychosomatic, or stemming from the once common practice of adding laudanum, a derivative of opium, to the libation. I must admit that the intoxication that comes from absinthe is quite dif-
ferent than that of other alcohols. It is true that excessive quantities of thujone can cause hallucinations as well as convulsions, but will most likely result in death. It must be stressed that this amount of thujone is exponentially higher than what can be found in any one or eleven bottles of absinthe. Thujone affects the brain in a similar manner than that of marijuana which gives credibility to the reports of euphoria, introspection, creativity, and other such attributes. Some of the reported effects of absinthe: delirium, rage, insanity, and other less desirable results, bear more of a resemblance to the alcohol DTs than thujone. Recent tests have found that bottles of vintage absinthe contained a significantly less amount of thujone than what is currently being produced. Consider this the next time you hear of some craziness caused by absinthe. Regardless of what any one person or study says, absinthe will always be one of my favorite hedonistic pursuits. In modest amounts, I have found that it is a superb way to decompress after a hard day, relax with friends, or invoke the muses. Being so high in alcohol, it is rather easy to quickly become intoxicated so sipping is advis-
able. Taking my time with the Green Fairy allows me to fully savor the flavor profile of whichever brand I happened to acquire. In my opinion, getting stupid drunk on absinthe is a waste. The moment you start seeing pink elephants, the unique buzz disappears. Absinthe is meant to be enjoyed like a good poem or painting; study it, memorize it, make it part of you. If simply getting lit is your goal, buy some 151 proof rum.
The Green Goddess and Her Star Called Wormwood
Lucid Absinthe Superieure
La Fee Parisienne
Absinthe Mata Hari
Connoisseur T. A. Breaux and the U.S. based Viridian Spirits LLC teamed up to produce this fine spirit. This pair arduously battled the U.S. legal system in order to lift the ban. From Viridian’s unwavering dedication to quality and Breaux’s vast knowledge and nose for absinthe, came the first absinthe to hit the American market in nearly a century. This handcrafted spirit contains only natural ingredients with no oils or dyes. Poured from the bottle, Lucid has a pale olive color and a pleasant, light anise aroma. The louche is quite nice and brings out some of the floral notes. Lucid has a medium bodied mouth feel and the taste is herbal and smooth. The pleasant bite from the wormwood is present throughout. If you have never had absinthe before, this is a great place to begin.
Made in France, La Fee Parisienne is distilled using original pre-ban methods and is based off of a vintage recipe. The ban in France only prohibited the domestic sale of absinthe and La Fee was the first commercial release to the French people in 2000. La Fee Parisienne uses an artificial dye to give it a bright green color, but this shouldn’t sway you from investing in this fantastic distillate. The nose has a less anise and more sweet-herbal profile than that of Lucid and louches equally as well. Once diluted, the lime green milky concoction rounds out herbal flavors and has a delicate floral finish. The mouth feel is light and refreshing, making this selection a better aperitif than digestif.
Absinthe Mata Hari is an Austrian absinthe that does a fine job of informing us that not all absinthes are alike. Made in a Bohemian style, Mata Hari has all of the key ingredients of a traditional absinthe but in different quantity combinations. Mata Hari pours with a pale green hue and has a unique herbal nose. You will no-
tice that the distinctive anise aroma is hidden behind the other herbal ingredients. The louche is also different but only slightly. At first sip you will at once be aware that anise is not the primary flavoring agent. Mata Hari has strong sage and hyssop notes that give it a unique profile. I’ve found this brand to be enjoyed best when used in the numerous delicious cocktails that absinthe can create.
by Keith M. Bergeron
Dear Chrissie,
I’m in quite a sticky situation. I’ve been in a post-punk band for the past six years and music is the main love of my life. The second love of my life is my present boyfriend and isn’t happy with the fact that I’m in a band with my ex. I’ve no feel-
ings for this ex anymore because we dated over five years ago. I’ve been with my current guy for three years and things are getting pretty serious. We live together and there’s occasional talk of marriage. All is pretty well besides the band thing. He wants me to quit. I don’t want to because I’ve been in the band long before he came into my life. I love him and want to spend the rest of my life with him, but I am sick to death of him doing really rude things, such as texting me 30 times an hour every time I’m at band practice. He refuses to support me or come to any of our shows. He even goes as far as saying that we suck and will never get anywhere. I’m tired of putting up with this childish, jealous crap from a 30 year old man. I don’t just want to dump him because we have history together and I do love him.
Lara [Harrisburg, PA]
Dear Lara,
It sounds like your boyfriend has a serious case of insecurity and immaturity. Have you ever talked to him about his past relationships and if anything might of happened that would make him so insecure in yours? He might not realize that he’s taking out past frustrations on you because of the way he’s been treated in the past. I would hope that he can see that the way he’s acting towards you is irrational and undeserved. If not, he might never stop behaving this way. The band might likely be only one of a series of clashes that the two of you will have. It sounds like he’s issuing ultimatums without actually saying what they are. I personally do’t believe in giving (or taking) ultimatums. They are very unfair. You’re going to have to decide if a boyfriend who acts this way all the time is really the kind of guy you want to spend the rest of your life with.
Luv, Chrissie
Lucid Absinthe Superieure
april 2009 AUXILIARY
When it comes to alternative fashion, recognitions tend to be far between and fleet-
ing. Most cities boast a few home-grown alternative businesses and local clubs might host a fashion show once a year, but any national attention is fickle and flicker-
ing. Catwalk Tragedy, the ambitious, Philly-grown alternative model competition-
come-fashion show-come crazy nightlife event, is an event poised to throw alterna-
tive fashion into national center stage, ready or not!
Catwalk Tragedy 4 appropriately kicked off their 2009 tour in New York, New York; home to NY fashion week, the infamous St. Mark’s Place, and the recent Gothic: Dark Glamor Exhibit (see December 2008 issue). The venue of choice was the exquisite Highline Ballroom, a spacious and beautifully decorated venue that comfortably ca-
ters to the eager attendees without leaving them feeling claustrophobic. When I arrived, the line was already around the block and was filled with meticulously dyed and coiffed hairdos, sky-high heels, and restless excitement. I knew New York was already putting its best foot forward.
Inside the venue, an air of exhilaration and anticipation reigned. Models chatting with attendees and lighting the room up with their presence filtered in and out of the already packed area as the meet and greet came to a close. As the lights went down and the judges and emcee stepped onstage, questions filled my head. How many contestants would complete in the show, and what did they have up their sleeves for the talent portion of the show? What sort of fashion would we see covering (or not covering) the models? Previous Catwalk events garnered criticism for models using sex appeal and stripteases over creativity and talent. Would the contestants let their personalities shine through or would they go for an easy crowd reaction?
The Catwalk Tragedy format consists of three rounds or walk-offs; the first two are sponsored by clothing companies, while the last is a combination talent/personal style portion in which the contestant must showcase his or her unique style and ap-
peal. Most importantly, the judges scored the first two rounds while the last round was based on the crowd’s response. Sourpuss Clothing, Delicious Boutique of Phila-
delphia, and Red Buttafly sponsored the clothing rounds in this edition of Catwalk Tragedy.
Voltaire, the music personality and omnipresent member of the New York City goth scene was a natural choice as emcee. Judges Jayla (America’s Next Top Model, Sea-
son 5), Lithium Picnic (esteemed photographer), Mia Taylor (model), Andy LaPlegua (of band Combichrist), and Mosh (fetish beauty/model) acted as judges, with Aprella (fetish beauty/model/NY resident) was an unexpected and delightful last-minute ad-
dition. Between rounds, DJs Xris Smack, Mighty Mike Saga, and Phranque wet the crowd’s appetite for goth/industrial/80s music while accenting the performances of every contestant. The stage darkened and lights flooded the stage as Voltaire ex-
plained the walk-off to the cheering crowd.
Much to my delight, the runway walk-offs included a lot of creativity and a lot of wonderful fashion. Sourpuss Clothing showed their line of colorfully printed t-shirts, often with horror, music, and pop culture motifs, which contestants paired with ac-
cessories and bottoms of their choosing. During round two, Delicious Boutique tan-
talized the crowd with an offering of beautifully made corsets and leather goods from Skingraft. Most especially worth mentioning were the pleated and gathered Victorian-like leather dress worn by Dori-Bot and gun-holster style bags worn by Ali. Spiral Stitching provided a variety of fashions in various materials, including latex. Highly notable was the sky-blue latex confection worn by Marlo Marquis, which featured artfully gathered sleeves and a snug retro-esque cut. Red Buttafly contributed layered, gathered, and ruffled skirts to the competition. A skirt featuring a swooping princess-like overlay, worn by contestant Smierc, made a big impression on the catwalk.
Mi schi ef, Mayhem, Fashi on!
by Sally Reardon
The free-style of round three held a lot of surprises as contestants attempted to get the biggest crowd reaction in a mere two minutes. Talents ranged from the wild and wacky to the sultry and seductive, but only a few acts were rather memorable. Billy Spasm’s fetish-style piercing/needle presentation stood out as one of the most decadent and unusual performances, inciting a giant crowd reaction. I enjoyed one contestant’s choice to pogo-stick on and off the stage. Many contestants chose to be very creative with their hair in this round as well, sporting extensions of many colors with streaks of red, purple, and blue. Retro and ultra-modern hairstyles were the most popular, ranging from soft pin-up style curls to extreme angle razored cuts.
After the third round and a brief conference among the judges, scores were tallied and the winners were announced. First place went to Nik Sin, aka “Mini Manson” and burlesque performer/classic beauty Marlo Marquis. Second place went to the fierce and tiny Kess M and the outrageous, 80s inspired stylings of Ceslo Fierce. The sanguine performance from Ali, aka “Prince of Cats”, brought him into third place, while Latex Ladybug’s upbeat stage presence also landed a third place spot. The winners received a variety of tantalizing prizes, ranging from gift certificates to free photoshoots to swag from sponsoring companies.
As an attendee, Catwalk Tragedy, was overall, an enjoyable and well-produced event. Recognizable names in alternative and mainstream fashion brought credibility to the judging pool while the dedication of contestants and generous sponsors crafted an excellent show. The only criticism I can apply to the event was the lack of elimina-
tion between rounds. With about 37 contestants and three full rounds, the show felt a little long at times; a factor that became more important during the third round, which depended on audience participation. The upside of this was that the price of tickets felt very reasonable. For less than the price of a drink and admission to a Manhattan club, you got a several hour fashion show, a chance to meet and greet the organizers and models, and an after party all in one place. I, for one, am excited to see what will happen to this event as the tour progresses. As it is, they’re off to a great start!
Marl o Marqui s i n Spi ral St i chi ng
Red Butt afly Sourpuss Cl othi ng
Red But tafly
AUXI LI ARY apri l 2009 apri l 2009 AUXI LI ARY
40 april 2009 AUXILIARY41AUXILIARY april 2009
From haut e cout ure and hi gh-end desi gns t o casual st reet wear, fashi on has found a l ot of i nspi rat i on i n mi l i t ary uni forms. Fashi on desi gners have adopt ed t he cal cul at ed cut s, pat t erns, and mat eri al s of mi l i-
t ary uni forms and t ransl at ed t hem i nt o modern fash-
i on. There are many exampl es of pi eces of mi l i t ary uni forms bei ng adapt ed i nt o ci vi l i an fashi on. De-
si gned for use i n t he col d, muddy t renches of Worl d War I, t he t rech coat has become a t i mel ess fashi on favori t e for out erwear. Worl d War II’s army fat i gue j acket, became hi ghl y popul ar i n t he 1970s and was t ypi cal l y worn i n prot est agai nst t he Vi et nam war. Whi l e not as popul ar as i n t he 70s, t he WW II fa-
t i gue j acket can st i l l be spot t ed. D-ri ngs, added t o mi l i t ary uni forms as at t achment s for hand grenades, became a key det ai l of punk “bondage pant s”, and are now oft en found i n mai nst ream desi gns. From mani fest at i ons i n fet i sh cl ot hi ng t o i t bei ng favored by many subcul t ures such as punk, got h, ri vi t head, ski nhead, and psychobi l l y, al t ernat i ve fashi on has especi al l y found i nspi rat i on from mi l i t ary st yl es and i nnovat i ons.
Addi ng a mi l i t ary feel t o your st yl e doesn’t have t o mean a bl at ant use of camouflage or t he l i t eral re-
creat i on of uni forms. Looki ng for cert ai n det ai l s i n cl ot hi ng can add a mi l i t ari st i c flai r t o your wardrobe wi t hout screami ng “Sergent!”. Look for el ement s such as epaul et s, bal l but t ons, or brai ded cords. Cer-
t ai n col ors wi l l add a mi l i t ary feel such as, “army” or ol i ve drab green, khaki, bl ack, navy bl ue, and gray. Garment s wi t h cl ean l i nes and a sol i d st ruct ure al -
l ude t o a mi l i t ari st i c feel. St yl e wi t h mi l i t ary pat ches and pi ns or even vi nt age war-t i me accessori es such as; canvas messenger bags, officer caps, medal s, dog t ags, or pi st ol bel t s.
Ret roscope Fashi ons, Got hi c Corset ed Mi l i t ary Jacket has si l ver but t ons wi t h perfect pl acement on t he j acket for a del i cat e mi l i t ary flare. HAT
Fut urst at e, Ri se Cap i n bl ack wi t h PVC t ri m, accessori es and pul l s t oget her al l t he mi l i t ary el ement s i n t hi s out fit. The Ri se Cap i s a more modern st yl i ng of a vi nt age army cap.
New York & Co., Ci t y St yl e Pol o Shi rt i n ol i ve green has a st ruct ured fit wi t h a fol ded and but t oned sl eeve, i t ’s t he perfect green!
Tri pp NYC, Bl ack But t on-up Boot Cut Deni m Pant s mat ches t he but t ons on t he Ret roscope Fashi ons Mi l i t ary j acket, gi vi ng a uni form-l i ke l ook t o t hi s out fit.
TUK, Wrapped Peep-Toe Wedge i n bl ack gi ves t hi s ensembl e a t ouch of sexi-
ness, i nst ead of a st andard i ssue combat boot s.
Fut urst at e, Comm Mi l i t ary Top i n bl ack wi t h whi t e pi pi ng t hat i s remi ni scent of t he brai di ng used on officers uni forms. It has a ni ce st ruct ured fit and a ci rcui t board pri nt det ai l i ng t hat adds a bi t of i nt erest t o t he t op of t he out fit.
Pi ns, pat ches, or vi nt age mi l i t ary medal s can be at t ached t o t he j acket t o pul l t he whol e out fit t oget her and brand your whol e l ook as mi l i t ari st i c. These accessori es can al so be found at a army suppl y st ore, flea market s, or even your grandfat her ’s cl oset! JACKET
Ret roscope Fashi ons, Got hi c Corset ed Mi l i t ary Jacket st yl ed agai n wi t h some di fferent i t ems t o gi ve a more cl ub-
ori ent ed mi l i t ary st yl e. It ’s a very versat i l e j acket!
Transmut er Boot s gi ve t he whol e ensembl e a more cl ub-ori ent ed feel and t hey j ust l ook great wi t h a mi l i t ary penci l ski rt. Knee hi gh boot s cont ri but e t o t he over al l st ruct ured feel t o t he ensembl e.
Thi s DIY ski rt i n bl ack wi t h mi l i t ary bar pat ches i s an easy sewi ng proj ect t hat wi l l t ake about t en mi nut es. It requi rers a pl ai n bl ack penci l ski rt and pat ches t hat you can purchase at a l ocal army suppl y st ore. Sew t he pat ches on t o permanent l y at t ach t hem t o t he ski rt. Tips
photographer : Jessi ca Banks
f ashi on desi gner : Jane Doe Latex
makeup arti st : El i zabeth Tol l ey
hai r styl i st : Vance Yount
model : Porcel ai n
Square Neck Top with 3/4 sleeves, zip back, contrast trim, and bows paired with Mini Skirt and Bow Belt all by Jane Doe Latex
AUXILIARY april 2009 april 2009 AUXILIARY
Jane Doe Latex Bow Belt in red
april 2009 AUXILIARY
AUXILIARY april 2009
metallic blue Leggings With Bows and red Bow Belt both by Jane Doe Latex
Square Neck Top in metallic blue with red contrast trim, Leggings With Bows, and Bow Belt all by Jane Doe LatexAUXILIARY april 2009 april 2009 AUXILIARY
april 2009 AUXILIARY
photographer Jenni fer Li nk
fashi on styl i st Meagan Breen
makeup arti st Anna Mal skaya
hai r styl i st Kri sti n Draudt
model s The Beauti ful Beast and Mari e Chri sti na
The f uture of f ashi on i s sl eek sophi sti cated cyberware f or the cool cri sp ni ghts of spri ng
april 2009 AUXILIARY
OPPOSITE PAGE Replikant knee length knit dress by Futurstate
Kitchen Orange black Golddigger vest and silver Kitchen Orange Makeout pants with black and beige Zaza shoes by Fluevog
AUXILIARY april 2009 46 april 2009 AUXILIARY
Switchblade Stiletto Vicious Punk Blazer in white zebra print with Rockin Bones Poofy Tutu in Lime
april 2009 AUXILIARY
Kitchen Orange Jitney jacket in purple with patent Transmuter boots
Kitchen Orange Boxwood dress in charcoal and Lambchop mini boot by Fluevog
AUXILIARY february 2009
New York Couture Erika Halter Bubble Dress and Rockin Bones Sailor Dress in pink with black tulle ruffles
AUXILIARY april 2009 april 2009 AUXILIARY
Switchblade Stiletto Gray Leopard Cardigan with The Perfect Skirt in Psychobilly Green by Mode Merr april 2009 AUXILIARY
Vendetta long lace up dress by Furturstate
Futurstate silver Stun vest with Kitchen Orange charcoal Gumi skirt THIS PAGE
Kitchen Orange Greaser jacket in black with Futurstate Bitter mini skirt in silver and The LA Melrose Fluevog boot in black caviar with gold heel
OPPOSITE PAGE Chi is wearing Axxion long sleeve top by Futurstate, Kitchen Orange Makeout pants in purple with Garter Pocket by Platik Wrap, and The LA Melrose Fluevog boot in black caviar with gold heel - Marie is wearing Miyuki jacket by Futurstate and silver Kitchen Orange Makeout pants with Fluevog Lambchop mini boots
AUXILIARY april 2009 april 2009 AUXILIARY
Absinthe Mata Hari
Delicious Boutique of Philadelphia
Jane Doe Latex
Kitchen Orange
La Fee Parisienne
Lucid Absinthe Superieure
New York & Co.
Purrfect Pineapples
Red Buttafly
Retroscope Fashions
Sourpuss Clothing
Spiral Stitching
Suzi Q Cosmetics
Tripp NYC
Urban Decay
where to buy
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june 2009
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book, photo, media, gothic, lifestyle, Auxiliary, music, fashion
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