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Auxiliary Magazine is an alternative fashion, music, and lifestyle magazine available online for free. AUGUST / SEPTEMBER 2010
sharp style
restrain / the harness
get smart / ties and eyewear
glorify / militaristic fashion
android lust
andy deane / bella morte
michael swaim
nina flowers editorial
6 l i fe as al t
7 predator
stal k your prey i n styl e
8 get smart
sharp l ooks, ti es, and eyewear
16 aestheti c
starl et 2026
18 Mi chael Swai m
the funni est man i n onl i ne humor
22 skary : the art of Katy Towel l
25 the essenti al s : Crows Zero and The Mal tese Fal con
26 gami ng : the open secret
27 my l i fe as a goth gi rl
28 the Pi nUp
Ni na Fl owers
on the cove androi d l ust : 32 andy deane : 36 mi chael swai m : 18
ni na fl owers : 28
restrai n, get smart, gl ori fy : 44 . 8 . 48
36 Andy Deane
wri ter and member of Bel l a Morte
32 Androi d Lust
an i ntervi ew wi th Shi khee
39 qui ck pi cks
40 DJ tracks
Vol vox
41 musi c revi ews
!!!, We Love, Androi d Lust, Ni veau Zero,
School Of Seven Bel l s, and more
43 styl e
mod[erni st]
44 styl e edi tori al
compl ete & utter sel f restrai nt
48 bul l ets and gl ory
mi l i tary i nspi red fashi on
58 fashi on essenti al s
watch wrap
59 where to buy
Photographer : Carbon Decay
Styl i st : Sal l y Reardon
Makeup : Di ana D’Angel o
Hai r : Bri an-Davi d D’ai gl e
Model : A.W. Hi l l
august/september 2010 AUXILIARY
This issue is all about interviews! Packed full, we have interviews with many unique and notable individuals. Our music feature this month is on Android Lust. We had the chance to interview Shikhee and shoot exclusive photos of her and the full band in New York City as they get ready for the release of their new album and supporting US tour. In LA we shot exclusive photos of Michael Swaim and talked to him about his work with and his upcoming feature film. We also had the chance to shoot exclusive photos with Andy Deane of Bella Morte and interview him on both his music and writing careers. And last, but definitely not least, our PinUp this month is Nina Flowers of RuPaul’s Drag Race fame and accompanying it is a fun and fabulous interview. In addition, this issue we have plenty of fashion and beauty features to help you get sharp and sophisticated for fall. Take inspiration from our haunting yet strong mili-
taristic fashion editorial. Get smart with this issue’s beauty editorial featuring ties, bowties, scarfs, eyewear, and looks fitting for school or the office. Take a cue from the 1960s mod with our style article that features hip and sharp pieces to add to your wardrobe. Become a 2026 starlet with our aesthetic feature that gives a futuristic flair to the 1920s flapper. “Restrain” yourself with our style editorial, your guide to incor-
porating the stunning and lust worthy piece, the harness, into not just your evening looks but your everyday looks as well. So the theme here seems to be interviews and tons of photos! I’m going to make this letter short and sweet as there is still a bit of summer left and we are anxious to get out and enjoy it! Get out there as well and enjoy your last few weeks of summer, and let this issue of Auxiliary get you ready for fall!
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 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. To-
day an alternative aesthetic is seen more than ever. Yet the core, the base, the scene; 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 media out there; and to create discussion and passion about alternative subcultures. There is a lot of amazing and creative stuff happening. We hope to find it, highlight it, and encourage it to grow.
That is why we’ve created Auxiliary Magazine; an online and print magazine dedi-
cated 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.
Editor in Chief
Jennifer Link
Fashion Editor
Meagan Hendrickson
Music Editor
Mike Kieffer
Associate Editor
Luke Copping
Associate Fashion Editor
Molly Hoeltke
Copy Editor
Zach Rose
email :
issue 11 : august/september 2010
ISSN 1948-9676
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 2010.
Photographs / Illustrations
Luke Copping
Erica Eichelkraut
Zach Rose
Carbon Decay
Ron Douglas
Saryn Christina
Norman Dillon
Photograph on 5
Dirk Mai
Photograph on 6
Danielle Meder of Final Fashion
Illustrations on 7 and 26
Maki Naro
Illustration on 27
Harley Sparx
Photographs on 43
Jennifer Link - Fluevog images courtesy of Fluevog
email :
with inquires and for our advertisers guide
Aaron Andrews
Clint Catalyst
Luke Copping
Rena Finkel
Meagan Hendrickson
Eric Kendall
Mike Kieffer
Jennifer Link
Paul Morin
Ryan Oakley
Ariana Paoletti
Sally Reardon
Zach Rose
Adam Rosina
Vanity Kills
Graphic Design
Logo Design
Melanie Beitel
Layout Design
Jennifer Link
Luke Copping
editor s letter
AUXILIARY august/september 2010 mission statement
Clint Catalyst is the author of Cottonmouth Kisses, an amphetamine-addled collec-
tion of writings Metromix and Instinct magazine deemed a “cult classic”, a spo-
ken word performer, whose gigs run the gamut from jimmy-rigged platforms in dive bars to festival stages (Bumbershoot, OUTFEST, Convergence) to a continuous-play video displayed at The Andy Warhol Museum, and an anthology co-editor (with Mi-
chelle Tea) of the L.A. Times bestseller and Lambda literary award finalist Pills, Thrills, Chills and Heartache. He lives in Los Angeles, and loves visitors at www.
Eight letters of the alphabet. Seven consecutive days, bleeding into nights, often back to days again. And six psyche-sucking, carpal tunnel flare-inducing, pitiful piecemeal excuses for documents that I’d rather feed my shredder than have my name attached via byline.
That’s the sum of what reduced me to the stammering mess I am this Saturday morn-
ing, Saturday being an increment of 24 hours past the extension granted because of the first deadline I missed. See, there’s this thing called �hubris,’ and it’s a recurring motif in my life, I’m afraid. Because I was confident I’d make the first due date, here I am in my humble abode, curtains drawn in defiance of a new day announcing itself around me, birds chirping at various clothes-shredding decibels, the muffled beat of a techno enthusiast somewhere in the neighborhood, and the resident cat ladies arguing over whose little darling is responsible for whatever it is this time. I can’t help but listen to them, or rather, I wish I were able to not listen to them. It’s the same reason I can’t listen to music with lyrics while I’m writing, even if it’s a language I don’t understand. I’m fascinated by language, drawn to the cadence, the context, the multitude of meanings it presents. Which, incidentally, brings us back to those eight letters of the alphabet I mentioned earlier.
IDK IDGAF. There was a time in which I wouldn’t have placed a period at the end. Then again, there was a time in which that eight-character alphabetic strand would’ve been as random as a snow plow in Southern California, instead of the sentence my mind translates it into: I Don’t Know, I Don’t Give A Fuck. People refer to this 21st Century bastardization of language by a number of things, “net lingo”, “txt shorthand”, “abbrevianese”, “slanguage”, though from my personal lexicon, Millennial Newspeak is the phrase I find most applicable. I mean, we all read 1984 in school, right? Well, seven days ago, I was convinced that this recent permutation of linguistics is the 2.0 of Orwell’s foreboding notion, a dystopian world in which words are no longer associated with the human condition, but rather objects upon which edits are consistently applied, each portmanteau a slaughter of syllabic nuances, each new version of the dictionary slimmer than the last.
I intended to discuss how strange it is for me, as a writer, to read two complete sen-
tences that aren’t sentences at all, technically. I thought I’d espouse bold statements about Millennial Newspeak, about how I was watching a generation slaughter lan-
guage, fold words up as casually as if they were lawnchairs. I planned to make grand, sweeping statements in which I predicted the effects of initialisms and acroymns, emphasizing the fact that “IDK” is not an acronym, NASA is an acronym. However, because I do give a F, I did a bit of research. I found no shortage of argu-
ments against “textual relations,” but more importantly? I was reminded that initial-
isms aren’t some new invention that sprang from teenage fingers and cell phones. On the contrary, from VIP to TGIF to DVD, the substitution of a letter for a word is not a permutation of the 21st Century, but rather a linguistic device that’s been in use for centuries. Then a poem by e.e. cummings came to mind, one which begins with “Old age puts up Keep Off signs and youth yanks them down…” and ends with “and youth goes right on growing old”.
It’s powerful, the resonance, and it’s also a pain in the ass, the harsh reminder that the foundation for my thesis was blown. Big deal. What I discovered instead is that these so-called Millennials aren’t responsible for the employment of “LOL” and “WTF” in everyday speech. If anything, along with a new generation came a new example of our ability as human beings to adapt lan-
But “BRB” is not an acronym, damn it! SNAFU is an acronym.
by Clint Catalyst
photographer : Dirk Mai fashions : Mother of London by Mildred von Hildegard
makeup artist : Stacey Hummell
The ideas and viewpoints of our readers published to voice an alternative perspective on current day society, topics, and events.
august/september 2010 AUXILIARY4
What a dash cuts the dandy! Better dressed than you, he enters the room and turns heads. Impales you on an ice-pick wit and ignores everyone else. He is at once solitary and magnetic. A creature in the crowd but apart from it. And before you realize it, he is gone.
Yet there’s no such thing as dandyism. There’s no recipe and no costume. Try to dress like one and you’ll only be a fop. You can never decide to be a dandy. You de-
cide to be yourself. People will call you whatever they want. They call me a dandy. I’ve been called worse by better. Loathing labels on clothes or people, I only accept this one because it implies no poli-
tics, pastimes or personality. There’s nothing to conform to. Dandies have looked, thought and acted in many different ways. Their only common point being conscious self invention. Life as art. Like the title of dandy, alt culture now implies no politics, pastimes or personality. There’s nothing left to conform to while you fight conformity. Rather than a thing to be, it is a space to be in. Process rather than result. This is not the death of alt culture but its maturation. The photocopied zines unread by all became blogs read by many, the mixtapes became fileshares and people actu-
ally have a voice. When I was a teenager, a magazine like this would have been impossible. Now you’re holding it.
Yet some have the audacity to claim that alt culture is dead. These gravediggers are deluded by some glamourized version of their own past. Their memory soundtrack is the angry voice of alienated youth. This is what they think alt culture is and must remain. It must not and it cannot. The times have a-changed and the alternative no longer needs to wallow in reactionary anger at the surrounding ugliness. Alt culture can, for the first time, strive towards its own idea of beauty. It can finally stand before the mirror, put on the clothes it loves best and compete with the mainstream on its own terms. Fueled by individuals crafting their own goods and selling them online, by outsiders on soapboxes, people sharing arcane knowledge and an incredible divergence of opinion, it has no manifesto nor does it need one. This anarchic fluidity and openness is its power. But that’s not to say it cannot be destroyed. Even the most beautiful suit can be eaten by moths and have its stitching undone by carpet beetles. Fashion has never been a substitute for a substantive personality. Saying that alt implies no politics, pastimes or personalities is different than saying it requires none. It does. But these are yours and yours alone to develop. Aside from this, the forces of state and capital are always lurking, waiting to intrude, dilute and infect. You must beware their sticks and be wary of their carrots. If not, you will find yourself either beaten down or turned into a crass advertising scheme. Neither holds much appeal. Above all, you must keep your own council and remember your own better nature above any title. Always do what you think is right and never what you think is alt. Being the best version of yourself will set you apart better than any affectation. If I cut a dash when I enter a room, am better dressed than you, turn heads and ignore it all, it’s not because I’m a dandy. It’s because I’m Ryan Oakley. I would never trade my name for a title. Neither should you.
by Ryan Oakley aka Grumpy Owl
photo Danielle Meder of Final Fashion
by Vanity Kills
1 Prep your eyes for color by lightly coating your entire eyelid area with an eye-
shadow primer. Tarte Lifted Natural Eye Primer with Firmitol creates a flawless canvas for all your color intensive liners and pigments while helping to fill in those pesky wrinkles.
2 Dampen Brush #1 slightly and gently tap (DO NOT SWIPE) a metallic gold pig-
ment [Sugarpill Chromalust Loose Eyeshadow in Goldilux is simply divine and I cannot possibly sing enough praises for it] across your entire eyelid. Start at the lash-
line and extend slightly past the crease. You should stop just below the brow bone.
3 Sweep a neutral matte flesh toned shadow [try Urban Decay Matte Eyeshadow in Foxy] directly under your eyebrows with the help of Brush #2. 4 Using a black liquid eyeliner pen [such as Tokidoki Perfetto Eyeliner in Sabo-
chan], draw irregular C-shaped half-circles starting at the crease of your eye. These will be your leopard spots. Concentrate most of the spots in the crease, as well as the outer corner of your eye. Feel free to place them all over your lid if that is your aesthetic preference.
5 Dip a slightly moistened q-tip into a vivid coral pigment [like Medusa’s Makeup Eye Dust in Coral Reef] and proceed to fill in the interior of the leopard spots. In doing so, you’ll give the spots more dimensions, making the pattern really “pop”. 6 Soften the look by opting for a chocolate-hued version of the traditional cat eye. Dab a small amount of brown gel eyeliner [Bobbi Brown Long-Wear Gel Eyeliner in Chocolate Shimmer Ink being an excellent choice] onto Brush #3. Make sure to Predator
And yes, pulling off this fabulously feline look most definitely gives you the license to be just a little bit catty.
place the brush right on top of the roots of your lashes. Rim your upper lashline, start-
ing at the inner corner of your eye. The closer you get to the outer corner of your eye, the thicker the line should become. When you get to the corner, flare the line up using a sweeping motion. This produces the much sought after winged “cat eye” effect. 7 Line your bottom lid, starting from the outer corner of your eye & slowly making your way toward the inner corner, using the same black liquid eyeliner pen you used to create the leopard spots. Tokidoki’s Perfetto Liquid Eyeliner Pen tends to be more user friendly than traditional brush and bottle liquid eyeliners, since the graphic artist inspired chisel tip allows for ultimate application control.
8 Your eyelids shouldn’t hog all the glamour. Using Brush #4, carefully pat the same metallic gold pigment you’ve applied onto your lids below the lower lashline.
9 Take a cue from birds of prey with fabulous feathered falsies [check out Elise Faux Eyelashes #169]. To apply, add adhesive to the back of the eyelash strip. Grab a false eyelash with a pair of tweezers and adhere to the outermost part of your eyelids, keeping them as close to your own lashline as possible. You know that they’re in the right place when they’re sitting right on top of your natural lashes. Gently hold them down in place with your finger for about 30 seconds or so until the glue dries.
Follow along with this guide to help you choose the best brushes to use for this look.
Brush #1 : Brush with a rounded edge. [Try the Eyeshadow “C” Brush from the Studio Brushes Collection by eyes lips face.]
Brush #2 : Small eyeshadow brush. [Such as Sephora Collection Professionnel All Over Shadow Small Brush #23.]
Brush #3 : Eyeliner brush. [Like Medusa’s Makeup Angle Eyeliner Brush.]
Brush #4 : Pencil brush. [Try the Small Smudge Eye Brush from the Studio Brushes Collection by eyes lips face.]
brush guide
AUXILIARY august/september 2010 EDI TORI AL
Toronto’s Ryan Oakley is perhaps best and (ubiquitously) known for his disdain filled The Grumpy Owl blog which can be found at Additionally Ryan’s misanthropic tendencies have spilled into the world of sci fi novels with a new release, Technicolor Ultra Mall slated for a spring 2011 release through Edge Books is no doubt tainted with his familiar brand of malice and cultural criticism.
Life as Alt
Let us know what you think! We think it is important that alternative culture has a voice on important and current topics. Our editorial section is for your opinions.
email :
photographer : Danielle Meder of Final Fashion
august/september 2010 AUXILIARY
Gilded leopard lids paired with avian lashes let you stalk that prey in style (Disclaimer: By “stalking that prey”, I certainly don’t mean partaking in any activities that would warrant Chris Hansen, accompanied by a camera crew, suddenly showing up at your door). Experience the golden standard of animal magnetism.
AUXILIARY august/september 2010 august/september 2010 AUXILIARY
Burlap white dress with yellow and blue details provided by Modern Nostalgia, black ink on yellow Vintage Typewriter scarf by Cyberoptix TieLab, and Escada tan metal frames provided by Elmwood Specs.
BB Dakota white silk sleeveless collared blouse provided by Half and Half, black ink on white microfiber Chemical Warfare tie by Cyberoptix TieLab, and Menizzi black and magenta plastic cat eye frames provided by Elmwood Specs.
photographer Luke Coppi ng
fashi on styl i st Mol l y Hoel tke
makeup arti st Stephani e Si gnorel l i
hai r styl i st Apri l Gri gaj ti s
model Lauren Mentkowski
assi stant Zach Rose
february 2010 AUXILIARY
AUXILIARY august/september 2010 august/september 2010 AUXILIARY
Ralph Lauren blue and white pinstripe button down provided by Second Chic, light blue ink on red microfiber Poppy tie by Cyberoptix TieLab, and Rodenstock vintage red and white large round wire frames provided by Elmwood Specs.
MM Couture by Miss Me white silk embellished tank provided by Modern Nostalgia, cream ink on tan microfiber Wood Grain bowtie by Cyberoptix TieLab, and Menizzi brown and turquoise squared plastic frames provided by Elmwood Specs.
AUXILIARY august/september 2010 august/september 2010 AUXILIARY
Gemma flower seedling graphic print blouse provided by Modern Nostalgia, chartreuse green ink on magenta microfiber Lotus tie by Cyberoptix TieLab, and Rodenstock vintage light pink large round plastic frames provided by Elmwood Specs.
Burlap asymmetrical light tan dress with black and bright orange plaid detail provided by Modern Nostalgia, black ink on charcoal microfiber Lorem Ipsum bowtie by Cyberoptix TieLab, and Escada tan metal frames provided by Elmwood Specs.
AUXILIARY august/september 2010 august/september 2010 AUXILIARY
Sisley red button down provided by Second Chic, Hazel black and grey vest with lace back provided by Urban Threads, black ink on army green microfiber AK-47 tie by Cyberoptix TieLab, and Lucky Brand grey and silver embellished retro style frames provided by Elmwood Specs.
Very J light taupe lace top detailed black silk dress provided by Half and Half, black ink on grey Vintage Typewriter scarf by Cyberoptix TieLab, and Lucky Brand grey and silver embellished retro style frames provided by Elmwood Specs.
Starlet 2026
photographer & author Zach Rose
makeup artist Leane Steck
hair stylist Kristin Draudt
models Susan Coffey & Nicole Maile
Emerging from the roar-
ing styles influenced by the 1920s, “Starlet 2026” is a style pairing the revolution-
ary independent women’s styling of the flapper with the edge and uncertainty of the near future. While utilizing the rebellious cues of the past “Starlet 2026” is an appropriate aesthetic whether you’re the femme fatale with your own agenda or simply aiming for a so-
phisticated look that is forward thinking yet rooted in feminine mystique.
For makeup, subtle metallic hues adorn the face and highlight the cheekbones. It’s an application that is both at home in the metropolis high rise of 2026 or the speakeasies of 1926. If blush is applied, it should match the skin tone. Copper metallic hues or bronze colors define the facial lines and are a good choice for a darker complexion. Oppositely fair skin should be adorned with brighter, almost fluorescent shades that compliment both the eyes and hair. Eyes should have a look that is reminis-
cent of the flapper. Smokey eye shadows possess the al-
luring sexuality yet mysterious appeal of silent film stars. A conservative look in the eyes is also welcome, but should be applied with care to match the color palette applied to the face as well as to compliment the skin tone.
Hair should be inspired by styles of the 1920s. The “Starlet 2026” hairstyle should offer that exact feel but have just enough texture and wave to adapt to a henceforward aesthetic. Bobs paired with flapper curls add volume and presence to the normally flat ap-
pearance of the 1920s, Louise Brooks or Coco Chanel influenced style bob. Finger waves reminiscent of late flapper hairstyles can also be emphasized to create a more dy-
namic s-shaped undulation that brings the style forward.
august/september 2010 AUXILIARYAUXILIARY august/september 2010 21
The funniest man in online humor
takes on a dangerous new mission for
comedy and country.
photographer Saryn Chri sti na
i ntervi ew by Adam Rosi na
Mai nst ream comedy has fal l en on hard t i mes. More accurat el y, i t ’s ci rcl i ng t he fuck-
i ng drai n. Set h Macfarl ane’s become far t oo busy count i ng hi s money t o real i ze t he bubbl e’s nearl y burst on how many cut away j okes hi s audi ence wi l l st omach before t hey t une out compl et el y. Sout h Park has become a l i t t l e t oo sanct i moni ous and preachy. And l ast year ’s runaway comedy hi t, The Hangover, was an underwhel mi ng snooze fest of a fil m, save Zach Gal i fianaki s (and anyone fami l i ar wi t h Gal i fianaki s’ st and-up can at t est t hat hi s performance i n sai d fil m i sn’t up t o snuff by compari son). So where’s a comedy connoi sseur t o t urn? Ent er Mi chael Swai m. Ri si ng qui ckl y from wri t i ng for t he UC San Di ego comedy �zi ne MQ (al ong wi t h fut ure col l aborat or on nearl y al l of hi s proj ect s, Abe Epperson) t o i nt ernet st ardom wi t h sket ch comedy group “Those Aren’t Musket s” and t hei r breakout vi ral vi deo, “Int ernet Part y”, Swai m’s career began t o gai n moment um. Furt her exposure came t hrough hi s work at, bot h as a col umni st and as t he st ar of web vi deo seri es Cracked TV (l at er re-t i t l ed Does Not Comput e). Hi s next web seri es, Agent s of Cracked, whi ch saw hi m co-st ar wi t h fel l ow Cracked cont ri but or Dan O’Bri en i n a buddy cop-t ype scenari o, was met wi t h bot h cri t i cal prai se and an award at t he Second Annual St reamys (an awards ceremony hel d t o honor achi evement s i n i nt ernet vi deo cont ent ). Now, wi t h Does Not Comput e and a new Cracked seri es Af t er Hours i n ful l swi ng, season t wo of Agent s of Cracked, and a feat ure fil m i n t he pi pel i ne, Mi chael Swai m seems poi sed t o t ake hi s brand of vul gari t y i nfused, nerd fri endl y comedy t o t he masses.
Howdy. Thanks for si tti ng down wi th Auxi l i ary. Thi s i s my first ti me doi ng an i ntervi ew so promi se you’l l be gentl e and we’l l at l east cuddl e afterwards. MS: Thi s i s l i ke my t hi rd, so hopeful l y I’l l j ust t rash you. I’l l nai l you t o t he wal l. I’m goi ng to go out on a l i mb and assume i t. Got to admi t I’m a huge fan. My fri ends and I have pretty much stopped tal ki ng i n a conventi onal sense and are pretty much purel y conversi ng i n thi s Esperanto-l i ke way that i s purel y com-
posed of Agent s of Cracked quotes. MS: Ni ce. So you can ki nd of see how much we l i ke the shi t around here. MS: That ’s excel l ent. Thank you, man. Because Esperant o i s t he worl d’s most ef-
fici ent l anguage so t hat means a l ot t o me. If onl y peopl e pi cked i t up. MS: I know. That was t he onl y t hi ng I gave a shi t about i n hi gh school i s I t ri ed t o l earn Esperant o l i ke a goober and was t reat ed t husl y. Wel l, coul d you gi ve a l i ttl e background to our readers as how you ended up i n the fast-paced hi gh stakes worl d of i nternet comedy? MS: Absol ut el y. None of t hose t hi ngs are t rue about i t, but sure, I’l l t el l you how I got where I am. I went t o UCSD, Uni versi t y of Cal i forni a San Di ego. I met a bunch of cool ki ds t here, one of whom i s Abe Epperson who’s my pri mary creat i ve part ner. He’s shot and edi t ed al l of t he Musket ’s st uff and Agent s of Cracked, et cet era, et cet era. So we’re sort of t he yi n/yang. And he was doi ng fil m and I was doi ng t heat er, and basi cal l y I coul d not get cast i n anyt hi ng because I was t oo t al l. I l i t eral l y had di rect ors pul l me asi de and say you were great, you had t he best audi t i on, you are freaki shl y t al l and you’re not gunna get t hi s rol e. So I became deepl y embi t t ered and deci ded t o put on my own pl ays. And al l I fel t comfort abl e wri t i ng were t hese t i ny l i t t l e sket ches so we had a sket ch revi ew. And I was worki ng wi t h Abe t hrough t he sat i re paper t here, t he MQ, l i ke sort of our versi on of The Oni on-t ype i deal. And he want ed t o make movi es and I want ed t o be abl e t o act i n st uff t hat I wrot e, so we t eamed up ri ght out of col l ege and put five sket ches onl i ne and everyt hi ng sort of went from t here. Now, I recentl y read i n one of the other i ntervi ews you di d that you’re i nvol ved i n a feature fil m project?
MS: Yeah. It ’s cal l ed Ki l l Me Now and we shoul d be shoot i ng ri ght at t hi s very moment, but cl earl y are not. We’re doi ng a l i t t l e t hi ng on webcam. It ’s very ex-
peri ment al. It ’s real l y cool. They cal l i t a mi cro-budget, al t hough i t ’s more money t han we’ve ever had at our di sposal, and i t ’s a horror-comedy t hat Abe and I wrot e t he st ory for and I wrot e t he screen pl ay and basi cal l y we’re worki ng wi t h a produc-
t i on company cal l ed Ket chup Medi a and t hey sought us out j ust t hrough t he di rect or Travi s Long, who found us t hrough our si t e. And man, t hey’re basi cal l y maki ng our dreams come t rue. They l et me come on. I’m act i ng i n i t. I got t o hel p cast i t. Abe i s shoot i ng i t. We’ve got al l ki nds of our fri ends i nvol ved and ot her i nt ernet sket ch peopl e doi ng everyt hi ng from PR t o crew t o fil l i ng out t he cast. So we’re real l y ex-
ci t ed. In my mi nd i t ’s gunna be t hi s huge sort of Woodst ock-y event of al l t he sket ch comedy peopl e because we’ve got a l ot of represent at i ves from a l ot of t roops are goi ng t o pop up i n t he movi e. I i magi ne a l ot of the Muskets and the crew are i nvol ved. MS: Absol ut el y. And i n fact, t here are a coupl e fol ks l i ve i n [i t ]. We’re shoot i ng i t i n Il l i noi s and t here are a coupl e fol ks who’ve never got t en t o be i n anyt hi ng because t hey l i ve i n t hat area, and we’re final l y gonna get t hem i n somet hi ng. Wel l, that’s cool. Thi s past Apri l, you and the rest of the Agent s of Cracked crew won the audi ence choi ce award at the Streamys. Was that l i ke a val i dati ng experi ence for you or are you the type of person that doesn’t real l y gi ve a fuck about other peopl e’s opi ni ons? MS: Are you ki ddi ng me? If you post somet hi ng on t he Int ernet, you have t o gi ve a fuck about ot her peopl e’s opi ni ons because t hey’re goi ng t o shout t hem at you non-
st op, unl i ke any ot her medi um. There i s no ot her medi um where peopl e, i nst ant l y, hundreds of peopl e shout at you what t hey t hought about i t, whi ch i s great, you know, news, t he fut ure. It ’s wonderful. Fuck al l of you. But [t he St reamys] were i ncred-
i bl y grat i fyi ng because we act ual l y won t he audi ence choi ce award port i on and t hat means t hat our fans act ual l y went onl i ne and vot ed. And t hat i s i ncredi bl y humbl i ng and surreal t o us. So t hat was i n fact so surreal t hat we had not hi ng prepared when we went t o t he ceremony. And I t hi nk i f you l ook i t up onl i ne t hey’ve t ri ed t o bury i t, but I have j ust t he worst most awkward accept ance speech. But despi t e t hat we were real l y grat eful and I’m real l y j azzed. Wel l, Dan actual l y menti oned at hi s speech after the Streamys that you guys woul d be fil mi ng the second season of Agent s of Cracked thi s summer. What can we expect from that? MS: Wow. Thi s i s t he first i nt ervi ew I’ve had where someone act ual l y researched st uff t o ask before. Season t wo. Wel l, t he first t hi ng I can say i s t hat we’re wri t i ng i t now and one t hi ng we’re doi ng i s we’re worki ng wi t h more wri t ers. So Davi d Wong, who’s a bi g Cracked wri t er who wrot e one of t he epi sodes l ast year, we’ve got hi m wri t i ng anot her epi sode. Soren Buoy who pl ayed T-Bone and i s a Cracked regul ar i s wri t i ng an epi sode. We’ve got a number of ot her peopl e, regul ar cont ri but ors t o t he si t e wri t i ng epi sodes. So t hat ’s been real l y cool. We’re al so changi ng up t he cast qui t e a bi t. They’re goi ng t o be some new devel opment s wi t h Dan’s l ove l i fe. I don’t want t o gi ve t oo much away. But defini t el y he di d t he fist i ng gest ure so t here’s gunna be a l ot of fist i ng. We’re doi ng a fist i ng arc i n mi d season t hat I t hi nk i s real l y gunna be t he next genre. That i s excel l ent. My edi tor who’s l i steni ng, just spi t mouthwash everywhere. MS: I t hank you. I can defini t el y promi se fans more wacky bant er, anot her spect acu-
l ar i nt ro sequence and a j ump up i n t he number of charact ers, probabl y t he number of epi sodes, and t he amount of t al ent on board. Our cast and crew i s expandi ng qui t e a bi t. It’s good to hear. In Uni verse questi on. Di d you ever get to bone Dan’s fil thy pi g l over, and i f you di d, was i t on company ti me? MS: I am so happy t o say t hi s, because t here’s onl y l i ke t hree t hi ngs you coul d have asked t hat woul d have t ri ggered t hi s response. But I’m afrai d I can’t di scuss t hat as i t i s deal t wi t h i n season t wo. Excel l ent. Awesome. If I coul d segue i nto Cracked TV / Does Not Comput e ter-
ri tory, l et’s get down to brass tacks. Who bui l t you SWAIM, and i nto what unspeakabl e end? MS: That ’s funny. See, t here’s a whol e sel f-i ndul gent t hree-and-a-hal f-mi nut e ani -
AUXILIARY august/september 2010 mated intro sequence that I made way back for episode one that explains all of this. I was part of a government project to design the perfect talk show host as a propaganda device as a tool of our crab people shadow government, obviously. But my funding was cut. The project’s funding was cut partway through so I was just a head, hence me being left plugged into the Internet just spouting random nonsense into a webcam. That sort of fell apart because A: no one wants to watch my crappy flipbook anima-
tion while I sing off key about myself. And B: when we shot it you could see more of my body. The effects of the era could not match my vision. You just have to wait for the technology to catch up. MS: And then, you know, a few times since then I’ve considered that I should just release the original intro sequence, because it has a song I wrote that explains it, and then I watch it and it’s just so terrible no one is ever going to see. Excellent. I wanted to ask what prompted the slight change from Cracked TV to Does Not Compute? MS: Sure. There were a few things. Some things for me and some things for the audience. For me, I came on board Cracked full time as their full-time video editor. And that has meant a lot of big diversification in my responsibilities. So I’m talking to other troops and getting other scripts through the process of becoming a sketch and setting up deals and finding locations, et cetera. And so because of that I definitely needed to streamline because that is something I think people don’t appreciate, I guess, is that an episode of Cracked TV I do. I mean, I write it, shoot it, edit it, do the effects. Abe composes music if I need it. But the whole process for an episode can be forty to sixty man hours of work. So Does Not Compute did a few things on the back end that hopefully people won’t even notice that made it a lot easier for me, and then for the audience I just thought our graphics were so much better. We had bought a new camera. I had learned through failure how to do green screen better. Abe, who shot it and who sets up and handles the green screen has been through USC so he had a lot of new ideas to bring to it. We wanted to be able to cut in and out, et cetera. And so it just felt like too many changes to go by without some fanfare. And it gave me a chance to tell the story, a little story when I fight Clippy. And I think like most writers I have a soft spot for when you can be self-indulgent and have a story in your shadow, you know. Actually, now that you mentioned it, I was gonna wait for the end but I’ve got to ask. Is Clippy ever coming back? MS: Well, I’ve done a segment called checking in with the robot and for Clippy, so I think we’ve established that despite his trespasses I have forgiven Clippy and I would love for Clippy to return, It Is totally reliant on my mechanical ingenuity, which is not really up to par, or how quickly I run out of YouTube co-hosts to use. I predict if I run out of interesting co-hosts then Clippy will sputter to life almost immediately. Well, between the Michael we see in Agents, Agents of Cracked and droid Mi-
chael Swaim, which character do you think synchs up like with your real per-
sonality the most? MS: Taking the Fifth. Okay. Another little fact for people at home, Dan and I actually don’t really care for each other. We’re very distant and alien at work. I’ve [thought] all the fans should know that, first of all. But second of all, you know, I would like to get all artsy-fartsy and say maybe they represent two different sides of my psyche, because I think I enjoy writing both of them very much in very different ways. Writing Cracked TV is almost like playing Scrabble or doing a crossword puzzle because I’ll just stare at whatever the ridiculous stimuli is and think I have to make a series of jokes and I want it to be very high density. I want this paragraph to have eight jokes in it. What are eight jokes about this? And so now it’s very much for [me] as a comedy writer, I feel like it’s a puzzle, it’s like a game, and whereas Agents of Cracked is, it feels more like writing a sitcom and more of the idea of trying to get into the mind of the character and shit in my pants, or whatever the hell I’m gunna do, you know. I just really want to be there when I’m hurling my own feces at clients. I want to know what that’s like and I want to feel that. Awesome. Have you considered making the shift from Internet comedy to tele-
vision work or do you think that medium would be to constricting as far as content goes? MS: This is actually going to be a reversal. I recently changed my mind, I think, or have leaned one way or another. When we got into Web, Abe and I both sort of started it with the idea. We got into Web with the idea that this is the fastest way to immediately be doing what we wanna be doing. We don’t wanna go through the traditional process of working our way doing unrelated jobs. And you get your name out there. If you’re good you’ll get your name out there and if you work hard and you wait long enough and you have a little luck. But in the back of our heads, that was all moving towards traditional media, and traditional media was very much this thing that is above and beyond Web. And I gotta say, in large part due to Cracked, my experiences at Cracked and some experiences with television, starting to change my mind. Definitely writing on the TV show would be an incredible gig, and something that I would certainly love to do one day. I think TV is a really amazing medium right now and a lot of cool things happening on television, but I’ve come to appreci-
ate Web in a way after going through once or twice the process of actually getting notes [and] actually getting corporate notes. And I mean, it’s a [joke] you know, the Simpsons have made the joke over and over since I’ve been a kid of corporate notes being insane and ridiculous. It’s absolutely unvarnished, unexaggerated truth. The corporate notes you get sometimes are unfathomable. You can’t imagine someone sitting in an office and thinking about it, and then writing that to you. And so there’s this thing about Web that is cool, everyone you meet did it themselves and everyone you meet has an unusual work flow. I mean, on our sets we don’t have a director per se, and that’s something that is cool. Everyone we work with comes from a different background, has a different equipment setup and can do whatever they want and put it on film and put it on the Internet, and I undervalued that and I’m learning to value that a lot. Now, this is a very fashioncentric magazine so I’ve got to ask. Where does the fashion style of your various characters come from? Like are those props? Are they in your own closet? Basically what I’m asking is, do you actually walk out of the house like alternating between a 50s ivy leaguer and a brain-damaged Tyler Durden? I’ve gotta ask. MS: Right. Right. Usually I do it above the waist, below the waist mix-and-match thing. No. They are, I mean [in my closet], my closet is basically the left side is all clothes and the right side is all costumes and basically it’s a fuzzy line. Especially if we’re going out. I mean, if you’re walking in downtown L.A. no one bats an eye so yeah, I’ll grab some ridiculous bullshit from the costume side. That’s always fun. To see how it flies? MS: Exactly. Exactly. But you know, all the stuff is stuff from my closet. I mean, the Cracked TV suit is just the only suit that I’ve ever owned and Does Not Compute, I like to say we started Does Not Compute because I wanted to buy a new suit. That’s now the second suit I own. And actually, the Streamys was the third. So I only buy suits if we’re winning something. And then the Mike stuff and Agents of Cracked I just knew. I saw the sunglasses first at a thrift store by our house and they just called out to me as like a central emotional focal point for the character, and then from that point on I just picked whatever frames of sunglasses in the most ridiculous way. My favorite being I’ve got to say the nautical-themed outfit with the seashells glued on the shirt. So I got that at Goodwill and I asked about it and they said that a huge really sad middle-aged woman came in with a box full of shirts with hot-glued shells on them and said she had to get rid of them very sadly and gave them up. So I was happy to give it, you know, a burial on the Web. Breathe some new life into it. Kind of bouncing all over the place with this, but who do you consider your main like influences as far as comedy goes? I know you’ve mentioned the Simpsons and Vonnegut before. But like I mean, anything, writers, films, specific come-
dians? MS: Sure. Well, off the top of my head I always have to obligatorily mention Ar-
rested Development. It’s weird to talk about influences I guess because part of the Web I think is [that] the projects are so quick and turn around so quickly that you’re constantly developing. And I very much feel that I am developing. And so things are still influencing me, I would like to think, and so a lot of the things I would call out as influences... like Louie CK I hope is influencing me. It’s stuff that’s so good that I’m watching it and say I hope this is influencing my development. But I won’t know that for ten years, you know. But certainly Arrested Development is something that we watched and dissected and literally with a stopwatch figuring out how did they make this work? The Simpsons and Futurama, absolutely. I personally am a big fan of a few indie comic artists, Rob Schrab and Doug TenNapel I would cite among formative influences for me. Vonnegut you mentioned. A lot of sci-fi for me, which is bizarre to say because sci-fi comedy is well, I mean, Douglas Adams, certainly. But a lot of sci-fi stuff when I’m writing I imagine everything takes place in space, I guess, the lasting effect of that. Agents of Cracked is actually on a dome in space. It’s just important that I know that. Excellent. Just sort of a personal question. What music has tickled your fancy as of late? MS: Sure. Lately there’s been a bunch of good stuff. Devo’s new album knocked me on my ass. And I can’t believe the band I think is like from fifty-eight to sixty-four is the age range and it kicks ass and it sounds like Devo and they’re just as bitter and cynical and think that we’re all schmucks and we’re terrible as ever. And it’s great. If you go online they’ve got a whole new Internet experience and whole new masks instead of hats. It’s cool. They’re still doing their thing and I love it. And I mean, Mother’s Ball, you can’t go wrong. And let’s see. What else? Oh, April Smith and the Great Picture Show I heard on, this will show how hip and cool I am. I heard them on Prairie Home Companion with Garrison Keillor on NPR, you know. They did a battle of the bands. They’re great. Who have I been listening to lately? Oh, Yeasayer. Who I think from around your parts, a Brooklyn band, I think. Apparently I’m not hip. You write a blog for, how’s that, like basically how did you land the gig and how’s that been for you, the experience? MS: I landed the gig the same way I’ve landed every gig which is that I don’t know. I got an e-mail and someone said do you want to do this, and I have always abided by John Hopkins’ motto which is to succeed, if someone offers you work say that you will do it. I think that’s a paraphrase, but so yeah. I just got an e-mail of someone saying yeah, we’re starting this We’re looking for different personas and we like your writing style that we’ve seen on Cracked, are you interested? So I just applied. And I mean, I apply to stuff like that three or four times a month. A lot of job offers come in. Not many are real or I will get so that was just one that happen to work out. It’s been a lot of fun and really cool to have a place to keep writing be-
cause over at Cracked I’m all video and I haven’t really had a chance to keep writing prose, so that’s been a lot of fun. As a comedian are there any topics that you consider taboo or is pretty much everything’s fair game if it’s funny? MS: You don’t want to revise that question after the fisting answer? Perhaps I should’ve. MS: To me it’s a matter of carrying its weight. It’s an equation with two sides. Any-
thing is funny if the joke attached to it is good enough, and I say good in quotes, I guess, because certainly it’s personal. But I’ve been sheltered enough and had a great enough life that I have the luxury to find anything funny. So I’ll say that until a ter-
rible tragedy befalls me, anything is funny if the joke attached to it is funny enough. I do get offended and find things in poor taste, but what I find is that it’s when the joke sucked. So I think I’m really just offended by shitty comedy trying to masquerade as edgy by just inserting abortion or whatever touchy issue, you know. But yeah, if the joke is solid I want to hear that joke. Most definitely. Now, going a little back to Does Not Compute and Cracked TV territory, what video out of all that you’ve seen has eroded your likely already shaky grasp on sanity?
MS: Sanity? Humanity? MS: Maybe it’s just because I’m recently burned, but I’ve got to say, the most scar-
ring thing that I have seen that I remember, is never going to be on the show and it’s something Mr Daniel O’Brien showed me, I urge all of your readers not to Google YouTube search chimp rapes frog, because that thing did not stand a chance. And if you have any love in your heart for Kermit you cannot watch it and not weep.
22 23
Skary : The Art of Katy Towell
The art of Katy Towell begins and ends with the bold statement, “Childrin R Skary.” Her adorable demon children, with their signature mismatched black eyes, grace her movies, illustrations, and stories, they certainly are scary. Drawing from the aesthet-
ics of Edward Gorey, Charles Addams, and Tim Burton, among others, her anima-
tions are peopled with such little girls as Genevieve, who constructs dolls and teddy bears to help her conquer the world. There’s Casilda who can dance the dead out of their graves, and Emmeline, whose imaginary friend can wreak some very real havoc on anyone who ignores her. But as frightening as the Childrin are, they can also be very scared. There is a distinct tone of the fairy tale in her stories of lonely children who must face monsters much bigger than themselves. These tiny dark girls are endearingly, both heroines and villains. Towell explains that, “the series as a whole was originally a conscious effort to cheer myself up.” To be sure, there is something about the Childrin’s murderous glee that is mischievously upbeat, but Towell’s more recent work, like her Death and Elsie series, “The Mockinbird Song” cartoon, and the tearjerking “Ida’s Luck” lend a poi-
gnancy to the project. Towell claims she was, “an only child with too much time to by Rena Finkel
“[It’s] about the way we’ve all felt, even as grownups. We’ve all been afraid. We’ve all felt neglect, rejection, vulnerability. No matter how strong we think we are, those moments make us feel very small, and we react to that helplessness in different ways.”
LEFT TO RIGHT “The Tantrum”,
“Thin Mints”,
and “Witch Cookies”
august/september 2010 AUXILIARY25
by Luke Copping
directed by : John Huston
released : 1941
starring : Humphrey Bogart, Mary Astor, Peter Lorre
There are the classics, there are the cult films, there are the masterpieces; there are many films that are obvious essentials. These are essentials that may have gone unnoticed.
the maltese falcon
directed by : Takashi Miike
released : 2007
starring : Shun Oguri, Shunsuke Daito, Sosuke Takaoka
The Japanese market seems to have a better handle on adapting comic books and manga into a film medium than the western market. Often crafting fine, standalone pieces from iconic serials. While no stranger to adapting manga for film, with Crows Zero we find Miike stepping back from the blood, guts, and assorted unmentionable bodily fluids to create an ensemble piece with levels of brutality, drama, visual inter-
est, and style drawn from the best examples of yakuza films, ultra violent westerns, and the early nineties gritty urban gang dramas of John Singleton and Mario Van Peebles.
In many ways Crows Zero follows the formula of the posse flick; underdog is given insurmountable task, underdog assembles ragtag team of misfits and specialists, un-
derdog is double crossed, gains new allies, gets the girl, and triumphs over insur-
mountable task. The notion of all this action and carnage taking place in a Japanese high school puts a fresh spin on it, as does the extremely provocative styling that Miike applies to this, and indeed, all of his films. Concerning itself with Takiya Genji’s rise to the top of the ultra violent gangs and cliques that make up the student body of Suzuran high school.
crows zero
A film of incredible impor-
tance to both the cinematic community and to the people who have fallen in love with watching it in the almost 70 years since its release, The Maltese Falcon is one amongst several of the great films among the collection of those directed by John Hus-
ton, one of the most important directors to ever work in the American studio system, The Maltese Falcon is both Huston’s directorial debut as well as one of the earliest and finest examples of film noir ever committed to film. Concerning the dealings of Humphrey Bogart’s Sam Spade, a character so seminal that he became the archetype for every cinematic film noir detective to come after. The twists, turns, double crosses, anti hero tough guy sentiments, femme fatales, slimy villains, and incompetent police have all become reliably present elements of the genre.
It’s a story that most film going audiences are familiar with, to the level that reitera-
tion would be pointless. What is important is the performances that Huston elicits from such actors as Bogart and Lorre, it’s the subtleties of dark humor and serious grit that so few films of the genre were ever able to reproduce. It must be stated that the very next year Lorre and Bogart worked together on the legendary Casablanca, creat-
ing a pairing of slimy enabler and stoic antihero that remains burned into the mind of the movie lovers still. That seminal pairing found its genesis in The Maltese Falcon.
The history of the film is just as interesting, Bogart was not the first choice for Hus-
ton to cast as Spade, in fact actor George Raft, who was best known from Some Like it Hot and the 1932 film version of Scarface was Huston’s first choice to test for the role. Ironically Raft also turned down roles in High Sierra and supposedly Casablanca which Bogart was then cast in, cementing Bogart’s future as a leading man and legendary actor as Raft’s career began to wind down. Many other anecdotes about Huston’s methods during the production of his first major film, especially in regards to his collaboration with Director of Photography Arthur Edeson and the de-
velopment of several unusual camera angles and long takes that become legendary in the industry, often compared to films like Citizen Kane, a high standing comparison given the pulp origins of the The Maltese Falcon. Much like many of Miike’s other notable productions, it’s when you look beyond the shock value, visceral fetish-
ism, and genre homage that Miike’s true talent begins to shine. That talent is for craft-
ing exceptionally memorable characters whose interest lies in their ability to inhabit and embrace their own flaws to find strength in them, rather than vulnerability. Much like the characters in Visitor Q, one of Miike’s earlier masterpieces, the characters in Crows Zero that come to accept their own respective issues of aggression, depen-
dance, emotional instability, familial discord, and overly competitive natures, are the ones who shine in the film. Yes this is presented in a genre bending frame narrative that blends equal of parts West Side Story, Seven Samurai, Boyz in the Hood, and The Wild Bunch, but the subtle humor, dramatic escalation, and overwhelming visual flair are all secondary to the development of the characters at the core of the story. Selection of source material is an extremely important choice, and Miike seems quite adept at choosing source material that suits his rapid fire and frenetic film making pace and style. While gritty and dark, Crows Zero does seem to be a sort of gradua-
tion for Miike aesthetically. It may be one his most beautifully captured films despite the violent themes and depressed locations. It seems more in league with the beautiful vistas and locations he created in 1998’s Bird People of China than with the lower budget video look he utilized in films like Visitor Q and Ichi the Killer.
think about horrible things,” who, “was either afraid that something awful would take [my parents] away or that they would be possessed by something evil that would change them into monsters.” These fears play into her new pieces with artful and melancholy resonance.
Towell’s art first began to appear on her own website, in 2001. This included her absolutely chilling storytelling podcast, 6cast, her Skary Childrin, and an amalgamation of other illustration and animation projects. In 2005, she intro-
duced, and her focus has shifted to the Childrin R Skary project to remark-
able effect. Regarding her animations Towell says, “I mostly just wanted to try it to see if I could, which eventually led to �The Little Girl Who Was Forgotten’. The reaction to that was so intense that I felt like I had to continue, and it became a whole series… The internet enables me to have a closer relationship to my audience, which in turn gives me a better idea of what they want, what works, what doesn’t.” The Skary Skouts, the official Childrin R Skary fan group, have formed twice over and continue to post fan art, tattoos, and crafting projects to show their support.
The next big step for Ms. Towell is her book The Skary Childrin and the Carousel of Sorrow, an illustrated novel. The publishing date is tentatively given as Fall 2011 by K Alfred A. Knopf Books for Young Readers. “It’s about four misfit children who have to battle a grisly, twisted evil to save their cursed town, even though their own townspeople mistreat them. It’s got all the darkness and weirdness [longtime Skary fans] expect, but it’s also quite a bit different from anything else I’ve done (in a good way, I hope).”
ABOVE “Death on a Pal e Horse”
BELOW “Death and El si e”
Katy Towel l ’s ani mati on and art i s avai l abl e for vi ewi ng at and for purchase at www.katytowel l.i mageki 26
Let’s talk about an open secret. If you don’t play games, you’re now part of an en-
dangered minority. All across the world hundreds of millions of people are engaged in some form of game play. The average age of the American gamer is now 35 and rising every year. Gaming is no longer an activity for socially inept teenagers, but a multi-billion dollar industry largely serving adults. Presently, immersive fantasy games are grossing more each year than Hollywood movies, and companies are stak-
ing their financial futures on the continued growth of the booming industry. So, if nearly everyone is engaged in games, why do we still lurk around in our houses like early Christians hiding the relics of our hobby, game consoles, collections of magic cards, and polyhedral dice? The answer can be found in that special spot in your fear center that vaults away the worst humiliations of your life, it knows that the world will still persecute you like it’s the freshman year of high school. We may be living in the grand digital future, but our cultures’ firmware seriously needs to be upgraded. When we think of games like Dungeons and Dragons, the paragon of table top role-
playing and still the most popular, or Vampire: The Masquerade (recently in new edition as Vampire: The Requiem) we all inwardly cringe away like the arch-conser-
vatives that accused the games of harboring satanic rites and drew Christian comics warning against them. But today, sensible people aren’t afraid of seeming satanic, they’re afraid of being tarred and feathered as dorks. The vast cultural landscape of America is still living with a 1980’s high school image of the gamer in their brains. If we are to believe this cultural stereotype of gamers, then we should find that gamers are a population of socially uncouth males, desperately fighting imaginary monsters in sweaty t-shirts stained with hot-pocket goo. But, really, who are the modern gam-
ers? A recent study completed by The NPD Group, a market research company, found that gamers are not at all like the stereotype perpetrated by the culture at large. According to their study, the average adult woman spends 7.4 hours on games per week, and the average adult male spends 7.6 hours, a difference of about 6 minutes. This time investment is the reason that the floors of The Electronic Entertainment Expo (E3) are filled each year with tens of thousands of eager men and women wait-
ing for a preview of their favorite video games. Yet, unlike the stereotype, modern gamers of both sexes were found to spend more than triple that amount of time, 23.4 hours, on other self-improving activities like “exercising or playing sports, volunteer-
ing in the community, religious activities, creative endeavors, cultural activities, and reading”. Furthermore, the modern gamer is very socially active, as a population they regularly attend cultural events like concerts, museums, and theatre with more frequency than the average American. They are a civically minded people, 94% reporting that they keep abreast of current events, and 78% reporting that they vote regularly. NPD also found that our modern gamer is highly creative, with 50% of them regularly involved in activities like “painting, writing, or playing an instrument”. So, the men and women who make up the population of gamers in America are sexually diverse, sophisticated, and creative people. But culturally we still have trepidations about the idea of games, and little understanding of what these games imply about our world and the people who play them.
Gamers are engaged in an activity as old as fire, storytelling. On the most fundamen-
tal level every game is a story, and almost all games played by modern gamers are designed to explore and create a narrative. When you sit down at the Xbox 360 and enter the post-apocalyptic world of Fallout 3, you are not just playing a game. You are entering and experiencing a story where your actions decide the critical outcomes of the tale. The narrative is uniform enough that anyone else who plays the game will have similar experiences, but your stories will be unique, based entirely on your choices. When you compare the highly active role we take on in modern games with the very passive role we have while watching movies, it becomes clear why the popularity of games has outstripped films. The games appeal to people who prefer to be actively and creatively engaged.
For those who are paying attention to the troubles of the world, it is clear that we live in a different kind of world now. We live in a world that challenges us with complex moral issues, economic injustices, and environmental disasters on a planetary scale. It should come as no surprise that new methods of storytelling and metaphor creation should also arise in this time. Games are the way we compile, express, and compute the problems of our world in story. They contain the metaphors that will later explain our greatest fears and aspirations. It is easy to quickly dismiss a person sitting down to play the latest expansion of Magic: The Gathering, but when we extend some analysis to the game, we find its story is metaphorically rich and often more culturally relevant than contemporary lit-
erature. The game places the player in the role of a wizard who controls certain, envi-
ronmentally based, land resources. As the wizard you choose which lands you want to draw energy from in order to defend yourself and attack your enemies, a fair model of our economy. The game is further detailed by a continuous fantasy story created by each new expansion of the card collections. In the latest expansion, The Rise of The Eldrazi, a realm of Lovecraftian monstrosities has come into the world to corrupt and consume the land and all of its life giving energies. These unfathomably power-
ful, faceless, inhuman masses travel across the universe consuming worlds, few can stand against them, but you must try. The sophisticated metaphor of this story is quickly understood if we think of other unfathomably powerful, faceless, inhuman masses in our world, namely multinational corporations like BP and Monsanto that have corrupted large tracts of our life giving land. Then our active role in the games’ metaphor begs the question, can we stand against The Eldrazi on our planet? In our best fantasies we are asking ourselves if we can be heroes in our lives.
It has always been the hope of everyone engaged in the arts that culture would act as an uplifting force upon the people who experience it. Games are a part of our culture and a part of that uplifting force. The popularity of gaming will only increase as gamers grow older, and continue to take on socially active places in our society. As this happens we can expect that the social stigma of gaming will vanish along with the fear many feel about being publicly exposed as a gamer. This isn’t 1980 anymore, let’s move on.
by EJTower
Last time we checked in with our gang of black-clad miscreants, they were knee deep in buttery pancakes and over-cooked sausage links, attempting to fend off the un-
wanted predatory advances of a certain cock rocker, terminally past his prime: Jag-
uar Steve. What frightening horrors from the crypt awaited them this night? Perhaps by analyzing the past they could plan their strategy for the future…
And so, we continued our calorie-laden feast, making sure to adequately fill our quota of hating on barely legal attention whores who seem to migrate to our scene in droves, “as seen on Facebook” gossip, and fashion abominations. Though tonight we made sure to keep one eye on the epicenter of our most recent drama: the table of The UnRockin’ Mummies, the over-the-hill, creepy, ex-hairmetal guys who still seem to think they’re Axl Rose in his heyday, and that they’ve got the hip-shakin’ moves to finesse young, unsuspecting goth girls. Normally, they would have faded into the backdrop of club goers-turned-diner-patrons, but tonight their leopard-clad, drunkard of a leader Jaguar Steve had intoxicatedly harassed us not once, but twice. We had braved the Ratt-shirted gauntlet for now, but it was only a matter of time before some-
one so incredibly tactless would make a(nother) scene. Justine, queen of scoping out style catastrophes, had just gotten through yet another round of describing the Defcon 5-level wardrobe blunders of the night when Cassy interjected with a mouth full of oddly colored meat. “Oh my god, I just recalled this story about that loser Steve, you guys will DIE! I was totally on the verge of spilling it earlier, but then he actually showed up and I had to try my best to keep my food down,” she blurted. “Do you guys remember when I went to that cheesy fetish night Revelations at The Krab Klub (the seafood bar turned after-hours “nightclub”, and the only club with the reek of a grimy fish market)? I only went there to talk to Kellie, the super cute death-
rocker bartender, duh. But, they were doing some nun fetish thing that night. Yeah, fake nuns in cheap latex spanking each other! Awesome!” She paused as we all rolled our eyes. “Anyway, I was at the bar with Kellie, and I remember Steve was there act-
ing a fool, as usual. He came over and tried to flirt with Kellie while he ordered, of course, the cheapest wine they had.” We all chimed in a chorus of “of course”. Cassy continued, “I think he was trying to order something called Red Truck wine, it was like four dollars per bottle or something ridiculous. After he left, I told Kellie that it would be funny if we fucked with him. I made her a bet that if we switched his drinks with non-alcoholic wine instead, he would still act wasted and make a complete ass out of himself. She was really into the idea. It turned out to be such an awesome bet too, because he ordered, like, ten glasses of the crap! He was acting sooo plastered too, slurring when he would order.” Cassy contorted her face into her best imitation of a grizzled, aging alcoholic and slurred “heeey gorgeous, hows about another glass of thaat deeeeeliciiiious Jesus Juice” as she shoved her glass into my face, shaking it fe-
verishly. We decided, conclusively, that he would also have included a bizarrely lewd comment, however none of our brains were pathetic or desperate enough to think of an appropriate one. Cassy resumed, “Ok, ok, so bitches, where was I? Oh yeah… ok so, after ten or so glasses of that fermented vomit, ol’ Jag was looking pretty feisty. They were doing some dumb faux rope bondage thing on the stage, with two or three girls smacking each other with whatever the porn store had on sale earlier that day, and I guess the Jag thought it would be a good idea to run up there and get in on the fun. This dude… I’m fucking serious… just ran up there on stage and knocked one girl over and started slapping another one’s ass. He was sooo proud of himself too, you know, when they nod along, all like �oh yeah I’m so awesome’. So then, I swear to god I’m not making this up, he grabs the mic and yells �Hello Cleveland!!’ and starts humping one of the girls on the stage. He just grabbed this chick, bent her over and started thrusting into her, AND THEN HE STARTED SINGING POISON. I shit you not, this fucking crazy old bastard was belting out fucking cockrock right there while pretending to bang a tied-up nun… and this dude was fucking straight up sober the whole time! The best part was watching the bouncers tackle him and drag him off stage. I think they literally threw him into the back alley by the dumpsters too!” The dark and mysterious ways of goth dictate that we take pleasure in the failures of those lamer than us, and we were upholding this ideology to the fullest. Our table had erupted in laughter, interrupting even the most in-depth analysis of the lyrics of Assemblage 23 by the futurepop guys sitting at the table beside us. We weren’t look-
ing, but the wretched butt of our joke probably even cast an eye upon us after hearing our shrieks. Sadly, neither he nor his cohorts would ever understand that the depths of their own repulsiveness was bringing such detestable joy into our lives (well, the reminiscence and rejecting thereof!). Just then, Justine looked at her watch and gasped. “Wow, I can’t believe how late it is! Cool story Cassy, but I really gotta get home.” The rest of us agreed that we should call it a night, and we made our way toward the register. On the way out we made sure to cast disapproving stares on all the sad saps that were still miserably picking away at their early morning meals. Our last glimpse at the inside of the diner was of the Jaguar, in an effort to exit his booth, clumsily bumping into a waitress who consequently spilled her tray of coffees all over him. Her gruff bark of, “you’re going to have to pay for those, assh-
ole!” followed us out the door. Totally perfect end to the night!
by Vani t y Ki l l s
The fict i onal st ori es and dramas of Ki mmy, t he subcul t ure-
el i t i st, f et i sh-f ashi oni st a, yet sweet l y endeari ng queen of t he got h scene t hat everyone l oves t o hat e.
the cock rock “legend”
august/september 2010 AUXILIARY
Hide your women! Cock rock “legend” Jaguar Steve is on the prowl.
AUXILIARY august/september 2010 gaming : the open secret
While it was a big change and a difficult start, it has also been an amazing journey. Much of this may not have happened if I had not made the move to Denver. I have to ask, why are you so fierce and fantastic?
[smiles] You just put a smile in my face, thank you! I take a lot of pride in what I do, but the most important thing is I never forget where I came from. I come from having no resources to making costumes or spending money in my looks! All you need is a great imagination and be as creative as possible. Never let anyone tell you �you wont make it’, and never let anyone tell you �that’s not the right way to do it’. I’m not talking about not accepting constructive critism, but my point is to �never let anyone bring you down’. I say, always follow your heart and be proud of who you are at all times. This kind of attitude will always reflect on your performances and on your work!
Anything you’d like to say to our readers?
You can keep up with me by going to Also check out the new reality series, DRAG U a spin off from RuPaul Drag Race in which some of the previous contestants, me included are DRAG Profesors to some ordinary women wanting to show off their fabulousness and fierceness through the art of drag. On the music front, look up my latest release and my first EP, Start your Engines with various music mixes done in collaboration with international DJ/producer William Umana. I also had previously released single, “LOCA” done in collaboration with international DJ/producer RANNY, available on iTunes and Thank you for all the love and support. Believe me!! There’s much more to come.
Auxiliary Magazine Presents
Nina’s face is fabulous! What makeup tips can we “drag” out of you?
Have patience, and it’s all about the tools! Meaning the brushes LOCAS!
You really stand out from the crowd, being a heavily tattooed female imperson-
ator, have you ever received any negative feedback about your tattoos?
That was more in my early days as a drag queen and performer when I started with my first tattoo, since then, no complaints.
You were my personal favorite on Season 1 of Rupaul’s Drag Race! Can you share any personal highlights of being on the show?
A highlight for me and one of my fondest memories is RuPaul’s acknowledgement of my contribution to the show and my art in drag. You’re an accomplished club DJ with a new EP coming out with William Umana on July 15th. Any plans on touring to support the new Start Your Engines EP?
I’m proud to say my touring is ongoing, so like I did with “LOCA”, my first single, I will be using the EP mixes within my performance as a way to promote it.
What is the biggest fulfilment you get out of being such a positive role model in the gay and lesbian community?
The thought that I inspire others, I truly do this for the fans. What were your experiences coming from the Latin drag community of Puerto Rico and moving to the Denver, Colorado drag scene?
Hailing from the island of Puerto Rico, Nina Flowers (Jorge Flores) has been a figure of flamboyant female impersonation since the age of 19. To Nina Flowers, makeup creates a character with a unique and iconic persona. Nina Flowers is perhaps best known as the recent finalist on RuPaul’s show Drag Race. A DJ and musician, Nina Flowers’ individual interpretation of the art of drag has graced cities across North America, Mexico, and Puerto Rico.
name : Jorge L. Flores Sanchez
nickname : Jorgito
birthday : Feburary 22, 1974
birthplace : Bayamon, Puerto Rico
eye color : Hazel
hair color : If you can see it, because I keep it shaved... brown.
turn-ons : Confidence
turn-offs : Someone that whines, complains, and has nothing positive to say. why do you model? : I love showing my fierceness in front of a camera lens!
how did you get into modeling? : My sister passed me the bug. She was a model herself in her early years and I admired her, and her lifestyle.
favorite musical artist : Ahhh! I have so many. I’ll pick what’s now my playing in my car right now, The Pet Shop Boys.
favorite tv show : Does cable count? Spatacus: Blood and Sand.
favorite book : La Maestria del Amor by Don Miquel Ruiz.
favorite cocktail : “Sex on the Beach”, though with Absolut Mango and Passion Fruit Malibu Rum. At TRACKS night club they now call it the “Nina Flowers”.
favorite color : Every color in the spectrum.
favorite article of clothing : Corsets and many of my stiletto boots.
favorite fashion designer : I love fashion designers like Thierry Mugler, Jean-Paul Gaultier, Gianni Versace, John Galliano to name a few. As for a personal shout out to my home town fashion designers from Puerto Rico, I have some of my more detailed outfits coming from Andres Gonzalez who now lives in NYC, and Javier Amaldo Santiago living in San Juan, Puerto Rico.
favorite fashion style : Avant-garde
favorite star/icon : Nina Hagen
favorite outdoor activity : My hubby Antonio introduced me to rafting. I’ve only done some 3s, and now I’m ready to go to some 4s and 5s.
favorite indoor activity : Cuddling with my hubby and watching a movie.
favorite club/club night/place to go out : TRACKS night club, one of night clubs that I’m also a resident DJ, and the place that has much happening in the GLBT scene.
photographer Norman Di l l on
makeup, hai r, styl i ng, and model Ni na Fl owers
i ntervi ew by Meagan Hendri ckson
t he Pi nUp
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! NINA FLOWERS
It’s been four years since your last studio album Devour, Rise, and Take Flight, why the long break?
Shikhee: I was really burnt out for a while. During the latter part of writing for De-
vour, I was having problems with my label and I was also juggling a day job and music. While mixing Devour it got particularly bad. I was coming home from my job around 9 or 10, and then mixing til 2 or 3, only to get back up and get to work at 9 again. This went on for a couple of months. I was barely sleeping and losing weight like mad. It was a very trying period and one that really tainted Android Lust for a while. It took until late 2007 to get back to writing. I never want to let it get that bad again.
Your new album, The Human Animal, has a more organic and complex feel than previous albums such as The Dividing which seemed more simple yet epic. What influenced the move in this direction?
S: I suppose playing with a full live band for a couple of years, and also going back to my rock n roll roots. I was also tired of working alone in the studio all the time. It wasn’t exciting anymore. I wasn’t going to grow as a writer if I kept doing what I already knew and was comfortable with. I was playing with these incredible musi-
cians and I wanted to bring that in. So I started writing parts that I could never play, and also producing with an ear for sounds that was outside of what was familiar. Also, I tried to sonically bring my world in my music. Not just in themes and lyrics, but the sounds I hear everyday around the city. I got a portable recorder and just collected sounds, whatever appealed to me. A lot of that made it to the record as rhythmic or melodic elements.
What were some of the benefits and some of the struggles in recording this al-
bum in collaboration with your live band?
S: The main struggle was learning to live with demo tracks for a long period. It may sound strange but I had always written and produced at the same time, so sitting with placeholder bass or guitar tracks were maddening at first. It made me feel like I was not making any progress. That was something I had to get used [to]. Like I was saying before, advantages to me were being able to bring the musicians in and have them play parts that I could never play or program quite that way. A completely new sonic palette for me.
Could you introduce us to the live band that contributed to this album and that we’ll be seeing perform for the upcoming tour? Who is involved in Android Lust now, what are their backgrounds, and how did they contribute to the album?
S: The members of my live band come from all difference backgrounds. For the upcoming tour we will be a five piece - drums, guitar, bass, synths, and myself on vocals.
Christopher Jon mixed this record, and also did most of the modular synth work. He and I have known each other and worked together for over 10 years. We met back when we were starting out in the New York scene, me as Android Lust and Chris with his project I, Parasite. We met when I was on WFDU promoting an upcoming show and he called up the radio station to network. He will be joining us live on synths.
Bret Calder’s originally a reggae bass player. I met him back in 2005 when I was looking to bring in a live bass player on tour. He played bass on four tracks on the record. He is also the bassist for I, Parasite. Besides IP, he has his solo glitchy ambient instrumental project Rhona.
James Light was recommended by a friend when I was looking for a new guitar player in 2007. I hadn’t really heard much of his playing before, and wasn’t sure how he’d be. He turned out to be an incredible guitar player, and perfect for AL. He has a melodic post metal project Gareth, and he’s working on recording his first release. He played guitar on four tracks on the record.
Steve Kefalas answered my ad on craigslist for a drummer in 2008, when we were looking for a new drummer to tour with. He does session work, and also played with R&B artists Sonny Boy and Melissa Providence. He just completed a three-month drum clinic in LA and now is even more badass than before.
How have you been preparing for the upcoming tour?
S: I am so behind on tour preparations. We’re going to start with three weeks of intense rehearsals before we hit the road. The album release has been taking up most of my time so far. Being a one person operation I am doing everything from order-
ing supplies, picking up supplies, packing, addressing labels, talking to distributors, programming live tracks, promoting, you get the idea. But we’re just about ready to switch gears now.
What do you have in store both visually and musically for this tour?
S: We’ll be focusing on the new record primarily, so there’ll be a lot of new material. Also, adding a fifth person means I have a dedicated synth and guitar player now, which a combined role previously.
Chris is going to be bring his modular synth that he’s building himself, and instead of keyboards, he’ll be playing it with a Snyderphonics Manta, which looks like a Romulan bridge. He’ll be switching between playing regular keys, his modular, and flying in my vocals or other live sounds and processing them on the fly. It’s going be wicked. We’ve not done stuff like that live before.
Android Lust is the singular vision of Bangladeshi born and New York City resident Shikhee, and draws elements from a variety of musical and artistic influences to create a sophisticated industrial rock sound. Experiencing mainstream success with international airplay of the video for “Stained” from 2003’s The Dividing and with the inclusion of “Hole Solution” from 2006’s Devour, Rise, and Take Flight on CBS’ NCIS soundtrack, Android Lust is back after a four year break. Stronger than ever, the new album The Human Animal sees Shikhee recording and writing for the first time with a full band, and together they kick off their US tour August 12th.
interview by Mike Kieffer and Jennifer Link
photographer Ron Dougl as
august/september 2010 AUXILIARYAUXILIARY august/september 2010 I also have been wanting to incorporate interactive video, but I am not sure at this point if we’ll actually have the time.
Is there a particular tour date that you are looking forward to?
S: I am looking forward to going back to LA. We’ve always enjoyed playing there. Also, playing our home show in New York. It will be weird to do it in the middle of the tour.
You currently live in New York, a city with an endless list of things to offer, how do you spend your free time?
S: I am pretty much a loner and a workaholic. When I do have free time, I usually try to take really long walks through Manhattan, especially in the summer. I love walking all the way uptown from Chinatown. Watch the neighborhoods and the vibe change. I also enjoy the museums. I am not much of a drinker, so I don’t really go out to bars and such.
What sparked the creation of your own label, Synthellec Music?
S: My contract with Projekt came to an end. I didn’t feel the need to sign with anyone unless a label could offer me more than what I can do myself. So I decided to go at it alone. I seem to do a lot of that in my life.
It seems you approach Android Lust in the same manner as a studio art prac-
tice, like a painter would approach a canvas. What from you background might have caused this?
S: I don’t know if any one thing necessarily would cause that. I just try to take in the whole picture. I’ve been on my own pretty much since I was 15 off an on, and I guess it forced me to evaluate situations from all aspects. Maybe that has something to do with it.
For this album you traveled the subways of New York City seeking rhythms, sounds, and inspiration, is there a specific subway trip that translated directly into the album?
S: I had been wanting to capture environmental sounds for a while, but it was only after listening to Amon Tobin’s Foley Room that made me really take initiative. All of the non-drum rhythmic elements on “A New Heaven” came from subway rides. I don’t remember which ride though. The beginning of “A New Heaven” is me and a bunch of people talking at a crowded cafe we used to go to often. I filtered the sounds so you can’t quite make out what we’re saying. There’s also tons of other sounds from all over the place. A lot of that also gave the album its organic feel.
How has your background of growing up in Bangladesh influenced your music? And would do you say that you consciously let it inform your music or it inevi-
tably does?
S: I lived apart from my family at an early age. I went to a convent in Wales for a bit, and then to another school in England before coming to the US to go to college. It was not very common for a Bengali girl to be out on her own in another country, but I had liberal parents who were fine with me being away, specially since the political climate in Bangladesh was unstable. I feel some of the independence and sense of loneliness in my music may come from that. Although I am not consciously aware of its influence, I assume it’s there.
Android Lust has a very distinct visual aesthetic, if you had to, how would you describe it in words?
S: Alien, visceral, exotic, sexual.
Is a music video for a track on The Human Animal in the works?
S: We’ve been talking about doing one but nothing concrete yet.
It may seem taboo to bring this up, but can you share some of your thoughts or experiences with being a female musician in a predominately male scene?
S: I don’t know what the difference would be if I were male obviously. The most obvious thing I notice is when we’re touring. I see a lot of sound guys look to other members of the band to help them with setup questions and such. It used to bother me, I guess I felt I had to prove something back then. It doesn’t anymore. It just shows where they’re coming from. It has nothing to do with me.
Any plans for a remix album? If so is there a specific artist you’d like to have remix a track?
S: A few people have expressed interest in doing remixes, so I may do one. I am also thinking about doing a remix contest. But right now my focus is on touring and I’ll worry about everything else later!
“ I was tired of working alone in the studio all the time. It wasn’t exciting anymore. I wasn’t going to grow as a writer if I kept doing what I already knew and was comfortable with. I was playing with these incredible musicians [live] and I wanted to bring [them] in. ”
AUXILIARY august/september 2010 Charlottesville, Virginia is a city that seems to be teeming with creative art-
forward individuals such as yourself. Could you describe the impact of artistic culture on the city of Charlottesville? How has it affected you as an artist and writer? Andy Deane: My family had the first big impact on me. Everyone on my Mom’s side is inclined toward music, so it was natural for me to start singing at a young age. Charlottesville embraced Bella Morte when we started playing shows in town. Our first gigs were in the basement of a Sushi restaurant called Tokyo Rose, and some of my best memories of the band still dwell in that tiny cellar of a club. We eventually started a weekly goth night there which attracted all walks of life. And that’s one of the best things about C’ville, the fact that different scenes support one another more so than in most other places we’ve toured. That openness is one reason that Bella Morte has incorporated so many different styles over the years. Many long time fans of your band Bella Morte may not by now be aware of your work as a writer. What influences have led you to who you are as a writer today? AD: Odd as it may sound, movies are a bigger influence on how I write than fel-
low authors. I see the story I’m creating as scenes in a film as I’m writing. It keeps me from dwelling too much on insignificant details. Don’t get me wrong, I read all the time, and I’m sure you can see hints of Richard Matheson, Joe Lansdale, Clive Barker, Robert Howard, and a million others in my style, but I want my writing to be my own. What came first, the stories or the music? AD: I’ve been singing my whole life, and have been making up stories just as long. Now, if we’re talking professionally, music came first. I started a band in high school and never stopped, and don’t think I ever will. Writing came as a result of having a laptop and a load of free time while traveling from city to city with Bella Morte. After finishing my first novel, I scored a publishing deal with Delirium Books, and I haven’t stopped writing since. The lines between writing and making music often blur, as many of my song lyrics tell a story. Arranging any piece of writing, such as a novel like your initial release The Sticks takes a LOT of work even after the writing is completed. How do you find the time for marketing, publishing, etc. How do you make time for this when you already have a busy music career? AD: Staying busy, in my opinion, is a good thing. I enjoy writing music and books, and for the most part enjoy all the stuff that comes with it. I have days, like anyone, where I feel completely overwhelmed. But it’s a matter of taking a deep breath and making a list of what I need to get done. I get a lot of help from friends as well, whether that be my friends reading a few of my chapters and giving opinions or spending a few mindless hours shooting each other on Xbox Live. But not doing what you love because it’s hard work just seems foolish to me. While the horror genre is certainly a strong influence on your work as an author and songwriter, have you ever considered writing anything that steps outside of horror such as sci-fi or fantasy? AD: I have, and I suspect I will at some point. But right now, most of the stories rat-
tling around in my head are horror. It’s the genre I love most and have since I was a LI FESTYLE
ki d. I’d l i ke t o get i nvol ved i n fil m some t i me down t he road, and maybe make some-
t hi ng as t i mel ess as John Carpent er ’s Hal l oween i f t he st ars al i gn properl y. What i s the scari est thi ng that has ever happened to you i n your own l i fe? AD: Scary can mean a l ot of di fferent t hi ngs. Seei ng a morbi dl y obese man nude (asi de from hi s sneakers) covered from head t o t oe i n feces i n a Wendy’s bat hroom was bot h horri fyi ng and hi l ari ous al l at once! It ’s a l ong st ory t hat I st i l l don’t ful l y underst and. [gri ns] When I was a ki d, I recal l my Granddad t aki ng me and my cous-
i ns out t o t he cornfiel d i n t he mi ddl e of t he ni ght and t el l i ng us ghost st ori es �t i l we were wi de-eyed and ready t o bol t. He t hen cl i cked off t he l i ght and made hi s way back t o t he house and l eft us i n t he dark t o fend for oursel ves. It was t erri fyi ng and hi l ari ous al l at once. As scary as i t was, we’d al ways go back for more. We l oved hi s st ori es and t he shi vers t hey gave us. He di ed several years ago, and l osi ng a l oved one i s t he scari est t hi ng of al l. Most everyone experi ences t hat at one t i me or anot her. Earl i er i n your career you had appeared on the Montel Wi l l i ams show di scuss-
i ng the percepti ons of the goth cul ture i n mai nstream medi a and soci ety. Do you thi nk the vi ews on subcul ture have changed si nce then? Has i t changed for the better? AD: I do t hi nk t hat exi st i ng i n a subcul t ure i s much easi er now t han ever before. Many, defini t el y not al l, peopl e seem more open mi nded about l i fest yl es now t han t hey di d t went y years ago. You see so much got hi c i nfluence i n t he mai nst ream now. Ent ert ai ners l i ke Madonna and Lady Gaga have i ncorporat ed got h i n t hei r st yl e and sound over t he years. Now grant ed, t hey’re bot h pop art i st s whose musi c i s made t o appeal t o a wi der audi ence, so t he subcul t ure el ement s i n what t hey are doi ng get s wat ered down, but i t ’s t here nonet hel ess. What does “al ternati ve” mean to you and how does i t i mpact your wri ti ng as wel l as your personal l i fe? AD: Al t ernat i ve i s what you are ri ght up �t i l you get vast l y ri ch and famous. It doesn’t have much i mpact on me at al l, as I j ust wri t e what I l i ke wi t hout any t hought t oward what genre my work wi l l fal l under i n t he eyes of ot hers. I’ve al ways bel i eved t hat you have t o make musi c for yoursel f first. Gi vi ng a fuck about what a st ranger t hi nks of i t i s a wast e of t i me. Cri t i cs are a di me a dozen, and ni net y ni ne percent of t hem wi l l never creat e a wort hwhi l e pi ece of art i n t hei r l i ves. Compl ai ni ng i s easy, maki ng somet hi ng wort h compl ai ni ng about i s not. Do you have any advi ce for the aspi ri ng wri ters out there? AD: St i ck t o your guns and l ove what you do! If you st art a band, make sure you do i t wi t h peopl e you care about, because you l i kel y wi l l not be t he next bi g t hi ng. But Andy Deane i s per haps best known f or hi s f oundi ng r ol e i n t he now i nt er nat i onal l y popul ar got h- rock hybr i di zed al t er nat i ve musi c act Bel l a Mort e. Si nce t our i ng mul t i pl e ci t i es acr oss bot h Nor t h Amer i ca and Eur ope, and gr owi ng an ever di ver se f anbase, Andy Deane has t r anscended hi s uni que hor r or st yl e of wr i t i ng f r om t he musi c wor l d i nt o t hat of publ i shed horror aut hor. Hi s l at e novel The St i cks has seen unpr ecedent ed success and wi t h bot h a novel l a and upcomi ng sophomor e novel r el ease i n t he wor ks Andy Deane’ s aut hor i al accompl i shment s cont i nue t o gr ow. august/sept ember 2010 AUXI LI ARY37
“ I n t he end, we’ re j ust l ef t wi t h our memori es, so make sure t hey’ re as good as t hey can be. ”
Andy Deane
photographs and i ntervi ew by Zach Rose
AUXILIARY august/september 2010 if you enjoy the journey every step of the way and create music that you love, you will have achieved something great. In the end, we’re just left with our memories, so make sure they’re as good as they can be. To aspiring writers, DON’T READ RE-
VIEWS of your work! Writing a book is most often a solo effort, and hearing some dick blogging about what he could have done better is a real downer. Get opinions from people whose opinions matter to you and go from there. Oh, and be careful when sign-
ing contracts with record labels and publishers. My experiences have been good on both counts, but I’ve heard many horror sto-
ries about bad deals. What’s next for Andy Deane? AD: Taco Bell. After that, Bella Morte is recording a new album and I have a horror novel coming out this fall on Thunderstorm Books called All the Darkness in the World. Also, my first solo release as a musician is going to drop this summer, and I couldn’t be more excited. The project is called The Rain Within, and you can expect my album, Pain Management, soon! Every copy that sells will fund another trip to Taco Bell. On top of all that, I’m doing a yet to be titled music project with Gopal Metro, the other founding member of Bella Morte. It’s gonna rock. LI FESTYLE
“ Charl ot t esvi l l e embraced Bel l a Mort e when we f i rst st art ed pl ayi ng shows i n t own. Our f i rst gi gs were i n t he basement of a sushi rest aurant cal l ed Tokyo Rose, and some of my best memori es of t he band st i l l dwel l i n t hat t i ny cel l ar of a cl ub. ”
SAM - Brai nwasher
rel eased by ProNoi ze on 9 Jul y 2010
genre : TBM
SAM i s back wi t h t hei r t hi rd al bum Brai nwasher. If you have heard SAM before you know what t o ex-
pect, i f you haven’t t hen be prepared for hi gh energy, smash your face TBM. SAM’s musi c i s i nt ended for t he cl ubs and i t doesn’t t ry and di sgui se i t sel f. Li st en-
i ng t o t he al bum i n t he comfort of your l i vi ng room won’t fly, you wi l l ei t her find t he musi c st al e by t rack si x or you wi l l be bounci ng around wi t h t oo much energy forci ng you t o get off your ass. There i s a pl et hora of good t racks, find your favori t e and force your l ocal DJ t o pl ay i t. Thi s al bum deserves t o have i t s songs pl ayed l oud and not j ust t he popul ar ones, l i ke “Bul l Fucki ng Shi t ”. 7/10 - MK
qui ck pi cks
Memmaker - How To Enl i st I n A Robot Upri si ng
rel eased by Art t ofact Records 25 May 2010
genre : rhyt hmi c noi se
Ori gi nal l y rel eased back i n January 2008 on defunct Hi ve Records, t hi s rel ease sl i pped past one t oo many peopl e’s radar. Thankful l y Art t ofact Records pi cked t hi s up and re-rel eased i t as a del uxe 2CD edi t i on, fea-
t uri ng 10 remi xes by some powerhouses i n t he scene. The al bum seri ousl y ki cks some ass wi t h i t s hard-hi t-
t i ng bass l i nes, di st ort ed mel odi es, screechi ng synt hs, and fun sampl es. Whi l e t hi s i s i nt ended for t he dance floor t here are not j ust a few hi t s and t hen fil l er, t he al bum i s qui t e enj oyabl e al l t he way t hrough and i t ’s hard t o pi ck a favori t e t rack. Buy i t and bl ast i t on a Sunday morni ng aft er your nei ghbor j ust fini shed cut -
t i ng hi s l awn. You’l l enj oy i t, he won’t. 8/10 - MK
Orange Sector - Kri eg & Fri eden
rel eased by Met ropol i s on 13 Jul y 2010
genre : EBM, el ect ro i ndust ri al
Orange Sect or are on t hei r ei ght h al bum and si xt eent h year, even wi t h t he t i me t hey t ook off i n t he mi ddl e peri od of t hei r career I’d say t hat ’s a pret t y good body of work. Kri eg & Fri eden i s essent i al l y a 90s st yl e EBM record wi t h l ot s of angry soundi ng German and some (defini t el y) angry Engl i sh l yri cs. The t en t racks and t wo remi xes are ri ch wi t h EBM rhyt hm and el ec-
t ro synt hs, t he t empo of t he t racks vari es a l i t t l e bi t but t hey’re al l aggressi ve i n t hei r own way. Thi s feel s a l i t t l e nost al gi c but not dat ed. If you’ve been crav-
i ng an ol der el ect ro sound t han t hi s shoul d fit t he bi l l. 6/10 - AA
Moby - Wai t For Me Remi xes!
rel eased by Mut e on 18 May 2010
genre : t echno, mi ni mal, house, progressi ve
Thi s i s a remi x compani on for Moby’s 2009 Wai t For Me. It ’s a mi xed bag wi t h several st yl es and some bi g name cont ri but ors. A cool compani on websi t e exi st s for t hi s (www.wai t formeremi where you can l i st en t o t he remi xes, a few not on t he CD, and read what each cont ri but or has t o say about t he work he di d and Moby’s musi c. I al ways l i ke get t i ng more i nsi ght i nt o t he musi c I l i st en t o. Remi xers i ncl ude Carl Cox, Ti est o, Lai dback Luke, and Laurent Wol f. The source mat eri al i s downt empo and a l i t t l e mel anchol y, many of t he remi xes carry t hat feel i ng on i n t hei r soul s de-
spi t e t hei r new dance floor ski ns. 6/10 - AA
- Update 3.0
rel eased by ProNoi ze on 9 Jul y 2010
genre : i ndust ri al rave
Here comes t he drums, bass, drugs and noi se. Indus-
t ri al rave l egends [X]-Rx’s t hi rd i nst al l ment, Updat e 3.0, fol l ows t he pat t ern l ai d out on t hei r previ ous re-
l eases. Bri ngi ng t he ragi ng synt hs, sl ammi ng beat s, and wel l t i med sampl es t hat wi l l provi de t he peak hour floor fil l er t hat i s necessary t o an epi c good t i me. Al t hough t he genre has an anat hemat i c response i n some, much l i ke happy hardcore or UK hardhouse of years past, i t does have a home and [X]-Rx i s i t s head of househol d. Updat e 3.0 wi l l provi de more t han enough t racks for DJ’s t o ret ool and keep t he ki ds happy. 7/10 - MK
Ankl ebi t er
- I Wi l l Wai t
rel eased by Tympani k on 29 June 2010
genre : IDM, ambi ent
Tanner Vol z has creat ed an al bum of feel i ngs t hat ki ck around i n your head and somet i mes are di sgui sed as noi se, st at i c or harsh beat s. They are real l y found i n t he qui et mel odi es t hat flut t er around hi s songs. These mel odi es are un-i nt rusi ve but are t he most i mport ant t hi ng i n t he musi c as t hey t ug at your heart st ri ngs maki ng you feel l i ke t hi ngs j ust aren’t qui t e ri ght i n t he worl d. Poi nt s for maki ng me feel somet hi ng deep i nsi de t hat was subt l y di squi et i ng, i t real l y di d bri ng me down on a rai ny aft ernoon. I t hi nk I was pi cki ng up what he was put t i ng down. 7/10 - AA
AUXI LI ARY august/sept ember 2010 38
august/sept ember 2010 AUXI LI ARY
Boston’s queen of techno, Ariana Paoletti aka Volvox is known best for her artistic and experimental parties and deep, crate-digging knowledge of dark electronic music. Combining classic, muscular EBM sounds with new cosmic synth cuts from the techno-house realm, her DJ sets reference her industrial background while firmly remaining on the cutting edge of new dance music. Holding down two highly successful residencies a month and numerous guest gigs, her unique style has taken her from all-night basement ragers to a recent opening set in front of thousands at the House of Blues.
dj tracks
“House of Hell (Kiko Remix)” [2006] Alexander Kowalski Featuring a snappy step-kick beat and sampling Nitzer Ebb’s “Shame”, the ominous vocals in this track warn revelers about the ultimate consequences of over-consump-
“Black Palms” [2007] Fetisch &Me Dance fury is the name of the game on this B-side track, boasting a killer EBM bassline fused with chic European percussion. Released on DJ Hell’s International Deejay Gigolos imprint.
“Bite the Bullet” [2010] Motor
Electro-maximalists Motor have a new album this year out on L.A.-based Dim Mak Records. Power electronics are at their best here in a track that’s massive enough to fill any concrete dance palace!
“This Is Acid” [1988] Maurice
A seminal dance classic from the Chicago house school, this track gets right to the heart of that raw and sexy nighttime feel. Antsy synths and a twisting acid line per-
fectly compliment the hushed male vocals. “Viscous” [2010] Marcel Dettmann Marcel Dettmann is the poster child of the current industrial-techno movement flow-
ing out of Berlin. His thunderous 7+-hour sets at the Berghain club in Kreutzberg draw thousands from across Europe every month. “Variance 4 (Regis Edit)” [2009] Function
Spaced out steel drum hits roll in a mire of reverbed drums floating in an endless depth. A solid release from conceptual Berlin label Sandwell District.
music reviews
“Elimination 2” [1992] Underground Resistance Militaristic futurism brought to you by Detroit’s most politically active techno clan. Recorded nearly 20 years ago, the unique vision behind this track paints a perfect picture of blighted earth.
“Burning Down (London’s Burning)” [2003] Tiga
Tiga should need no introduction, and in this moody track we hear him filtered through a radio effect that recalls early releases by Apoptgyma Berzerk. A perfect track for swishing around.
“Earthquake” [2005] Ben Klock Ben Klock is another Berghain resident that’s built his reputation performing mara-
thon DJ sets. Throaty sampled breath and icy synths hover over a rumbling bass presence that will literally rattle dance floors.
“Haunted” [2010] The Hacker Although it seems like The Hacker has been quiet for the last 10 years, he has in fact been busy touring the world with Miss Kittin, the same partner with which he record-
ed 1998’s influential hit Champagne EP. Here we see the Hacker once again flexing his chops to remind us of what electro was about before all that neon got involved.
music reviews
dj tracks
Niveau Zero - In_Sect
released by Ad Noiseam on 20 May 2010
data : 1st album . 23 tracks . 46:03 run time .
reviewed by : Aaron Andrews
genre : dubstep, breaks
Parisian Niveau Zero’s informed understand-
ing of the backbone of music comes from start-
ing off as the bass player in several bands and has gained him acclaim and a win for the best electronic newcomer award at the Printemps De Bourges festival in 2008. In_Sect is his debut album and adding to the singles he’s already put out, he’s off to a very strong start. This is the kind of dubstep that at no point becomes boring or repetitive. The songs are care-
fully built to be listened to as is and aren’t dependent on being part of a larger DJ set. Niveau Zero gets that music shouldn’t be just about making the bass so rich that it churns and shakes the listener’s insides. His bass does that, but more importantly the song writing is thoughtfully laid out in a way that’s more busy and engaging than the average dubstep record. There are excellent interludes, great drops and careful use of time changes to make sure this is anything but usual. The sounds employed, both in the low and high ends, are unsettling and the dark and brooding moodiness of the release is unique. Language is an essential piece to the personality and individuality of In_Sect. Two songs are helmed by a talented cast of MCs, Fake Mc, and Plan Nine on one and Ben Sharpa and Ill Smith on the other. Most striking to me was the mood and attitude really getting punched up by the heavy spoken word film samples which are so very reminiscent of the golden age of industrial music. In_Sect is a return to the freshness that was so great about dubstep as it was first crawling into the light of day. Niveau Zero is imaginative and his influences seem to come from everywhere to be distilled down into this excellent release.
recommended tracks : In_Sect, Icon, First (feat. The Unik), Revolution HXC (feat. Real Fake MC & Plan Nine)
if you like you may like : Moderat, Atari Teenage Riot, Download
grade : overall 9 - music 9 - lyrics 7 - recording quality 9
School Of Seven Bells - Disconnect From Desire
released by Vagrant/Ghostly International on 13 July 2010
data : 2nd album . 10 tracks . 50:11 run time .
reviewed by : Eric Kendall
genre : dream-pop/shoegaze/electronic
Two words can describe a song by School of Seven Bells: alluring and seductive. A problem with dabbling with dream-pop and shoegaze is that it’s really easy to come off as cold and de-
tached. While Disconnect From Desire is chalk full of icy New Order-esque programmed beats and chilly atmospherics courtesy of ex-Secret Machine Ben Curtis, the element of warmth is never lost thanks to the near perfect dual delivery of twin vocalists Claudia and Ale-
jandra Dehaza. While their last outing Alpinisms set a new high water mark for how modern-day shoegaze should sound, Disconnect from Desire expands on their squall-
ing and reverberated backdrops with a greater sense of patience and pop-oriented songwriting. This scaling back actually emphasizes how powerful they are capable of being. Even at their most sparse of moments a sense of confidence bleeds through, as if they have no delusions about what they want to accomplish musically. The opening track, “Windstorm” should be a strong contender for best track of the year on ANY-
BODY’S list. The looped and effected vocals lay down an infectious melody which We Love - We Love
released by BPitch Control on 13 September 2010
data : 1st album . 10 tracks . 44:38 run time .
reviewed by : Mike Kieffer
genre : electro pop
We love We Love’s We Love. The creative minds of Giorgia Angiuli and Piero Fragola have cre-
ated an album that will make your heart tickle with excitement. The album consists of steady beats, intricate clicks and beeps, the occasional guitar, and full of laid-back grooves. The songs either have the serene vocals of Piero or the smoothness of Giorgina’s voice and most of the time it’s a pairing of both interweaving their talents to a captivating outcome. The songs are generally about intimate love, and surprise. While lyrically they won’t win any awards but that’s not the point. Phrases are repeated over and over like on “Don’t Cross”, “don’t cross the yellow line,” is repeated or on “Ice Lips”, “give me the salt of your skin,” this might sound annoying but it is really effective in setting a mood and amplifying the dramatic progressions of the music. Vocals are used like simply another instrument, as either additional rhythms or tones. They are infectious and will get stuck in your head, but in a good way, making you want to go back for more. The album invokes feelings of blissfulness and tranquility almost like there is nothing wrong with the world, you definitely get lost in this album. We Love don’t stop at their music. Their live shows have the pair in futuristic black and white armor with visor helmets and have art visuals dancing behind. I am willing to guess that the online videos don’t do this justice and that it is a sight to be seen. I suggest that if you are into electronic music you treat yourself to We Love.
recommended tracks : Hide Me, Underwater, Escape Destination
if you like you may like : The Knife, Ellen Allien
grade : overall 9 - music 9 - lyrics 7 - recording quality 10
bleeds into dual harmonies by the Dehaza sisters. This combined with the simple two chord guitar strumming and almost clubby drum sequencing turn this song into a perfect example of the art of crescendo within song. “Heart is Strange” keeps this energy going with its grainy synths and almost eastern sounding sitar sounds buried deep in the mix. The apparent celtic-style vocals give this track an almost new-age vibe but luckily the electronic flourishes and driving drums never let it go too far in that direction. “The Wait” is a 6 and a half minute long vocal showcase backed by near ambience complimented by crystal clear guitar plucks and enough texture to please any Eno fan. Too often, sub-genres like shoegaze can seem time-trapped in the past. Luckily, groups like SOSB come along once in a while to remind us that it also has a future.
recommended tracks : Windstorm, Heart Is Strange, ILU, Babelonia, The Wait
if you like you may like : Cocteau Twins, Depeche Mode, Ride, My Bloody Val-
grade : overall 8 - music 9 - lyrics 8 - recording quality 9
!!! - Strange Weather, Isn’t It?
released by Warp on 24 August 2010
data : 4th album . 9 tracks . 40:44 run time . reviewed by : Paul Morin
genre : indie, dance
Fueled by line-up changes and the tragic death of drummer Jerry Fuchs, !!! (pronounced “chk chk chk”) retreated to Berlin to record their fourth album. The city is notorious for its abil-
ity to reinvent and rejuvenate musicians’ careers (see also: David Bowie, Iggy Pop), but !!! aren’t exactly the type of band you would associate with Berlin’s dark aesthetic. The results, some-
times good, sometimes not so good, are also a bit difficult to sort out. While the rhythm section has never been more solid, spitting out grooves a la Chic meets the Happy Mondays, and the addition of Shannon Funchess’ soulful vocals take the helm of the ship to new levels, the pieces somehow don’t quite fit together. While songs like “The Most Certain Sure” and “Jamie, My Intentions Are Bass” contain their familiar punk and funk, and tracks like “Jump Back” and “Hollow” successfully ex-
periment with an Iggy Pop meets Depeche Mode feel (the latter also bears a strange similarity to Nine Inch Nail’s “Get Down Make Love”), the overall result fragments the songs into their own strange orbits that seem to have little to do with what had just come before. That isn’t to say there aren’t great moments on the record, there are. And that isn’t to say there isn’t a lot of potential here, there is. But there isn’t anything as fully realized as the sound they achieved on previous outings (admittedly it’s a lot to live up to). Thankfully, closing number “The Hammer” brings all of the elements together and melts them into a pool of disco, house, and bad attitude. Here’s hoping the newly inspired band takes what they’ve learned, use it as kindling on tour, and return to the studio on fire again.
recommended tracks : Even Judas Gave Jesus a Kiss, The Most Certain Sure
if you like you may like : Happy Mondays, LCD Soundsystem, The Faint
grade : overall 6 - music 7 - lyrics 6 - recording quality 10
AUXILIARY august/september 2010 august/september 2010 AUXILIARY
The term mod came from the term mod-
ernist which referred to fans and musi-
cians of modern jazz music. Since the mods did everything with utmost style, they were often referred to as “dandies” who lived with an attitude of spending their paychecks on fashion before food. This existentialistic ideal came from the British mod subculture, who were often seen as snobbish and narcissistic with their tailor-made suits, decadently decorated scooters, and super pointy winklepicker shoes. All though mods are often portrayed as men, female mods joined their male counterparts in adding to the consumerism of the 1960s. Women in the mod culture of-
ten adorned themselves androgynously in mens fashions such as trousers, dress shirts, and short hair styles, or raised moral eyebrows by wearing barely-
there mini skirts. While women were emulating masculine fashions, the males could be seen wearing lipstick, eyeliner, and eyeshadow, as mods often didn’t bow to the traditional roles of masculinity. Wanna know more about the mod subculture? Check out www. styled and written by Meagan Hendrickson
august/september 2010 AUXILIARY
1 Vintage Striped Neck Scarf by Vera
2 Geometric Vintage Acrylic Beaded Necklace 3 Claudette Dress by EC Star
4 Love Mod Asymmetrical Jacket by Steady
5 Sunshine Mini Boatneck Dress by Tulle provided by Cats Like Us
6 Candy-Dot Style Vintage Purse
7 Trudy Houndstooth Pants by EC Star provided by Cats Like Us
8 Bakelite Vintage Bracelet in Black and White Design
9 Clear and Black Acrylic Vintage Earrings
10 Truth Britta in Yellow by Fluevog
11 Truth Melissa in Black by Fluevog
dj tracks
music reviews
Android Lust - The Human Animal
released by Synthellec Music on 10 August 2010
data : 4th album . 10 tracks . 40:57 run time .
reviewed by : Mike Kieffer
genre : industrial rock
Shikhee is back with her project Android Lust. The past four years have seen many changes in AL including a new self run label, and more im-
portantly a full band in the recording studio. The new album The Human Animal has benefited from the additional talent turning the feel of AL from a mechanical alien form to an organic me-
chanical form. There is a certain presence felt when listening to this album that keeps you on guard waiting for the unexpected. There is no rest in the songs either. On “Saints Over” and “It’s On You” there is a constant building of music topped with Shikhee lyrics drilling the subject of the songs about flaws leading the listener to either take her side or feel guilty for being the muttonhead. “A New Heaven” will easily be the favorite track of many as it has a dark twisted lounge feel to it, conjuring up surreal imagery in this listener, I would love to see a video of this song. While The Human Animal is not in your fast paced aggressive industrial it’s still hard, “Rub Me Raw” and “Into The Sun” are examples of this and the lyric provide the emotion that’s punctuated with well timed guitar riffs. This album puts Android Lust into the year 2010 and beyond, nothing on this album sounds dated and the clever uses of real world samples makes it full of discoveries every time you listen to it. recommended tracks : Saint Over, It’s On You
if you like you may like : Nine Inch Nails, Chiasm
grade : overall 9 - music 8 - lyrics 8 - recording quality 10
Lucidstatic - Symbiont Underground
released by Tympanik on 26 June 2010
data : 3rd album . 23 tracks . 113:48 run time .
reviewed by : Aaron Andrews
genre : IDM, breakcore, EBM, techno
I have a hard time telling you about Lucid-
static’s latest release Symbiont Underground because of its schizophrenic diversity. The con-
cept of the album is collaboration, every song is made with the help of another artist. Whether it’s a co-writer, remixer or vocal contributor Lu-
cidstatic’s work is touched and bent by another personality. What’s great is that you’re not sure where you’re going next as your auditory adventure progresses along through differ-
ent head spaces and moods. There’s angry songs with in your face attitude, there’s songs that are more laid back and are more about their subtle melodies. There’s a pinch of IDM, with a shake of industrial and some breakcore thrown in for good measure. That’s what’s special, there’s a little bit of everything and if you find music like this interesting in the broader sense then this album has enough twists and turns to not get boring. Despite it being a double disc Symbiont Underground only has a few tracks that I skipped over as I gave it repeated listens, pretty good considering its length. The album concept works out wonderfully, by inviting his friends to the musical party Lucidstatic has made an album that has personality and the tracks are engaging and above average. recommended tracks : The Awakening (Mothboy remix), Burning Embers (vs. Manufactura), Dissection (vs. Mono Penguin), Re_volve (vs. Impurfekt), Book Of The Dead (vs. Recevier), Misplaced (feat. Scalper)
if you like you may like : Mothboy, Displacer, Manufactura
grade : overall 7 - music 8 - lyrics 6 - recording quality 8
Jamie Lidell - Compass
released by Warp on 18 May 2010
data : 5th album . 14 tracks . 50:30 run time .
reviewed by : Eric Kendall
genre : post-rock/experimental
Jamie Lidell’s fifth effort for Warp proves to be his most restless and outlandish record yet. Just when we thought this DJ/beat master turned r&b/funk merrymaker has settled into the pol-
ished and groove oriented world of neo-soul, he throws another wrench in the spokes of predict-
ability. With some arguably unneeded produc-
tion help from Beck (Lidell is already a proven veteran in that area but any Beck is a welcomed Beck, right?), and some exciting guest appearances from the likes of Feist and members of Grizzly Bear, he has suc-
ceeded in crafting a record with enough soul and dirt to please fans of glamour and grit alike. More importantly, D’Angelo fans and Captain Beefheart fans will finally have something to talk about with one another! “Your Sweet Boom” is a rust-bucket bluesy stomper featuring some pitch shifted vocals over broken acoustics and sput-
tering beats. “The Ring” features what sounds like distorted kazoo inflicted beat box-
ing over clap and shout percussion, it sounds silly right? This also happens to be the lyrical stand-out of the record with lines like “She was just a dreamer/he was just a dream.” This turns out to be a reoccurring theme throughout the record. The contrast between the carnival-esque music and personal nature of the lyrics just works some-
how. On the opening track, “Completely Exposed“, Lidell manages to howl out his most introspective lyrics to date; “I don’t want to be closed/ but opening up has left me completely exposed.” All the while a veritable collage of sounds surround his every syllable, reminding you that even through the layers of odd noises and musical liberties, this is truly vocal driven music and Lidell’s pipes are never far from center stage. Compass is a rare case of having a positive and functional musical identity crisis: Even in whimsical experimentation, Lidell seems to nail it every time.
recommended tracks : Coma Chameleon, Enough Is Enough, Your Sweet Boom, The Ring
if you like you may like : Stax Soul, Beck, Mayer Hawthorne, Prince, Eli “Paper-
boy” Reed
grade : overall 8 - music 9 - lyrics 8 - recording quality 8
AUXILIARY august/september 2010 Complete &
photographer : Carbon Decay
fashi on styl i st and art di rector : Sal l y Reardon
makeup arti st : Di ana D’Angel o
hai r styl i st : Bri an-Davi d D’ai gl e
model s : A.W. Hi l l and Dorothy Johanna
style edi tori al
Fet i sh cl ub or Fi f t h Avenue? Thi s season, t he l i t t l e l eat her hal t er i s comi ng out of t he cl oset. Bri ng t hi s bondage cl assi c i nt o t he dayl i ght hours, pai r bol d l eat her wi t h underst at ed and cl assi c pi eces. You’ l l never have so much f un pract i ci ng sel f - rest rai nt.
Ampl i fied
Wai st ci ncher or hal t er? It depends on t he asset s you’d l i ke t o pl ay up or down. Define (or creat e) a wai st, l i ft an ampl e bosom or hi ghl i ght a perky one. Pi ck one t hat you wear wel l and not t he ot her way around. l eat her hal t er : Ski ngr af t
dr ess : Expr ess
shoes : Jef f r ey Campbel l
by Sal l y Reardon
august/sept ember 2010 AUXI LI ARY
Restrain yourself, a bold leather halter looks best with classic pieces and few other accessories. Olive and brown tones lend a steampunk vibe, while tight jeans keep you squarely in the present.
halter : Audra Jean
shirt : vintage from Buffalo Exchange
jeans : Trash & Vaudeville
boots : Underground
Make a statement and stick to it. Let these wings shine by keeping the rest of the look monochrome. Create contrast, choose jackets of wool or tweed for subtle texture.
wings : Garbage Dress
jacket : stylist’s own
shirt : Express
jeans : Trash & Vaudeville
boots : Underground
A flowing tunic balances out the hardcore influence of these runway-worthy strapped thigh-highs. For less flesh but plenty of splash, layer leggings or tights underneath.
leather leggings : Audra Jean
tunic : Topshop
leggings : H&M
shoes : model’s own
Pairing black and brown isn’t a no-no when you play with texture. Adding lace to the mix sweetens the leather, while a brown cincher plays up your waist. For extra cinching power, choose a skirt or dress with a gathered top and full skirt.
leather belt : Audra Jean
dress : Forever 21
shoes : Irregular Choice
august/september 2010 AUXILIARY46
photographer Eri ca Ei chel kraut
art di rector Mol l y Hoel tke and Jenni f er Li nk
fashi on styl i st Mol l y Hoel tke
makeup arti st Jodi e McGui re
hai r styl i st Mari a Tayl or and Jef f rey Fl ynn
model s Guy Wi l l i am I I I, Cai t l i n Corcoran, and Jessamyn Rose
l ocati on Becker Farms
AUXILIARY august/september 2010 august/september 2010 AUXILIARY
Oyster Cabaret Skirt in the corset style, oyster Vimono Jacket, and White Ruffle Wrist Cuff all by Steam Trunk. On right, traditional Civil War era “Union Lieutenant” uniform.
Black Bardot Hat by Steam Trunk, white Vicki Blouse with lace detail and 3/4 sleeves by Dace, Genie Pants in jean by S&G, and antique gold pocket watch chain.
AUXILIARY august/september 2010 august/september 2010 AUXILIARY
Black Rider Skirt by Steam Trunk, green and black pinstripe Elizabethan Jacket by S&G, green army spats circa 1941 provided by Uncle Sam’s, Bullet and Key Necklace by Astali, and Black Leather Moto Gloves by Steam Trunk.
From left to right. Traditional Civil War era “Confederate Private” look. Turn of the century bustle skirt and lace detailed top provided by Divine Finds and oyster Duchess Top worn as a vest by Steam Trunk. Blue and brown layered ruffle skirt with petal hem, brown men’s vest, and modified tuxedo style light blue button down with white front detail.
AUXILIARY august/september 2010 august/september 2010 AUXILIARY
Kaki front pleated shorts by Dace, Buffalo Tooth and Sacajawea Coin Necklace by Astali, Fools Gold Earrings by Astali, and tan scarf by American Apparel with stylist’s own vintage sea foam green and off white lace camisole, vintage sea foam green button down, and cream suede handmade waist bag.
Mustard Keyhole Jacket by S&G, grey wool Kyle Pant by Dace, and Antique Mixed Foreign Coin Necklace by Astali. On left, traditional Civil War era “Forged” look. AUXILIARY august/september 2010 august/september 2010 AUXILIARY
Turn of the century bustle skirt and lace detailed top provided by Divine Finds and oyster Duchess Top worn as a vest by Steam Trunk.
Olive silk Candace Dress by Dace, leather suspenders provided by Uncle Sam’s,
leather gun holster provided by Uncle Sam’s, swiss army bag provided by Uncle Sam’s, and Feather and Bullet Earring by Astali. On left, traditional Civil War era “Early Militia Union” look.
AUXILIARY august/september 2010 august/september 2010 AUXILIARY
High Wheeler Shirt by Steam Trunk.
Bustle skirt and lace detailed top provided by Divine Finds, oyster Duchess Top by Steam Trunk, Black Bullet Bracelet by Astali, and 3 Bullets on Chain Necklace by Astali. On right, Layered ruffle skirt, brown men’s vest, and modified tuxedo style light blue button down with Buffalo Tooth and Sacajawea Coin Necklace by Astali and Fools Gold Earrings by Astali.
Watch Wrap
fashion stylist & author Meagan Hendrickson
photographer Luke Copping makeup & hair Jessica Jean
model Jessica Jean
Wrist watches are a functional accessory and a nice way to add some sass to your wardrobe. This vintage necktie watch is a unisex piece that can be easily wrapped around any wrist size with the comfort of just a button snap. Even though your iPhone has a clock, nothing beats an old fashion wrist watch to help keep you on time.
Vintage Necktie Wrist Watch Wrap
by Suzanne Shenkman Designs
AUXILIARY august/september 2010 EC Star
Elmwood Specs
1006 Elmwood Avenue, Buffalo, NY
Eyes Lips Face
Forever 21
Garbage Dress
Half & Half
1088 Elmwood Avenue, Buffalo, NY
Irregular Choice
Jeffrey Campbell
Medusa’s Makeup
Modern Nostalgia
95 Allen Street, Buffalo, NY
Mother of London
Second Chic
810 Elmwood Ave, Buffalo, NY
Steam Trunk
Suzanne Shenkman Designs
Trash & Vaudeville
4 Saint Marks Place, New York, NY
Uncle Sam’s
290 Larkin Street, Buffalo, NY
Urban Decay
Urban Threads
736 Elmwood Avenue, Buffalo, NY
where to buy
American Apparel
Audra Jean
Bobbi Brown Cosmetics
Buffalo Exchange
504 Driggs Avenue, Brooklyn, NY
Cats Like Us
Cyberoptix TieLab
Divine Finds
1201 Hertel Avenue, Buffalo, NY
next issue
october/november 2010
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