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Auxiliary Magazine is an alternative fashion, music, and lifestyle magazine available online for free. DECEMBER / JANUARY 2010 / 2011 auxiliarymagazine.com
 DECEMBER/JANUARY 2010/2011
iVardensphere
massiv in mensch
bibian blue
kelleth
enchanted evening
fetish / boots heels
porcelain / glamour
anticipation / coats gowns
contributors
It’s our two-year anniversary! I can’t believe we’ve made it this far. Thanks for reading and for your support over the last two years. We feel so lucky to have the support we do and to work with the people we have. A great issue is ahead of you, full of enchanting fashion for the winter season, festive features for the holidays, and the best music of the year. We have a lot of great plans in store, so look out for exciting things in the next year. Keep in touch and stay current by joining our mailing list, following us on twitter, liking us on facebook, and looking for us in the sea of all those other social networks out there. We couldn’t have done it with-
out you! As we grow over the next year we are looking for feedback, so please write to us with your opinions. Our goal is to make a magazine our readers love, respect, and are giddy like a child on Christmas Eve to read.
Sincerely,
Jennifer
Auxiliary Magazine. auxiliary = alternative, supplementary, to provide what is missing, 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 its way out, is suffering, is dying, is dead. Today 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.
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.
Staff
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 and Erin McPartlan
www.auxiliarymagazine.com
email : info@auxiliarymagazine.com
issue 13 : december/january 2010/2011
ISSN 1948-9676
No part of this publication may be reproduced in any form or by any means, elec-
tronic or mechanical, without the permission in writting from the publisher, except small excerpts for review purposes. Submitted work, reviews, ads, and photo-
graphs are copyrighted by their respective owners and fall under previous declara-
tion. Copyright Auxiliary Magazine 2010.
Photographs / Illustrations
Photographers
Zach Rose www.zachrosephotography.com
Jennifer Link www.jennifer-link.com
Luke Copping www.lukecopping.com
Saryn Christina www.sarynchristina.com
Franklin Thompson www.franklinthompson.com
Through The Glass Photography www.throughtheglassphotos.com
MarГ­a S. Varela modelmayhem.com/mariasvarela
Nadia Papineau modelmayhem.com/529814
Photographs on 5
Jennifer Link www.jennifer-link.com
and Rahul A. Saha www.eyeofraphoto.com
Photograph on 14
Michael O’Shea
book cover image courtesy of Putnam
Images on 15
courtesy of Warner Bros. Pictures
Photograph on 16
Kyle Cassidy
Illustration on 20
Harley Sparx www.harleysparx.com
Illustration on 32
Maki Naro www.page8productions.com
Photographs on 39
Jennifer Link www.jennifer-link.com
Corrections for Oct/Nov 2010 Issue
Kassandra Kiremit makeup artist for Bridget Blonde
Vanity Kills writer of Purple Reign
Contributors
Aaron Andrews
Luke Copping
EJTower
Rena Finkel
Meagan Hendrickson
Mike Kieffer
Jennifer Link
Gopal Metro
Paul Morin
Pretty Deadly Stylz
Zach Rose
Adam Rosina
Vanity Kills
Graphic Design
Logo Design
Melanie Beitel
Layout Design
Jennifer Link
Luke Copping
editor s letter
�
2
mission statement
editorial
4 rai sed i n yogavi l l e
Gopal Metro of Bel l a Morte
beauty
5 si l ver bel l es
beauty to usher i n the new year 6 porcel ai n
nostal gi c gl amour
12 aestheti c
decadent destructi on
media
14 no future wi th a capi tal F
Wi l l i am Gi bson’s new novel Zero Hi story
15 Harry Potter and the Deathl y Hal l ows
16 Mol l y Crabappl e
of Dr. Sketchy’s Anti -Art School
19 the essenti al s : Sol ari s and Hol y Mountai n
lifestyle
20 my l i fe as a goth gi rl
21 the Pi nUp
Kel l eth
bi bi an bl ue : 35
massi v i n mensch : 37 i Vardensphere : 30
kel l eth : 21
feti sh . porcel ai n . anti ci pati on : 40 . 6 . 50
music
25 qui ck pi cks
Covenant, Funker Vogt, and more...
26 musi c revi ews
Uni t:187, I:Sci nti l l a, Maserati, and more...
28 Massi v i n Mensch
30 i Vardensphere
32 dr. know
the guy who knows a l i ttl e too much
about musi c
34 top 20 of 2010
fashion
35 desi gner feature
Bi bi an Bl ue
39 styl e
i coni c edward
40 feti sh
boots, heel s, shoes
44 stone and shade
rogue menswear
50 anti ci pati on
refi ned l uxuri ous eveni ng wear
58 must
vi ntage styl e party dress
59 where to buy
3
contents
Photographer : Zach Rose
Styl i st : Emi l y Ri shea of Arti fi ce Makeup : Heather Orr Hai r : Iri na Lavrega
Model : Kel l eth
Let us know what you thi nk! Share wi th us your thoughts on the i ssue, current events, or whatever i s on your mi nd! Our edi tori al secti on i s for your opi ni ons.
email : edi tori al @auxi l i arymagazi ne.com
AUXILIARY december/january 2010/2011 december/january 2010/2011 AUXILIARY 4
AUXILIARY december/january 2010/2011 There are a small handful of us, less than two hundred over a thirty-year period, who either spent significant time in, or who were directly raised at Satchidananda Ashram - Yogaville. Many of us are great achievers in our field (Liev Schreiber, Rivers Cuomo, Stefan Lessard, Atman Binstock, Scott and Miles Dinsmoor, Uma, Jyoti and Shakti Sackett, Lakshmi Bertram, and the Metro clan to name a few), and many more are simply great achievers at living a good and satisfying life. Every one of us had an entirely unique experience, so as opposed to speaking for all of us, I will focus solely on my own life.
I was raised on Yoga, an unusual upbringing in the states. And growing up in a Hindu American based interfaith organization with a strong focus on the accep-
tance of all beliefs as equally and entirely valid, world peace through the develop-
ment of individual peace, and the Integral Yoga philosophy as taught by Sri Swami Satchidananda is likely more unusual. In fact, there is only one place in the world where it could happen, Satchidananda Ashram – Yogaville. I would go so far as to call the children raised in Yogaville a social experiment. What would happen if you were to raise a child on a unique system of values, highly isolated from the general American environment, but exposed to an entirely different world of Sha-
man and Priests, Monks and Swamis, Mystics, Siddhas, wizened old women, and a general feeling of harmony in existence? The answer is me.
I have spent my life in this sort of environment. And, while I might be an odd guy, I am also quite happy and satisfied with my life, so I’d say the experiment was a resounding success. The core of our education, and what I still consider the core of my entire life’s philosophy, is Integral Yoga, a synthesis of six distinctly dif-
ferent practices that seamlessly work together to bring about a pervading experi-
ence of self-worth, radiant peace, vibrant and sustained joy, physical strength and flexibility, general feelings of personal empowerment, and a deeper connection with both our selves and the world around us. That’s a pretty big statement, but if you’ve ever taken a quality Hatha Yoga class, one that goes deeper than just physi-
cal refinement and actually guides you to the inner practices, you will already have tasted what Yoga can do. It is deeply profound.
The strongest figure in my world has been Sri Swami Satchidananda, a monk whose traditional Indian name translates to, “existence, knowledge, bliss”. Best known as the founder of Yogaville (Yogaville.org) and the Light Of Truth Univer-
sal Shrine (LOTUS.org), he was also the opening speaker at the Woodstock Music and Art Fair in 1969, and has received great recognition for his many humanitarian works both independently and with the United Nations. I also consider him my grandfather and my most respected teacher.
At the age of five, and with his encouragement, I began my education at the Yo-
gaville Vidyalayam or “Temple of Learning”, where my fellow students and I stud-
ied the many different cultures, religions, philosophies, and beliefs of the world (both eastern and western in tone), as well as a more traditional western curricu-
lum of math, science, history, language, etc. Swami Satchidananda often taught us there, as well as gave us lectures during our Saturday night Satsangs (trans. “Gath-
ering of the Wise”). His parables, fables, stories, and lessons are deeply engrained in my psyche, and have served me extremely well throughout my life. My educa-
tion was rich with culture, and the upbringing was deeply spiritual in nature. There are many Yogic systems, e.g. Sivananda Yoga, Bikram, Ashtanga, Kriya, Jivanmukta, etc. But Integral Yoga, with its cultivation of both the external and internal elements, and its intense depth and breadth integrating fully in all aspects of life, is where my heart is. I adhere to this philosophy for a reason. When under-
stood correctly, it simply works. And when it works, it works well. Integral Yoga has been called the “gentle yoga”, and I fully agree. It is as gentle and as powerful as the ocean or mountain wind, and has the ability to completely alter your life. It is truly awesome to be in a place where people live their life based solidly on Yogic principles. And having spent much of my life in Yogaville, watching thou-
sands of visitors pass through with many spending less than a day on grounds, one of the most amazing things I’ve discovered is that anyone can achieve the benefits of Yoga. I often deeply encourage people to try Yoga, whenever and however they can, whether it’s from a book, a class, or a teacher. If the method you find doesn’t work for you, don’t hesitate to try something else. There are literally thousands of opportunities out there. Whatever your path in life, I wish you all the best!
Should you have any questions or comments, if you would like to rant or rave or simple talk, feel free to contact Gopal directly at gopalmetro@pathswithin.com.
by Gopal Metro
The ideas and viewpoints of our readers published to voice an alternative perspective on current day society, topics, and events.
EDI TORI AL
Raised
in
Yogaville
Born into a life of Yoga philosophy and growing up in a community based solely on Yogic principles, Gopal Metro has lived a life of self-discovery, satisfaction, peace, and bliss. As the former bassist and founding member of the international alternative rock/goth act Bella Morte, Gopal has through music and presence given back to many what has helped to inspire himself. Now forming a new band with fellow Bella Morte front man Andy Deane, Gopal took the time to share the experiences of growing up in a Yogic lifestyle and how it has made him who he is today.
photo : Zach Rose
by Vanity Kills
BEAUTY
5
Space-age silver rings in 2011 with optimism that only the future, seen through the eye of the past, can bring. Let’s all party like its 1969; a time when man took his first steps on the moon, cartoon cutie Judy Jetson rocked proto-cyberwear and everyone obsessed over hover cars (still waiting for that flying Ford and sky Scion, by the way). Usher in the New Year bedecked in Sci-fi shades that evoke a romanticized nostalgia for a better tomorrow! 1 When you roll into a supermarket at 3:00 am with a Lux De Ville Starlite Kiss Locks Silver Sparkle Purse in tow, a hunt for milk and Brillo pads transforms into a decadent stroll on the Vegas strip. Oh, and unlike Sin City, this glitzy little number won’t break the bank. available at www.luxdeville.com $72
2 How do you upgrade a staple holiday party look from “pretty” to “pretty damn amazing”? Start with a basic smokey eye. Add a touch of light-reflecting pigment such as Sugarpill Tiara Loose Eyeshadow to the inner corner of your lids. Be-
hold the pewter power of the smoky eye v2.0! available at www.sugarpillshop.
com $12
3 Adding a lip brush to your makeup toolkit, much like the chrome hued Sephora Collection Professionnel Platinum Square Retractable Lip Brush #60, allows for a maximum degree of control when working with bold, standout lip colors such as silver, black, or blue. available at www.sephora.com $12
4 Say sayonara to 2010 with an amped up aluminum pout that that exudes an infinite amount of charismatic confidence courtesy of Manic Panic Lipstick in Hells Bells. A silvery smile isn’t for the faint of heart, but there’s a reason that “safe” is not a synonym for “fashion forward”. available at www.manicpanic.
com $11.80
5 If the mere thought of a metal mouth scares you to death, let your fingers do the talking instead. Bling out your digits with Orly Nail Lacquer in Dazzle to score a mirror-like retrofuturistic manicure in the 21st century. available at www.
orlybeauty.com $7.50
6 Sephora Collection Silver Glitter Spray illuminates your hair, dГ©colletage or arms with tiny flecks of lunar dust. available at www.sephora.com $10
7 Sephora Collection Sparkle Spray Compact Mirror unintentionally gives nod to “the future that never was” with its sleek, metallic exterior, embellished with a crystalline starburst design reminiscent of mid-century Googie architecture. available at www.sephora.com $15
Silver Belles
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december/january 2010/2011 AUXILIARY OPPOSITE PAGE
Glamour Lush Passion Hat with necklaces from Tick Tock Trinkets’ winter 2010 collection Endless Epoch.
THIS PAGE
Glamour Lush Sequin Circus hat with jewelry from Tick Tock Trinkets’ winter 2010 collection Endless Epoch. To achieve this hairstyle try Crème for Style and Dry Texturizing Spray both by Oribe.
porcelain
photographer Saryn Chri sti na
fashi on styl i st Saryn Chri st i na
makeup arti st Gl amour Lush
hai r styl i st Mari ssa Spokes and Jeanna Ki er
hai r styl i st assi stant Cal l i Heussl er
model s Sarah Vasquez, Mart a Stepowska, and Heather Carr AUXILIARY december/january 2010/2011 december/january 2010/2011 AUXILIARY february 2010 AUXILIARY
THIS PAGE
Glamour Lush Inhabit Hat with jewelry from Tick Tock Trinkets’ winter 2010 collection Endless Epoch. To achieve this hairstyle try Hold Me Tight and Extra Firm Finishing Spray both by Paul Mitchell. AUXILIARY december/january 2010/2011 december/january 2010/2011 AUXILIARY OPPOSITE PAGE
Glamour Lush Suede and Bones hat with jewelry from Tick Tock Trinkets’ winter 2010 collection Endless Epoch.
THIS PAGE
Glamour Lush Bitten and Bound hat with necklace, bracelet, and earrings from Tick Tock Trinkets’ winter 2010 collection Endless Epoch. To achieve this hairstyle try Royal Blowout Heat Styling Spray and Dry Texturizing Spray both by Oribe.
THIS PAGE
Glamour Lush Stage Flamingo hat with jewelry from Tick Tock Trinkets’ winter 2010 collection Endless Epoch.
AUXILIARY december/january 2010/2011 december/january 2010/2011 AUXILIARY Decadent
AESTHETIC
creative director, fashion stylist, & author Pretty Deadly Stylz photographer Through The Glass Photography
makeup artist Maee Kroft for MAKE UP FOR EVER
hair stylist Maee Kroft
models Poisonne & Bailey Northcott
Drama over the top and under the influence! For the vintage ap-
peal of 1940s noir to have a punk flavor is a look that can only be deemed destructive. The Decadent Destruction look is inspired by beauty icons like Grace Kelly and Audrey Hepburn, but with a little Debbie Harry and Joan Jett thrown in. Play with the vintage appeal of those times but opt for something different than the obvious sleek and styled approach and break a few things in the process. It’s a blend of sparkle, hard metal, soft fur, blacks, color. It’s dressing up while dressing down. Wear your nicest dress to the rock’n’roll dive bar and wear your Doc Martens with pearls.
The hair is punk rock central, no pin curls here, ladies! It’s all about texture, messy, pulled, teased, pinned back, tossed straight up or out. Make it big messy, just-came-from-bed hair, or play with textures for an imperfect hawk. Destruction
THIS PAGE
Vintage Eisenberg earrings with stylist’s own zipper and chain pieces paired with stylist’s own vintage dress.
AUXILIARY december/january 2010/2011 THIS PAGE
Vintage Weiss earrings and Eisenberg necklace paired with stylist’s own chain pieces. H&M leopard faux fur jacket and stylist’s own vintage lace bustier.
The eyes are all about the classics. Go with a cat eye shape for the liner enhanced with shimmer and mascara covered lashes. Or you should try out that oh-so-sultry smokey eye but punch up the volume by adding color. Rock it out with shades of purples and pinks! Keep the makeup simple, up the volume on just the eye or lip. If you go for the more styled down lid, pop those lips. If you play with a more dramatic eye, simplify those lips. Instead of the traditional punk red lip, have fun! Play with nudes, or wild colors like blue, orange, and purple. The skin is all about peaches and cream. Start with the pale as possible face foundation for your skin tone and top with warm peach blush on the cheeks. Remember, tonight you are a punk rock princess, a classic diva, a smoldering seductress, and a queen of the streets that you stride down.
december/january 2010/2011 AUXILIARY
BEAUTY
14
by EJTower
The first decade of the 21st century is over. Now you’re a grownup. By now I hope you have accepted that “The Future” with a capital “F” was just a pipe dream developed by rich megalomaniacs (Walt Disney) in the 20th century to sell plastic trinkets. There will be no flying cars. There will be no rocket packs. There will be no silver jumpsuits, so stop asking. If you’ve been waiting for someone to come to your door and inform you that “The Future ” has arrived, then you should probably read William Gibson’s last three books, because that’s never going to happen. Sorry.
Science fiction writers of the middle 20th century lived in a strange safe-zone. People like Isaac Asimov, Robert Heinlein, and Arthur C. Clark had the benefit of slow moving innovation that allowed them to engage in the prophecy game. Their stories had decades before they were outmoded by reality. The prophecy game changed the way we think about science fiction. We started to believe that some-
how it was the heralding voice of “The Future”, and we began to treat the stories like travel brochures. The science fiction authors of today have no safe-zone. We hear it every day from cable news broadcasters, “innovation is advancing at a rate like never before.” We hear it so much that it sounds trite to even write it down, but the effect of this rate of innovation is that the prophecy game is over. Now even science fiction writers are all playing catch-up in an effort to stay on top of what science invents.
For William Gibson this means that his job has become to write, not about where we’re going, but where we are now. We already live in a world of cyborgs and personal communicators, but what does that all mean? Gibson’s latest book, Zero History, the conclusion to a decade-long trilogy, pulls at the unseen edges of our time trying to show us that very answer. Unlike golden age science fiction, you will find no technological speculation in this book. Everything you encounter is real, it is happening now. The author simply rearranges the existing elements of our world to help you see it better. The effect is a work of fiction that will trans-
form the way you see the world outside of your window, a piece that will have you spotting the futurity of your own life, because you could have been a character in this book too. The characters of Zero History are very unconventional for science fiction. An aging rock star in search of a new career, a recovering pill addict whose drug addled mind has missed most of the last decade, and an underground marketing mogul surrounded by double agents looking to sell him out, are only a few examples. This cast of edgy bohemians becomes caught between discovering the truth behind a mysterious, secret fashion brand and an armed conflict with a dangerous war profiteer in the streets of London. If that plot synopsis seems random, then you’re starting to understand what Gibson is trying to tell us about the state of our world. Each of his last three books, Pattern Recognition, Spook Country, and now Zero History is like a catalogue of snapshots from different points in the last decade, capturing the gestalt of our post-9/11 fear as it mingles with our culture. Have you ever considered the luxury design of an up-armored SUV with its own air supply? Do you really understand the potential of the Smartphone in your pocket? What they tell us is that there will no longer be a single grand vision of “The Future”. The object, the world, the environment, the economy, your life, is quickly going nonlinear and we have no idea where they are taking us anymore. There will be no easy progression from A to B to C. There are too many trends to track, too many power groups vying for control, for any single coherent vision to emerge. In the first book of the set, Pattern Recognition, a marketing specialist is hired to cool-hunt the creator of a series of viral internet videos that have captured the interest of the underground art scene. Reminiscent of David Lynch’s 2002 Rabbits project, the underground film scene buzzes with cultish attention to detail and the need to discover the intent of the creator. They ask questions of the film that we might as of our lives: Are these films part of a larger contiguous story? Are they just disjointed parts whose connection is only circumstantial? Driven on by the mystery, the plot routes the marketing specialist through a series of bizarre subcul-
tures towards an inevitable answer.
Picking up a few years later in the same world of the recent past, Spook Coun-
try introduces new characters that later form the core of Zero History. In Spook Country an aging rock star is hired to write an article about what we now call Augmented Reality, for an ephemeral magazine which may or may not exist. In the process she is swept into what proves to be an international incident. In Pat-
tern Recognition the author explored the nature of the viral spread of information, with Spook Country he dives into the powerful nature of secrets. Expounding on the frightening similarities between the world of marketing and espionage, we conclude by seeing how they are really in the same business, the control of infor-
mation and understanding about the world.
In each of his books the characters are pitted against an unseen present. They are, like many of us, trying to decipher the emergent trends and understand the goals of the people operating behind the scenes. We live in high indeterminate times and if I had to conclude anything about the last decade it would be that we’re still waiting for the chips to fall. In the end though, in these books as in life, few things ever come off as they were planned or predicted.
Reviewing the new novel, Zero History, and the last decade of William Gibson.
LEFT Zero History novel
RIGHT author William Gibson
NO FUTURE AUXILIARY december/january 2010/2011 “ F ”
with a capital
MEDI A
Let’s get this out of the way: I have never read an entire Harry Potter novel, or sat through an entire Harry Potter film. I happen to be of the opinion that if you’re over the age of fourteen and find yourself reading a book published by fucking Scholastic, you’ve done something bad and you should feel bad. From what little I’ve picked up from skimming the first Potter book, it seems like little more than a coupling of Roald Dahl’s children’s stories (sans the dark humor and the wit) and Tolkien-esque fantasy. So you can understand how I was in no big hurry to check out any of the film adaptations. Well, I finally caved. Drunk on courage and gin, I marched into a movie theater teeming with squalling brats and sat down for Harry Potter and the Deathly Hollows Part 1. As the theme music began to emanate from the speakers, rage and panic swept over me. The edges of my field of vision began to go fuzzy. Ten dollars, two hours and thousands of slain brain cells later (the gin may have helped with that last one), I had but one question: What the hell did I just watch?!
Now, I know I can’t come into a series this late and expect to understand everything, but come on; the people in this movie barely speak any English, and they are fucking English. It’s all just a string of J.K. Rowling’s made-up vernacular for what feels like ages. I shouldn’t have to Google what a Horocrux is because the main characters have used the word 37 goddamn times in the first half-hour of the film without explaining it in the slightest. This film really would’ve benefited from a little narration or at least a recap montage. The filmmak-
ers assume that, if you’re still hanging in there, you are likely a die-hard fan with an encyclopedic knowledge of Potter lore. That’s fine, I just don’t think you should have to be one to comprehend the plot of a film. The plot revolves around messianic boy wizard Harry (Daniel Radcliffe), his malformed ginger pal (Rupert Grint) and that girl the internet has been wanting to nail for about half a decade before she hit the age of con-
sent (Emma Watson) on the run from generic Hitler analogue Lord Voldemort (Ralph Fiennes, whose nose was either removed in post or bitten off by a Saigon whore). You know, the same plot as the last six movies. Along the way there’s some magic and shit. Oh, and a lot of walking. I mean, A LOT of walking. If I didn’t know any better, I’d swear Peter Jackson directed this movie (I’m told it was actually David Yates), because the last time I watched a movie with this many boring scenes of people aimlessly traversing the countryside, it was the Lord of the fucking Rings. Which begs the question: Did this really have to be two movies? With what little that transpires in the film’s two and a half ass-numbing hours, I find it hard to believe the filmmakers couldn’t have trimmed some of the fat and gotten it all into one movie. And it’s not like we don’t know they only split the damn thing up so they could charge us twice for one movie.
So the movie starts with Potter and Co. engaging in an aerial battle with the magic flying Nazis. Then… noth-
ing. For like a freaking hour. Just bitching. Incessant teenage bitching. We get it, Ron. You wanna plow Hermione. Man the fuck up and bed her or get your dick out of your heart and shut up! It isn’t character development when you’ve been wrestling with the same bullshit for half the series. It’s character stagnation. And speaking of teens bumping uglies, isn’t this supposed to be a kids’ film? I think the wee ones could’ve done without the ghostly apparition of Harry and Hermione shirtless, playing tonsil hockey, but maybe I’m old fashioned. Any who, after a long sojourn in the land of hiking and teenage hormones, the plot kicks back in. Sort of. The kids find themselves captured, a small fight breaks out, and all escape unscathed, save their hideous little elf pal who dies in the process, though sadly not by way of fire, as I had been yelling at the screen since he was introduced. Voldemort graverobs a wand, and…DONE! See you all next time for the thrilling conclusion! Wait, what? That’s it?! Did they save all the good shit for Part 2? With what little happened in this movie, the next one better be nothing but explosions, shootouts, and girl-on-girl action. But in all seriousness, I signed up for an action/adventure flick, and what I got was an angst-ridden road movie with a teeny bit of action and the occasional shitty CGI snake thrown in for good measure. And I hate to beat a dead horse (and this one is assuredly dead and pounded to a bloody pulp by now), but will the crappy CGI in big budget films ever stop? Did the effects community hit the high water mark of Jurassic Park and then proceed to just say, “Fuck it.” for the next decade and a half? The direction by Yates is acceptable, if a bit dull, though someone needs to take away his blue filter. Immediately. He overuses it so much that the cast start resembling the frigging Na’vi after a while. As for the cast, I can’t tell if it’s the dialogue or the acting that’s so damn wooden, but whatever it was, I was not digging it.
Really though, who cares? This is a film with a built-in fanbase, so my opinion on the matter is kind of irrele-
Harry Potter
vant. Warner Bros. could have released Nazi atrocity footage with the Harry Potter name on it, and the fans would have paid for it, sat through it and been thank-
ful for the privilege. Twice. The fans don’t care about the content. They care about the brand. And if you’re not already a fan, this movie has nothing to offer you. It is, taken on its own merits, a dull, plodding, and confusing affair. So to all the Potter fans out there, I say go right ahead and enjoy your fucking movie. As for the rest of you, avoid it like the plague.
by Adam Rosina
15
The Angriest Critic, does he love it or does he hate it?
Deathly Hallows
and the
part 1
december/january 2010/2011 AUXILIARY “ In New York, working as a rather low-rent cheesecake model, I became interested in exploring the intersections of sex, ambition, and artifice. ”
Molly Crabapple Molly Crabapple is perhaps best known as the founder of Dr. Sketchy’s Anti-Art School. Dr. Sketchy’s is the name for the gatherings that happen in over one hundred cities across the world where attendees can drink and sketch live models in alternative, sexy, sumptuous costumes. But Dr. Sketchy’s is only an extension of Ms. Crabapple’s love for drawing. It began because she herself loved inking burlesque dancers and other eccentric performers. She now lectures and exhibits her artwork internationally. She has published a coloring book as well as a graph-
ic novel, Scarlett Takes Manhattan, and has worked with the likes of Amanda by Rena Finkel
artist and founder of Dr. Sketchy’s Anti-Art School
MEDI A
Palmer, MTV Geek, The Wall Street Journal, and the wide range of everything in between. And it’s no wonder the world is clamoring for her work. Her pieces are at once frenetic and transcendent, trailing laughing starlets between the stage, the back alley, the confectionery, and fairy land. One can’t help but get whisked away in the careful detail and whimsical grace of them. We were fortunate enough to have the mistress of such lovely chaos answer some questions for us about art, and the gilded past.
Your style is extremely unique, where did it come from and how did it de-
velop?
Molly Crabapple : I’ve been drawing since I was four years old, but first really found my inky voice when I was living at Shakespeare and Company bookstore in Paris. Armed with a gorgeous sketchbook and unlimited time, I could crow quill my heart out. Back in New York, working as a rather low-rent cheesecake model, I became interested in exploring the intersections of sex, ambition, and artifice.
Your work has been exhibited all over the world and you yourself have trav-
eled extensively, does an artist need to think globally in a globalized world?
MC : Oh god, yes. I think, at least for privileged first-worlders with fast internet connections, national borders are becoming increasingly less important. Brazilian street artists are ravishing New York audiences while New York artists are rocking galleries in London and Hong Kong.
How does the internet as a medium for sharing artwork affect the way you create?
MC : I think the internet, which feeds on constant updates, encourages you to do work that’s completed faster, and to post more of the behind-the-scenes process. The internet can really bias an artist towards timeliness and pop culture relevancy, and away from depth.
16
19
film
MEDI A
essentials
by Luke Copping
the
1973 - Mexico/USA
directed by : Alejandro Jodorowsky
starring : Alejandro Jodorosky
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.
Unless your friends are a gaggle of ravenous film fanatics or you have a wonderfully curated art house or independent theater in your area, you generally won’t find yourself watching Tark-
ovsky’s films in large groups. This should not deter you from digesting the works of this mas-
terful film maker whom the Leg-
endary Ingmar Bergman once called, “The greatest director.” Tarkovsky’s films are more medi-
tations on desire, loneliness, and spirituality that are best enjoyed in the solitude of an empty theater or your own living room well af-
ter sundown. Obsessed with mysticism, vio-
lence, sexuality, religion, and provocation in all its forms, Ale-
jandro Jodorowsky is the supreme renaissance man of 70s avant-
garde cinema. Best known for his overtly violent Western-religious epic El Topo and for the relation-
ship he had with various mem-
bers of the Beatles, noted fans and often funders of his work. Holy Mountain is a slight depar-
ture from the narrative qualities of El Topo, which played out as a pseudo Western redemption sto-
ry. Holy Mountain comes across more as a series of vignettes and disparate story lines that play out more like the enacting of some mystic ritual eventually culminating in the crumbling of the fiction itself. Initially the characters are introduced as an amalgamation of various personifica-
tions of the tarot, religious figures, and astrological signifiers. Some played out almost and anthropomorphized versions, embodying the worst aspects of the ar-
chetype they represent. Jodorowsky directs both his players and viewers through a series of ritualistic death/rebirth scenes aimed at deconstructing the walls between the cinematic experience and real life. Even the film’s one-of-a-kind conclusion calls into question Jodorowsky’s often cryptic intentions for the audience. Stories abound about the production process involved in the film’s creation. Ac-
tors lived communally during the preproduction period, undergoing a period of spiritual training to prepare them philosophically for their roles. Hallucinogens were used liberally during the filming of some of the more psychedelic scenes in the film, with Jodorowsky liberally encouraging the use of psilocybin mushrooms amongst the actors during the film’s memorable rebirth scene. Visually, the movie is stunning. Jodorowsky is a singular creative force in terms of the visual aspects of his film. Sets are built to an almost ritualistically prescribed degree, creating objects and set pieces that far surpassed the visceral impact of other films of the era. In many ways, Jodorowsky’s set design seems contempo-
rary and refreshing still, the era of its creation given away only by the look of the film itself.
Based on the book of the same name by Polish novelist Stanislaw Lem, Solaris is the best known and accessible of Tarkovsky’s films. Sadly this is true partly due to Steven Soderbergh’s 2002 version of Lem’s novel, which left a bitter taste in the mouths of many critics and fans of the original, who viewed it as both a pale and pretentious attempt at imitating Tarkovsky and an subpar adaptation of Lem’s novel.
Solaris is a tense and deliberately paced science fiction film on the surface, one mainly concerned with the voyage of a psychologist to a space station orbiting the mysterious titular oceanic planet and the subsequent psychological drama that plays out upon his arrival. Tarkovsky’s trademark lack of traditional storytelling elements and pace is less apparent here than in his other films, but still delves far beyond films in the Western vernacular with its furthering preoccupation with special effects over the spiritual and psychological implications that the science fiction genre places upon its characters. Its slow pace adds gravity and deeper importance to the effects upon the main characters enacted by an utterly alien force. The force in question is beyond morality. A certain duality exists between the trauma inflicted by it through its childlike yet utterly alien attempts to com-
municate and desperate attempts to understand.
Noted for its stunning and meticulously plotted camera work, a trademark of Tark-
ovsky’s work, Solaris is one of the finest shot films you will ever see, a lingering visual experience underpinned by a strong psychological subtext and highlighted by the director’s unique storytelling style. A vital contribution to film history, and a wonderful introduction to Russian film for those unfamiliar with the cinema of the region.
solaris holy mountain
december/january 2010/2011 AUXILIARY MEDI A
You draw a l ot of i nspi rati on from bygone eras, what do you thi nk the rel -
evancy of past aestheti cs i s i n the modern worl d?
MC : The 21st cent ury’s fract ured, sampl i ng mad aest het i c l et s you feel l i ke you’re l i vi ng i n every era at once, al bei t wi t h femi ni sm and bet t er pl umbi ng. I went t o a part y some weeks ago where Mari e Ant oi net t e was wal t zi ng wi t h Man Ray.
What’s the pl ace of the fantasti c and surreal i n your artwork? Is i t an exten-
si on of the arti fice and styl i zati on or i s there more magi c i n the worl d of Mol l y Crabappl e than that?
MC : What I l i ke about performance i s i t s sense of al chemy. Look at ci rcus, you t ake t hi s brut al art form, al l bl ood and bl i st ers and t orn l i gament s and sweat y gaspi ng for breat h, and when someone i s good, for a few mi nut es t hey t ranscend t he human condi t i on. They are beaut y. They can fly. That ’s what magi c i s t o me, what art i s t o me, when our pai nful, flawed, di st ract ed, fucked-up sel ves can creat e t hat moment of t ranscendence. I guess performers are al ways sort of gods t o me, and I’m j ust hangi ng on t he si del i nes sket chi ng t hem.
“ Look at ci rcus, you t ake t hi s brut al art f orm, al l bl i st ers and t orn l i gament s, and when someone i s good, f or a f ew mi nut es t hey t ranscend t he human condi t i on. They are beaut y. They can f l y. That ’ s what art i s t o me, when our pai nf ul, f l awed, f ucked- up sel ves can creat e t hat moment of t ranscendence. ”
From where do you draw your i nspi rati on as of l ate? Do you have any new projects pl anned?
MC : Me and my coaut hor John Leavi t t j ust si gned on t o do a graphi c novel for Fi rst Second books, whi ch we’re very st oked about. Ri ght now I’m worki ng on an ani mat i on wi t h a performer who i nspi res t he hel l out of me, Ki m Boekbi nder, as wel l as t he usual round of �Draw bi g t hi ng for free. Travel somewhere. At t empt t o gi ve coherent t al k. Draw bi g t hi ng for money,’ t hat I make my l i vi ng wi t h.
Keep up wi t h Mol l y Crabappl e at www.mol l ycr abappl e.com.
Pr i nt s of Mol l y’ s ar t and copi es of her books ar e avai l abl e at www.mol l ycr abappl e.com/shop.
1972 - Russi a
di rect ed by : Andrei Tarkovsky
st arri ng : Nat al ya Bondarchuk, Donat as Boni oni s, Jüri Järve
AUXI LI ARY december/j anuary 2010/2011 18
Thinking back on it, it is amazing how life plays out. I had just gotten out of a ter-
rible and seemingly un-endable relationship, only to enter into one with my former arch-enemy-turned-hopeless-crush, Eli. If that wasn’t enough, now my friends and I are sitting at the funeral for the cause of the aforementioned awfulness, my abusive, womanizing ex-boyfriend Shayne. After Eli and Shayne engaged in an epic showdown at the club Sanctum, all ties were severed between us. To all of our collective disbelief (and my not-so-secret elation), Shayne “sadly” met his maker under the wheels of the rustic Trans AM belonging to an equally foul acquaintance, the failed cockrocker Jaguar Steve. Despite Shayne being a com-
plete asshole, he was physically attractive and at least possessed a semblance of a personality; I just can’t say the same of ol’ Steve. Dude was a creep through and through. I think you’d be hard-pressed to find anyone who wasn’t thrilled to see that sleazebag being housed in a jail cell.
A funeral for your worse half is somewhere between writing sad poetry in the cemetery while cutting yourself and your birthday. Sure, part of you wants to be weepy, sad faced, and overwhelmed with guilt, but the other half knows that you’ve won the battle and therefore it’s time to celebrate. So, befitting the latter, my friends and I opted to drape ourselves in our most splendidly mopey burial-
watching attire (sometimes we’re just too goth to function). Currently, we are listening to the pastor drone on about God this and salvation that. It is the boring part before they carry up the coffin and you get to laugh at, errrr, mourn the person being interred. Justine, sitting next to me, was adjusting the weasel skull on her tiny, yet fabulous, hat. Cassy was not-so-subtly flirting with her current crush Kel-
lie, the bartender at the infamous dive The Krab Klub. Morgan was her usual stoic self. And I, the cadaver-of-honor’s ex-lover, brimmed with excitement at finally being presented with an opportunity to wear the cute lace veil I had acquired some time back.
At last, the pastor ceased to posthumously glorify Shayne’s wasteful existence and the pallbearers trudged up apathetically, laying the coffin out to view. Someone had draped a torn Skinny Puppy shirt over it to commemorate that Puppy was his favorite band, or perhaps because Shayne swore he looked exactly like his hero Ogre. I had hoped they would bury the bastard straight away, but I guess his fam-
ily wanted to get a final look at his smug, remorseless face. Naturally, drama could not be absent from a scene funeral. Before any of Shayne’s actual family could do, well, anything, his mistress/worshipper Trashley ran through the crowd, crying and flailing wildly, and flung herself onto the casket. It was a sad and desperate move; one that should leave me hysterical post-viewing, but I was caught up trying to come to terms with the fact that she wore a Nightmare Before Christmas shirt and bondage pants to a funeral. A FUNERAL! Luckily, my friends were quicker on the uptake; Cassy burst out laughing at this display of confused, undying zom-
bie love. “He ain’t comin’ back bitch!” she yelled. Our collective laughter was drowned out by Trashley’s incessant wailing. “Shayne, you were the greatest man who ever lived, and you were the only one for me. I’ll bring you back, I swear!” And with that, she pulled out a paperback book on necromancy she five-fingered from the New Age section of a Barnes & Noble a few minutes prior, and started reciting lines while pouring some sort of gooey liquid onto the coffin. The pastor, clearly thinking he doesn’t get paid enough, simply covered his face with his hand. We snickered, and the rest of the attendees looked dumbfounded. After a minute of the bizarre ritual, Trashley’s best (and possibly only) friend Sleazy Sandy ran up to quiet down her grieving associate. Sandy, decked out in her usual outlandish Renn faire attire, grabbed Trashley and tried urgently to get her to, quite literally, LI FESTYLE
by Vani t y Ki l l s
Death
20
give up the ghost. This unfortunately was futile, and the melancholy of Trashley could not be contained by any mortal goth, of imaginary royal lineage or not.
We could do little but shake our heads, at first in bemusement, and later in sheer bewilderment. Morgan spoke for the first time since we arrived: “You know, sometimes things just cross the line between funny and sad. This isn’t even on the same planet as that line. This is too much; I think I’m over the scene.” Justine, typically one to savor scandal, actually agreed. “I think Morgan is right, we are socially scraping the bottom of the barrel here, guys. Maybe we should go do something else for a change.” Cassy was too consumed with making out with Kel-
lie to offer a reply. Public displays of sheer sluttiness seemed like a fitting thing to do at Shayne’s internment and Cassy was one to live by the “when in Rome” credo. Eli chimed in, “We could try going to another bar, with different people. Maybe never have to see any more scene people or deal with this kind of crap.” We all nodded and agreed it might be a good idea. We’d try to hit up a hipster bar the next weekend and see what normal people did. We felt a most desperate need to be disassociated with Ashley, Sandy and those of their ilk.
Just then, the cops arrived. According to hearsay, as part of his punishment, Jaguar Steve had to be present at the funeral for the person he killed, and so two officers had come to escort him. As they were making their way over, they were invol-
untarily treated to the spectacle which unfolded in front of our very eyes. This resulted in Steve being dropped, still immobile in shackles, in the field. The of-
ficers rushed to pull Trashley away from her lost love. There in front of everyone, she was arrested for defacing a corpse. On her way out she yelled back, “don’t worry, Shayne, I’ll find a way to reunite us!” and consequently received a mouth-
ful of pepper spray.
We looked at each other then and simultaneously we all knew; as hard as you may try, you just simply can’t separate a goth girl from drama.
the final installment
Kimmy couldn’t wait to bury the drama once and for all alongside Shayne’s body. Ashley had other plans for the corpse.
the of
Drama…?
AUXILIARY december/january 2010/2011 AUXI L I ARY
M A G A Z I N E
P R E S E N T S
KELLETH
photographer Zach Rose
creati ve di rector Zach Rose and Jenni f er Li nk
fashi on styl i st Emi l y Ri shea of Art i f i ce
makeup arti st [Dream Cl ean Makeup] by Heat her Orr
hai r styl i st I ri na Lavrega
model Kel l et h Cuthbert
l ocati on Worki ng Proof St udi os
THIS PAGE
Kinetic Overbust with Morrigan Shrug, Formal Underwear, and Knee Corsets all by Artifice.
PINUP PAGE
Clear Vinyl and Beaded Lace Bridal Underbust Corset with Pencil Skirt, Basic PVC Stockings, and Clear Plastic with Lace Pleated Bolero Shrug. december/january 2010/2011 AUXILIARY the PinUp
Auxiliary’s playful take on the sexy centerfold pin up. Flip the page, cut out, and tac on your wall!
The uniquely moldable Kelleth Cuthbert of Next Models Toronto is a model whose work ethic and dedication to the industry is one that is not to be taken lightly. As an icon who seamlessly blurs the lines of commercial and alternative modeling, Kelleth’s commitment to professionalism has brought her much success in just a few short years. We at Auxiliary Magazine are pleased to present to you the beautiful and charismatic Kelleth Cuthbert.
name : Kelleth Cuthbert
nickname : Pimms, Lekyl, and Hotep
birthday : October 23rd
birthplace : Toronto
eye color : hazel
hair color : dark brown
turn-ons : tattoos, clownlike personalities, chipped teeth, and post-modernists
turn-offs : �isms’, mustaches, and people with poor escalator etiquette (walk left, stand right!)
why do you model? : I love having a job that allows me to do something different every day and exploring my own creativity. how did you get into modeling? : A local photographer contacted me on MySpace, asking me if I would be interested in shooting. As they say, the rest is history.
favorite musical artist : Sex Pistols and Lou Reed
favorite movie : JFK, Citizen Kane, and The Incredible Shrinking Man
favorite tv show : I only watch the Weather Network
favorite book : The Beach and To Kill A Mockingbird
favorite color : Black (even if it’s technically a shade!)
favorite article of clothing : A black satin and organza neck corset from Decadent Designs.
favorite fashion designer : Vivienne Westwood
favorite star/icon : Christian Slater circa 1989
favorite outdoor activity : zip lining
favorite indoor activity : zumba
favorite club/club night/place to go out : Subspace Fetish Night Follow Kelleth on Twitter @kellethcuthbert.
LI FESTYLE
Though you got your start in what many would call “alternative” modeling, you have also worked on major campaigns for major mainstream clothing retailers like Urban Planet. Many people think it’s difficult to cross over from one to the other, yet you do so effortlessly, has it been a difficult journey?
Kelleth Cuthbert : Modeling requires a great deal of versatility. I consider my-
self a blank canvas, ready and able to vivify any character that a particular client desires. What is perhaps most challenging is maintaining credibility within the alternative subculture in spite of it. This is not always easy but I do thrive on a good challenge.
What is your best nightmare shoot story?
KC : Fortunately I have no truly grievous shoot stories but I have certainly mod-
eled though many less-than-ideal circumstances to achieve great results. One of the most difficult was a shoot in freezing temperatures and severe wind by Lake Ontario. It was a disorienting kind of cold that the entire crew struggled to over-
come. The end result was an image that is one of my favorite to date! You recently signed with Next Models Toronto, is this something that you would have imagined for yourself a year ago? How has it changed (if at all) december/january 2010/2011 AUXILIARY interview by Zach Rose and Luke Copping your perspective on the modeling industry? What advice would you give to anyone looking to sign with an agency?
KC : I’ve been represented by Next Models Toronto since the summer of 2009. I was originally scouted by them in late 2006 but decided to wait until I had com-
pleted my post-secondary education before returning to them. Representation by a major agency was one of the first goals I set for myself when I began modeling. It hasn’t changed my perspective on the industry so much as it has changed my place within it. It has allowed me to see that I can work commercially, as well as editori-
ally. To anyone looking to sign with an agency I would say: explore your options, do your research, be persistent, and believe in yourself. Know that signing with an agency is only half the battle. Booking work requires dedication, confidence, a strong body of work, and great people skills.
What is your dream project?
KC : Shooting with Steven Klein. The more bizarre the concept, the better!
If you were suddenly not working as a model, what would you be pursuing as an alternative?
KC : I would be completing my Masters in social work. I completed my Bachelor degree (with a minor in psychology) in 2009. Most of my experience and interest lies in addictions and mental health counseling.
Covenant - Lightbringer
released by Metropolis on 22 October 2010
genre : EBM
Lightbringer is the newest Covenant single and hopefully an accurate preview of what’s to come on the upcoming album Modern Ruin due out in Janu-
ary. Lightbringer is a collaboration of Covenant, now joined full time by Daniel Myer (Haujobb), and fellow Swedes Necro Facility. There are a few variations of “Lightbringer” but the original version is the best one and I am blown away over and over by its excellent composition and the excitement it stirs in me. This is a great pop/EBM track, dance-
able, catchy, memorable, and exciting. Two B-Sides are also present “The Beauty and the Grace”, written by Daniel Myer, and “Never Seems to End” by Eskil Simonsson and Joakim Montelius. 8/10 - AA
quick picks
Funker Vogt - Blutzoll
released by Metropolis on 26 October 2010
genre : electro-industrial
After Survivor, Funker Vogt released a slew of me-
diocre albums. Blutzoll is their newest attempt to rekindle my interest. My initial thought was that the album’s sound was richer, deeper, and the pro-
duction level had been amped up. The songs are hard and very danceable with synthlines that scream, “Funker!” After revisiting older albums, I found they sounded dated beyond their years. Perhaps these new club friendly tracks; “Arising Hero”, “The State Within”, “Fire and Forget”, or my favorite “Hold My Ground”, could replace the aging relics that flood the club nights. I sure hope so. 7/10 - MK
Front Line Assembly - Angriff [Remix] EP
released by Metropolis on 29 October 2010
genre : industrial
The second single from their new album Improvised Electronic Device, Angriff is a little longer and is actually an EP. There are seven “Angriff” remixes, from Skold, mind.in.a.box, Mindless Faith, Proj-
ect Pitchfork, and FLA themselves, plus a B-side, “Freakuency”. The mind.in.a.box remix is really the standout on this release and has a somber feeling that goes exceptionally with the lyrics. Skold and Project Pitchfork also contribute versions that take on their respective personalities with good results. “Freakuency” is a downtempo track with lots of sampled voices, well worth listening to. Front Line’s B-sides always seem very good and are often a cool mix of the FLA and Delerium sounds. 7/10 - AA
MUSI C
The Sorrow - The Sorrow
rel eased by Art offact Records on 7 December 2010
genre : met al core
The Sorrow are an Aust ri an met al band t hat cont i nue t o rage al ong maki ng t hemsel ves hard not t o not i ce. Thei r t hi rd al bum, The Sorrow, i s perhaps t hei r best yet and i t cont i nues t o forge t hei r sound i nt o a recog-
ni zabl e si gnat ure. There are pl ent y of ri ffing gui t ars and fast doubl e bass drummi ng goi ng on, but I feel t hat t he superb vocal s of Mat hi as push everyt hi ng al ong, whet her i t ’s t he cl ean si ngi ng i n t he choruse-
sor t he screami ng i n t he verses. The al bum i s addi c-
t i ve and t he uni que breaks i n t he songs keep t hi ngs i nt erest i ng. The band has a l ot goi ng for t hem t hat woul d be at t ract i ve t o t he non-hardcore met al heads. They have gai ned a new fan over t he l ast few mont hs and I am sure I’m not t he onl y one. 8/10 - MK
Hoci co - Ti empos de Furi a
rel eased by Met ropol i s on 1 Oct ober 2010
genre : EBM, el ect ro
Mexi co Ci t y’s own Hoci co ret urn wi t h t hei r new-
est rel ease, Ti empos de Furi a. Thi s al bum i s t he same ki nd of i n-your-face el ect ro-i ndust ri al/EBM t hat t hey have been maki ng si nce 1993. The vocal s are harsh and t he dark mood i s pumped up by t he st rong el ect ro rhyt hms and wel l -wri t t en hooks. The l yri cs aren’t qui t e on t he same l evel as t he musi c but I’m wi l l i ng t o bet most peopl e who’l l l i ke t hi s won’t care. A good fol l ow up i f you l i ke t he sound of Hoci co or want t o find a band i n t he same vei n as Sui ci de Commando. 7/10 - AA
Conj ure One - Exi l arch
rel eased by Net t werk on 9 November 2010
genre : downt empo
Conj ure One i s t he sol o proj ect of Rhys Ful ber, t he frequent col l aborat or of Bi l l Leeb on proj ect s l i ke Front Li ne Assembl y and Del eri um. Exi l arch i s t he t hi rd al bum under t hi s proj ect and t he reason Ful ber wasn’t i nvol ved i n t he l at est Front Li ne Assembl y mat eri al. Conj ure One i s not t oo far removed from t he work of Del eri um and t he di fference i n sounds i s real l y a mat t er of personal i t y si nce Ful ber and Leeb have been worki ng t oget her so l ong. If you l i ke t he downt empo el ect roni cs wi t h guest vocal i st s mat eri al of previ ous Conj ure One, or t he sound of Del eri um, i n t he l ast t hi rt een years t hen t hi s wi l l be musi c t o your ears. 7/10 - AA
KELLETH
music reviews
MUSI C
Nude - Basi c Gueri l l a Moves
rel eased by Bl ack Rai n on 22 Oct ober 2010
dat a : 3rd al bum . 16 t racks . 77:51 run t i me . www.myspace.com/nuderi ot
revi ewed by : Aaron Andrews genre : breakbeat, drum & bass
Nude i s a mul t i -member, mul t i -nat i onal Ger-
man out fit t hat has focused on wri t i ng some fant ast i c and hi gh-energy t racks, and i f t hei r press sheet i s t rue t hen t hey al so have an ob-
sessi on wi t h put t i ng on an energet i c and ex-
ci t i ng l i ve show. A l i ve drummer, mul t i pl e vocal i st s and programmers hel p t hi s al bum find i t s way i nt o some cool t erri t ory. Basi c Gueri l l a Moves i s a drum & bass and hard breakbeat al bum but you hear i nspi ra-
t i on from a few genres of el ect roni c musi c. Influence of art i st s l i ke The Chemi cal Brot hers, Vi ol et Vi si on, Roni Si ze, The Prodi gy, At ari Teenage Ri ot, and Di esel Boy can be pi cked up i n a few l i st ens. The sound desi gn and composi t i on i s fun, exci t i ng and whi l e i t ’s not genre shat t eri ng i t i s uni que. Al l t he songs are fast, hard hi t t i ng and wel l composed. I’d l ove t o hear most of t hese t racks out at t he cl ub where I’m sure i t s qual i t y and cat chi ness woul d be i nfect i ous. Because Nude i Vardensphere - Bl oodwater
rel eased by Synt het i c Sounds on 2 November 2010
dat a : 2nd al bum . 13 t racks . 65:54 run t i me . www.i vardensphere.com
revi ewed by : Aaron Andrews genre : t ri bal i ndust ri al, rhyt hmi c noi se
Bl oodwat er i s t he second al bum of Edmon-
t on’s i Vardensphere, t he brai nchi l d of Scot t Fox assi st ed by Chri s Lacroi x. The first i Vardensphere al bum, Scat t erf ace, was a harsh i ndust ri al ri de t hat was good but was l acki ng a ful l y di st i nct personal i t y. Bl ood-
wat er t akes st eps i n t he ri ght di rect i on and proves i t sel f an excel l ent sophomore rel ease. The al bum t ook al l t he t hi ngs t hat t he band was doi ng ri ght and i nfuses t hem wi t h a new and more i ndi vi dual sound. Bl oodwat er mi xes t he harsh, gl i t chy el ect ron-
i cs and i nt erest i ng sound desi gn t hat Fox showed such a t al ent for wi t h worl d el ement s l i ke t ri bal drummi ng and chant i ng sampl es. There are an array of ener-
gi es represent ed here; furi ous, cont empl at i ve, t rance i nduci ng, and at mospheri c. The feroci t y of i Vardensphere’s most energet i c t racks (“Anci ent s” and “Si ck”) form a core t hat t he more experi ment al songs (“Fi l t erscape”) bui l d on t o make an i nt erest i ng and somewhat di verse musi cal j ourney. Bl oodwat er pl ays out l i ke t he ceremony for t he nat ure spi ri t, t here’s reverence and revel ry al l i n one. The al bum al so feat ures t hree remi xes t hat offer some i nt erest i ng t akes on t he ori gi nal s; a Progressi ve House mi x from Rot ersand, a Harsh EBM mi x by Komor Kommando, and a dubst ep-esque mi x by Assembl age 23. I found t he remi xes t o be a wel come addi t i on t o t he al bum.
recommended tracks : Fi l t erscape, The Source Of Uncert ai nt y, Si ck
i f you l i ke you may l i ke : Thi s Morn’ Omi na, Indi vi dual Tot em, Geomat i c
grade : overal l 8 - musi c 8 - recordi ng qual i t y 9
Maserati - Pyrami d of the Sun
rel eased by Temporary Resi dence on 9 November 2010
dat a : 8 t racks . 40:16 run t i me . www.myspace.com/maserat i rocks
revi ewed by : Paul Mori n genre : psychedel i c, post -rock, i ndi e
I was di sappoi nt ed i n t hi s al bum. There, I sai d i t. Aft er 2007’s Invent i ons f or t he New Season, whi ch I heral ded as some second comi ng of post -rock, and aft er seei ng t hem l i ve and wat chi ng drummer Jerry Fuchs (al so of !!! fame) pound t he l i vi ng hel l out of hi s ki t, I real l y want ed more from t hi s rel ease, but I di dn’t feel I got i t. The same formul as are present on t hi s al bum, pl aci ng t he band somewhere bet ween t he l at e 70s/earl y 80s prog and Kraut rock scenes (t hi nk Pi nk Fl oyd’s “One of These Days” mi xed wi t h “Run Li ke Hel l ” or Vangel i s’ cl osi ng credi t s t o Bl ade Runner or t he Doct or Who t heme). They added a few new t wi st s, part i cul arl y t hei r use of synt hs (whi ch wi l l bri ng even more compari sons t o Kraut rock), and t he rhyt hm sect i on i s not hi ng short of fant ast i c, pul l i ng off feat s of endurance t hat sound l i ke a hel i copt er t aki ng off or a t rai n runni ng by at ful l speed. The gui t ars dri ft off i nt o a worl d of del ay and any ot her effect s t hey can get t hei r hands on (i ncl udi ng a t al k-box, whi ch kept Massi v I n Mensch - Ni emand wei ss, was di e Zukunft bri ngt
rel eased by Art offact Records on 7 December 2010
dat a : 6t h al bum . 14 t racks . 53:00 run t i me . www.massi v-i n-mensch.de
revi ewed by : Mi ke Ki effer genre : t echno, i ndust ri al
Massi v i n Mensch ret urn wi t h t hei r si xt h st u-
di o al bum, Ni emand wei ss, was di e Zukunf t bri ngt (Nobody Knows What t he Fut ure Wi l l Bri ng). The al bum st art s out wi t h an i nt ro t rack feat uri ng act or Rei ner Schoene provi d-
i ng an epi c l ead up t o t he first song “Tei g Der Vernunft ”. Thi s i s a sol i d song wi t h Anna-
Mari a St raat mann si ngi ng i n German wi t h mal e backi ng vocal s, t he musi c i s a ni ce sol i d beat and bri ngs t he unmi st akabl e Massi v i n Mensch synt h l i nes. Ri ght from t hi s first song you can t el l t hat t he al -
bum i s goi ng t o be somet hi ng speci al, i t has a more mat ure feel i ng t o i t. Thi s l eads i nt o t he fami l i ar voi ce of St eph from mi nd.i n.a.box on t he t rack “Transformat i on II”, whi ch i s a rework of a t rack ori gi nal l y done by @vx. Thi s rework adds a ni ce danceabl e beat t o t he ori gi nal t rack, whi ch was most l y ambi ent. I was surpri sed by t he t rack “Agai nst Al l Odds”, whi ch shows a di fferent si de of t he band, droppi ng t he dance and provi di ng a beaut i ful l ove song. “Ei n Tei l Von Mi r (feat. Tomas Appel hoff)” i s a fant ast i c song and dri ven by t he i ncredi bl e voi ce of Tomas Appel -
hoff. It remi nds me of t he si ngi ng of Pet er Heppner of Wol fshei m. They shoul d ask t hi s guy t o j oi n t hem more oft en. There are a few cl assi c Massi v i n Mensch cl ub st ompers, but for t he most part t hey seemed t o have rel axed a bi t on t he hi gh energy, i n your face st yl e. As usual t he al bum does mi x bot h German and Engl i sh l anguage songs, so bust out your di ct i onari es. There are a sl ew of guest appear-
ances and a ni ce mi x of songs, I was very pl eased wi t h t hi s al bum and bel i eve i t i s t hei r best t o dat e. recommended tracks : Tei g Der Vernunft, Ei n Tei l Von Mi r (feat. Tomas Ap-
pel hoff)
i f you l i ke you may l i ke : [x] Rx, Soman
grade : overal l 8 - musi c 8 - l yri cs 7 - recordi ng qual i t y 9
I:Sci nti l l a - Dyi ng & Fal l i ng
rel eased by Al fa Mat ri x on 26 November 2010
dat a : 2nd al bum . 11 t racks . 51:12 run t i me . www.i sci nt i l l a.com
revi ewed by : Mi ke Ki effer genre : el ect roni c rock
The Chi cago-based band recent l y made waves wi t h t hei r st rong EP, Prey On You. The ful l l engt h al bum, Dyi ng & Fal l i ng, was hi ghl y ant i ci pat ed and i t pi cks ri ght where t he EP l eft off. The al bum st art s wi t h “Swi m-
mers Can Drown” feat uri ng a ki cki ng 4-4 beat, crunchy gui t ars, and t he gl ori ous vocal s of Bri t t any Bi ndri m pul l i ng t he l i st ener i n t i ght l y. “Shari a Under a Beaut y Curse” and “Ammuni t i on” cont i nue t hi s formul a provi di ng t hree sol i d rocki ng songs i n a row. “Wort h t he Wai t ” i s t he first song t o break t he mol d sl owi ng t hi ngs down but st i l l keepi ng a hard edge. The t i t l e t rack, “Dyi ng & Fal l i ng”, drops t he di st ort ed gui t ars, l ays a groovy beat, and adds some wel l -pl aced vocal processi ng t o change t hi ngs up. “Face The Ki l l ” rat chet s t hi ngs back up wi t h a sol i d song wi t h an i nfect i ous chorus l i ne. Thi s i nt ensi t y doesn’t l ast l ong as “The Shake” st ops al l t he beat s addi ng a st ri ng sect i on, and uses t he power-
ful si ngi ng of Bri t t any t o dri ve i t al ong. The EP song “Prey On You” i s perhaps t he st rongest song on t he al bum, offeri ng groovy beat s, st rong l yri cs, and excel l ent programmi ng. The al bum does t end t o j ump around a bi t, l eavi ng me t o wi sh t hat al l t he sl ower songs were grouped t oget her so i f I wasn’t i n t he mood t o rock out I woul dn’t have t o ski p around. But t hi s l i t t l e flaw doesn’t rui n t he record for me. I feel t hat Dyi ng & Fal l i ng deserves mul t i pl e l i st ens t o di gest al l t he l yri cs and feel t he ful l i mpact of t he al l uri ng vocal s of Bri t t any. recommended tracks : Swi mmers Can Drown, Dyi ng & Fal l i ng
i f you l i ke you may l i ke : Hel al yn Fl owers, Ayri a
grade : overal l 7 - musi c 7 - l yri cs 8 - recordi ng qual i t y 7
has wri t t en some pret t y fant ast i c musi c and exci t i ng vocal part s for t hi s al bum I’m t ot al l y confounded about t he amount of i ncl usi on MC Tweeky get s. I’l l gi ve t he guy t he benefit of t he doubt t hat Engl i sh i s probabl y not hi s first l anguage (he’s Swedi sh) and maybe he even pl ays an essent i al rol e i n Nude’s l i ve act, but t he band’s t racks are awesome when he’s not domi nat i ng what i s ot herwi se great musi c. Basi c Gueri l l a Moves i s an exci t i ng and hi gh-energy al bum and I have no doubt i f you get t he chance t o see t hem perform l i ve you shoul d t ake i t. I find so many t hi ngs I l i ke about t hei r musi c, yet I hat e how much I’m di st ract ed by Tweeky. Pl ease, Nude, when you put t oget her your next al bum bel i eve me when I say you make enough exci t ement wi t hout your hype man. Scal e hi m back a l i t t l e. Thi s coul d have been an 8.
recommended tracks : Upbeat real i zm, Insi de, A Li t t l e Exci t ement, You Had It Comi ng
i f you l i ke you may l i ke : Di esel Boy, Vi ol et Vi si on, At ari Teenage Ri ot
grade : overal l 6 - musi c 7 - l yri cs 5 - recordi ng qual i t y 8
me on t he edge of my seat wai t i ng for t hem t o ease i nt o “Do You Feel l i ke We Do”). At t i mes t hi s formul a works wel l, and t he musi c real l y comes al i ve and crescendos l i ke a t i dal wave. At ot her t i mes, i t ’s j ust sel f-i ndul gent and l ost i n i t s own space. The al bum works ni cel y as a whol e, wi t h each song bl endi ng ni cel y i nt o t he next, but i s al so gui l t y of bei ng repet i t i ve and redundant, as t he same formul a i s appl i ed t o each song. Ul t i mat el y t here are some ni ce moment s but i t l eft me want i ng more i n t he end t han what sounded l i ke a score t o a forget t abl e, l ow budget sci -fi movi e or a boss fight i n a vi deo game col l ect i ng dust i n t he corner.
recommended tracks : Pyrami d of t he Sun, Oaxaca
i f you l i ke you may l i ke : Tangeri ne Dream, Mogwai, Trans Am
grade : overal l 6 - musi c 6 - recordi ng qual i t y 9
Uni t:187 - Out For Bl ood
rel eased by Vendet t a on 26 Oct ober 2010
dat a : 4t h al bum . 10 t racks . 48:36 run t i me . www.uni t 187.com
revi ewed by : Aaron Andrews genre : i ndust ri al
Uni t:187 have been around si nce 1994, re-
l easi ng t hei r previ ous al bums i n 1996, 1998, and 2003. The Vancouver, BC based band has been maki ng gui t ar-heavy el ect ro-Indus-
t ri al for a whi l e now. Uni t:187 has used t he Vancouver scene’s seemi ngl y cl ose ci rcl e of art i st s t o i t s ful l est havi ng, i n t he past, been remi xed by Rhys Ful ber (FLA), produced by Ant hony Val ci c (Ski nny Puppy, Jul i en-K) and now t hey have added Front Li ne Assembl y’s Chri s Pet erson and hi s Decree col l aborat or Ross Redhead t o t he regu-
l ar l i neup. Mi xed by l egendary producer Ken “Hi wat t ” Marshal l of Ski nny Puppy fame; Out For Bl ood i s a fresh and uni que face t o ol d-school i ndust ri al at a t i me when bands l i ke KMFDM are soundi ng worn out. Thi s i s t he ki nd of al bum t hat got me i nt o i ndust ri al musi c i n t he first pl ace. The harsh gui t ar ri ffs, t he ni hi l i st i c swagger i n t he vocal s and wel l -bui l t el ect roni c backdrops t hat t hose t wo more obvi ous pi eces rel y on are j ust as t hri l l i ng t o me as ever. Out For Bl ood i sn’t groundbreaki ng or l yri cal l y i nt el l i gent, but i t i s aggressi ve, unrel ent i ng, and pret t y fun. I feel l i ke I’ve been mi ssi ng t hi s ki nd of i nt ense essence of 90s i ndust ri al musi c and am happy t o have found i t agai n. Uni t:187’s first t wo rel eases had an al most cl i ch_ qual i t y t o t hem, but wi t h age and experi ence t hey have found a way t o do what t hey l ove real l y wel l. recommended tracks : Si ck Obsessi on, Li vi ng t o Di e, DDD
i f you l i ke you may l i ke : Front Li ne Assembl y, 16Vol t, Decree, KMFDM
grade : overal l 7 - musi c 7 - l yri cs 6 - recordi ng qual i t y 8
27
december/j anuary 2010/2011 AUXI LI ARY AUXI LI ARY december/j anuary 2010/2011 26
There are many guests appearing on the new album, what was the main rea-
son for all the additional talent? Could you please introduce us to guests on this album?
DL : Over the last few years we have always worked with guest musicians. I think it’s necessary to get new influences for your own musical concept. Next to mind.in.a.box we had collaborations with some local friends here, like Tomas Ap-
pelhoff, a singer/songwriter from Oldenburg. He’s working more with traditional acoustic instruments like piano, guitar, etc. It was a nice experience to create something electronic from his ideas. Mirco Dalos played the guitar on “Lost in the Thought”. He’s an independent artist from Rastede. Finja Battenberg played the harp on the same track, a great addition to have such a wonderful instrument in a Massiv in Mensch song, no plugin or something else, a real harp. Nebelgeist sings the female part in “Ob Du Auch Kalt Bleibst”, she’s also known from a lot of Kontrast, tracks like “Versprochen”.
The theme of this album would seem to be the future and science fiction, one notable feature on the album is the intro by Reiner Schoene. What was the source of this theme, perhaps a love of sci-fi movies? Was it the indented theme from the start?
DL : I am a big fan of Reiner Schoene since 1990 when he was the host of the German television show Fort Boyard. He has an impressive vita, playing next to Picard in Star Trek or in Babylon 5, for example. In Germany he’s also known for his great voice, doing synchronization in movies like Transformers, Star Wars, and Pirates of the Caribbean. I asked him about doing the vocals for our intro because I had his contact information from two years ago from doing an interview for the German fan website “Fort Boyard 1990”. He instantly said �yes’ and it was a great honor for us to hear the result. The cover art for Niemand weiss, was die Zukunft bringt features a DeLorean and a text treatment that references to Back to the Future, if you could use that DeLorean to go to the past or to the future where would you go?
DL : I think I would use the flux capacitor and drive into the past, perhaps between the years 1979 and 1985. Be a witness of �Neue Deutsche Welle’ [German new You are about to release your new album, Niemand weiss, was die Zukunft bringt, what are your thoughts on this album compared to others and how do you think it will be received?
Daniel Logemann : I think Niemand weiss, was die Zukunft bringt is our most ma-
ture album in all these years. You hear less experiences, less difficult structures, and more classic song elements. Furthermore, there are a lot of new sounds and guest musicians on this album who bring a lot of new facets to the known Massiv in Mensch attitude. Next thing, we have a firm goal with the combination of the songs, the album name, artwork, and band photos. So all in all, I think Niemand weiss, was die Zukunft bringt is the best Massiv in Mensch album to hear as a whole. Sure, we hope that it will be accepted from our fans and perhaps we can convince some more people with this album.
Niemand weiss, was die Zukunft bringt is a strong album with many likeable songs, is there a song you wish the fans would fall in love with? What tracks are your favorites?
DL : My favorites are changing from time to time, and now I actually prefer songs I produced some weeks ago. But from this album my first favorites were “Trans-
formation II” and “I Love To Hate”. Now I think “Teig Der Vernunft” is a real good track with a nice synthline. It will be great when fans fall in love with one of those tracks. There are more ballads on this album like in the beginning years. So we have a good chance.
I was very pleased to hear another collaboration with mind.in.a.box on Nie-
mand weiss, was die Zukunft bringt, how did collaboration with mind.in.a.box come about and can we expect to hear more in the future?
DL : Well in that case it was more a collaboration with the French ambient musi-
cian @vx who delivered us the sound layers from the original “Transformation”. Steph from mind.in.a.box was the singer of that track. I think we arranged some-
thing very new, totally different to the first version. It’s always a pleasure to work with mind.in.a.box, I`m a big fan of their style. But I cannot say what the future will bring in that case. Germany’s Massiv in Mensch, known for their club hits, are back with a conceptual, new studio album on Artoffact Records, Niemand weiss, was die Zukunft bringt, which brings more of those danceable tracks but in a more mature, polished package. The album is full of collaborations including a new track with mind.in.a.box and an introduction, sure to excite cult movie buffs, by German actor Reiner Schoene. Armed with a DeLorean and their upcoming retro-futuristic album, “nobody knows what the future will bring,” except for maybe Massiv in Mensch. interview by Mike Kieffer and Jennifer Link
MUSI C
29
MASSIV IN MENSCH
wave] with the knowledge of today.
Many German and Eu-
ropean electro and syn-
thpop artists choose to write most of their lyrics in English but Massiv in Mensch features a good split between English and German. What’s your reasoning for this? DL : It is a spontaneous and emotional feeling of which langugage could fit better into a track for the message we want to transport. Some-
times it’s better picking the powerful German language and in other cases we need the English language to encrypt some messages we would never use in German.
I’ve always found Massiv in Mensch catchy and well written, the way good hit pop songs are clearly written by a talented composer. What is your pro-
cess, do the songs start out electronic or do you compose first on other instru-
ments?
DL : The first ideas I have in my head, and then I will create sounds with my elec-
tronic programs and stuff. Sometimes I use my old keyboard or the harmonica to play some melodies I want to use inside a track.
Industrial and EBM music has a solid history of tongue in cheek, sarcastic, and playful artists, who if any of them have you drawn on to create the Massiv in Mensch sound?
DL : Artists like Tommi Stumpff, Wenndann, or Les Berrtas have inspired us relat-
ing to the sarcastic element in our lyrics. Our sound is more universal and not only based on EBM or electro artists. We also have influences from a lot of techno or trance artists, for example, the Utah Saints or The KLF.
You once said while Massiv in Mensch is meant to entertain, it also has un-
derlying social messages. What is the message within Niemand weiss, was die Zukunft bringt?
DL : It’s both entertainment and sending messages, but never with morality, we are using more of the sarcastic way. �Nobody knows what the future will bring,’ is a message in itself and a sample in the “Kybernauten” track. It has a very final but also speculative character. And sure you can use that for Massiv in Mensch, it has always been a bit of our leitmotif, each album is very different to the forerunner. You never know what’s coming next! Furthermore, the album title was a great opportunity to use the Back to the Future aesthetic.
Where would you say your largest fan bases are? Is it Germany and Europe? Or perhaps Canada, being on the Canadian label Artoffact?
DL : When I look at LastFM, Facebook, MySpace, Twitter, or other social net-
works I can negotiate that we have the most fans in North America. It’s absolutely great to see that we have a lot of fans there who love our music. In Germany it’s a bit more difficult to get reactions like enthusiasm or excitement. Also the electro/
EBM scene is very large with a lot of bands. I also think that German bands have got this �exotic’ factor in foreign lands.
Are there any plans to tour to support this album? DL : We want to play a lot of shows next year and present the new tracks. I don’t know if we can realize a tour but it would be great. We’ll check our opportuni-
ties as well with booking agencies.
Do you enjoy playing festi-
vals or touring more? Do any past festival perfor-
mances stand out from the others?
DL : Yes, we love to play live. It’s a great feeling to see and feel how people re-
act to the tracks, like danc-
ing or celebrating. The most exciting gig was for our ap-
pearance at WGT 2005 in Leipzig on the Parkbuehne.
You are asked to DJ the ul-
timate, ideal “dark rave”, name five tracks that you would definitely play.
DL : New Order “Confusion”, Klinisch Tot “Klinisch Tot”, Empirion “Ciao”, Some More Crime “Moral Code”, and The Horrorist “One Night in New York City”.
Is there anything you would like to say to our readers?
DL : I want to send greetings to all the readers from Aux Mag! Please visit us at www.massiv-in-mensch. Thank you!
Daniel Logemann and DeLorean
december/january 2010/2011 AUXILIARY AUXILIARY december/january 2010/2011 28
“ Nobody, seriously nobody, wants to watch a guy rock a laptop for an hour. It’s not entertaining. Interact with the crowd and not the cursor.”
“ The word easy has no place here. Getting iVardensphere where it is now has taken countless sacrifices. ”
If you had to describe iVardensphere’s music to someone who has never heard it, what would you tell them?
Scott Fox : I’d have to say that you should expect to hear a lot of different sounds packed into a short space. iV’s sound has matured quite a bit over the last year but in staying true to the first CD, Scatterface, there is no one style I’ve stuck to. I’ve been digging deeper into tribal sounds and working with aggressive grooves instead of the standard �base/lead’ style. In exploring these groove oriented songs, I’ve been able to focus more time on unique sounds that you won’t hear on most other four-on-the-floor club releases. What influenced you to use tribal drums in your music?
SF : Bands like This Morn’, Omina, and Juno Reactor have always gotten under my skin. There is a primal energy there that is timeless and absorbing. I dabbled with the tribal side with Scatterface, but Bloodwater goes balls to the wall. I recorded a local Japanese Taiko Drum group called Booming Tree for the song “Ancients”. In another song, “Filterscape”, I recruited an eastern Indian drummer to share the hand drum duties with me. Tell me about your newest release Bloodwater. How do you feel it compares to 2009’s Scatterface?
SF : Overall Bloodwater is much darker and more aggressive than Scatterface. As a counterpoint to the groove driven tribal material on the CD, I really wanted to have some songs that would rise up and punch you in the face. “Sick” and “The Source of Uncertainty” do this just great. “A Sign of Things to Come” includes some additional programming by Yann, Iszoloscope, and is aimed squarely at the dance floor. While Scatterface was a period of discovery for iV, Bloodwater is a sign of where iV is heading. Over the past year the name iVardensphere has been all over the place, has this been an easy road or a tough one? What were the high and low points?
SF : The word easy has no place here. [laughs] Getting iVardensphere where it is now has taken countless sacrifices. While writing the music is something I love to do, the business side of things cannot be ignored. I’m glad I’ve got the support network to make this happen. Like with any band that wants to go anywhere, you have to stand behind your decision to make your band a priority in life. Not a day goes by where I’m not working on iV. Not a decision goes by without considering how iV will be affected. The low points include not having a life outside your mu-
sic. Music becomes your life. The high points are what make the sacrifices worth it. By the end of this year I will have been on tour for three months, don’t confuse missing my wife as a high point. This year I have seen more places and done more With an evolving and primal sound, iVardensphere out of Edmonton is the creation of Scott Fox. With a background as a DJ, having played the notorious club nights SICK and Das OOntz, Fox knows what makes solid, hard hitting dance tracks. And when he brought Chris Lacroix into the project they were able to transform that formula into an engaging live performance. iVardensphere’s Scatterface launched them into success, and with the release of their new album Bloodwater and recent tour with Combichrist, it has been nothing but up from there. interview by Mike Kieffer
MUSI C
i Vardensphere
crazy things than I have ever done before. The people I am meeting continually amaze me. I’ve seen each ocean, multiple times, this year alone. I get the chance to wander most of the cites we hit and feel the heartbeat of the place. The fact that music has this power is inspiring. How did the upcoming tour with Combichrist come about? And how have your prepared?
SF : Lots of emails! [laughs] Realistically, it would not have happened if every-
one involved did not hear something special in us. Everyone from Synthetic, our label, to the Combichrist folks has been really positive that our sound needs to be heard. The members of Booming Tree Taiko have agreed to join iVardensphere to bring a killer tribal drum sound. It took a lot to make this happen but the result is nothing less than amazing. Booming Tree worked with us when we performed with Front Line Assembly and the crowd reaction was more electric than I had ever hoped. This needed to be the lineup for the tour. After seeing your performance at Kinetik in May, I’d say your show was en-
gaging and a relief from the standard man behind a MacBook, any thoughts on how this sets you apart and perhaps some advice for the computer guy?
SF : Nobody, seriously nobody, wants to watch a guy rock a laptop for an hour. It’s not entertaining. Interact with the crowd and not the cursor. I believe that people are only going to give you as much energy as you give them. If you’re staring at your laptop the whole time, don’t be upset when half the crowd is staring at their phones rather than rocking out. A concert is a performance. How has your experience making original music in the alternative/industrial scene and your experience DJing at alternative/industrial clubs impacted each other?
SF : In two ways, being a DJ, I’m always on the lookout for a song or sound that will blow the roof off a nightclub. When you start producing, you’re able to recognize the good parts of your song and work with them while seeing the lackluster spots and deleting them. DJing is like training for production. It’s a natural evolution that more DJs should try. [smiles] Secondly, having constant access to various nightclub sound systems, I’m able to test my material in that sort of environment with regularity. I can build a song and try it out that night. If the kick needs more punch or the lead needs more scream then I’ll fix that during the week, then try it out on the big system the next week. It’s a luxury many folks don’t have. What do you like most about the scene and what do you hate the most?
SF : I like the fact that there are no rules. People are free to wear whatever they want and listen to whatever they want. The music they write can be crafted how-
ever that person likes it. There is endless support for the artists even when times are tough. I love the underground!
Don’t like?
SF : Negativity. Don’t tear apart people who are writing music that is not just like one of the five bands you listen to on rotation 24/7. They are busting their balls making art. If they’re not for you, so be it. Don’t crucify them for it. I also don’t like people going on for hours about how the scene is dying. It’s not dying; far from it. It’s evolving. No, not every band these days is a Skinny Puppy. Puppy was once a young band that grew into legend. Look towards the young bands today and you’ll see a lot of really great stuff coming out. Look to music made on smaller or more obscure labels. This stuff is my bread and butter. [smiles]
Any plans to try get into music videos?
SF : I’ve thought about it and it might be something I’ll look closer into a year or two down the road. I’ve got some interesting ideas I’d like to explore down that road. Before that happens, I have an iVardensphere related 5.1 surround sound idea that I’m going to work on. I’m pretty pumped about that one. Where do you see iVardensphere in five years?
SF : If this level of touring keeps up, we’ll be in a hospital. [laughs] In all hon-
esty, all the things that have happened over the last two years have blindsided me. Things with iVardensphere have gone way more vertical than I could have ever predicted. I don’t know what things will be like a year from now, much less five. I have to finish construction on the new and improved Noise Haus Studio. More immediately, we’ve been invited back to the Kinetik festival in Montreal in 2011. Kinetik is a blast. Everyone should go! With any luck, in five years we’ll be do-
ing more in Europe.
31
december/january 2010/2011 AUXILIARY AUXILIARY december/january 2010/2011 30
Chris Lacroix and Scott Fox
MUSI C
I can feel good records from a mile away and know when a thrift store ap-
proaches in foreign cities, or just what person to ask at that garage sale. It’s just in my blood! Plus being a collector first, you get some sick deals on records that would otherwise be very pricey. And thus my collection grows just as my passion grows. It’s never ending. It’s beautiful. Oh, and records are easy to pack and ship!
Why vinyl?
DK : As much as people say, �Vinyl is coming back,’ I don’t think you’re going to see kids on the bus with portable turntables, but I do think vinyl is making a big comeback. Years ago I was DJing and this younger guy asked me about a song, and I said, �It’s Andre Williams, and this song is called Jailbait.’ He asked me if it was online, and I said, �God, I don’t know, I have it on a 45 at home…’ Comes back two weeks later and tells me he downloaded every Andre Williams song ever recorded. Now, that’s interesting on some levels, but how much of that is he going to digest? These kids that have a billion songs on their iPod, that’s wonderful, but are they really listening? The art of listening has disappeared. I mean, you sit in a chair or put on headphones and you’re just listening. You’re not on Facebook, you’re not watching Entourage. You’re treating the recording as a piece of art. I think it boils down to your passion for music. And back to vinyl, I think vinyl helps make that happen, because the whole ritual of it is going to make you listen more intently. It’s more than just background noise while you do the dishes or something. Do you consider yourself an antique-er?
DK : Not really. I kind of hate them. I mean, I do the same thing as them, so I shouldn’t, but I despise estate sales, and that’s where a lot of people have to go to find the stuff, and I find them very depressing. I mean, at the same time I love them, because you can find cool stuff, but it’s really disturbing. You get there early, and everyone’s all buddy-buddy before you go in, and as soon as you go in there, it’s like World War III, you know! People elbowing each other and swearing and people are going over your shoulder to look in the box of records you’re looking at! I try my hardest not to go to those, and I’m sure I miss some stuff, but at the same token, even if I’m there, if it’s just me and five other record guys, and there are 200 records, what am I going to get out of it? Is it worth me getting up at five in the morning to get maybe two or three good records? I do the same tricks antique people do, but resellers in any field are way more rabid and intense than just a collector, and antique people prey on the elderly and they really do take things that are worth quite a bit of money for dirt, and are very rabid about it. So it’s a little bit insipid. I mean, I’m all about making money, but there should be some kind of morality in there. Maybe a little. Just a little bit of morals. [laughs]
get in the know
When not schooling kids on the virtues of vinyl or digging through stacks at your local Salvation Army, Dr. Know runs a podcast online which features many of his gems in the rough and lost artifacts you won’t find anywhere else. Check it out: www.drknowshow.podomatic.com.
Every town has one: That guy who knows a little too much about music. Not just the trivial names of the bands or the songs or their members, but the value of any musical artifact you can think of. Think that old White Album collecting dust in your garage is worth something? Think again, he tells you with a wink. Tales of his good fortune are the thing of legend whispered from collector to collector, about the time he found a first press-
ing of Whatever on Nowhere Street, or that gem he found at a neighbor’s yard sale after digging through fifteen crates of junk, then sold them both online for small fortunes. And legend also has it that he makes his living solely from buying and selling music without a storefront. He bought a house, a car, and so on. Like a student seated at the foot of the master, I visited our local guru “Dr. Know” (aka Dave G) on a stormy night with lightning flashing in time with the Butthole Surfers and Wire records he played at maximum volume late into the night as his sermon con-
tinued, and I desperately tried to pry from his mind the secrets of his trade. Dr. Know : I’ll say I’m still learning, but it takes years. People will ask me, �What is it worth?’ Well, I can’t tell you. I wouldn’t anyway [laughs], but it’s not something I could tell you. If you’re a mechanic, you hear an engine and you know what the hell is wrong, and being into records as much as I am, I certainly have an eye for records that most people wouldn’t even look twice at that would be worth money, but it’s guidelines you learn over time. I look at it as a slot machine. Let’s say I buy ten records, and they all fit a criteria in my mind. Ten records that I know that have a chance to be worth something. There’s a good chance that nine of those records ain’t worth shit, but the one that is could be worth anywhere from $20 to $1,000. My investment is $10 or less, so I didn’t lose, even if I only get my $10 back. So maybe it’s better than a slot machine. [laughs]
But then you have nine albums of junk to carry around with you.
DK : Well, here’s the other thing: I got nine albums of junk, but being in the game, if I chose nine albums, and they have enough going for them, then I’ll get my dol-
lar back from another dealer at a record store, because they’re going to take the same chance I did. So it’s basically just collectors circling things around and taking chances?
DK : That happens a lot. Nobody knows everything, and there are so many vari-
ables. Every time I go looking, almost every day, I’m still seeing records I’ve nev-
er seen before. And to hit it, you have to take chances. That’s part of the game. What are some big catches you’ve had?
DK : The most I’ve ever sold a record for was around $1,600. That’s fantastic, but compared to someone who deals in vintage movie posters or something, that’s nothing. As far as I know, the highest selling record ever is the Mark David Chapman signed Lennon record. That record, the one Lennon autographed before he was shot, went for $400,000, I think. That’s a pretty good grab, and some guy found that in the bushes after all was said and done. As far as I know, that’s the highest a single album has ever sold for. Next up is the Velvet Underground’s Acid Tape that was found at a garage sale I think two years ago. That sold for $26,000 on eBay. Now that’s really good money, but if you watch something like Antiques Roadshow, how often do you see people with paintings where they’re like, �this is worth $200,000!’, you know what I mean? And let’s take the classics here: The Beatles butcher album. Everyone always talks about The Beatles butcher album and how it’s so rare and worth so much money. [Original pressings of The Beatles’ Yesterday and Today had a controversial alternate cover which the label recalled.] Well, if you go on eBay right now, I guarantee you there will be at least one Beat-
les butcher for sale up there. It’ll be pasted over, but it’ll be there. It’s a record that’s got a reputation for being really rare, but it’s really not. If it was that rare, it wouldn’t be on eBay every week. Now, if it’s a first state real butcher, where it was never pasted over, then yeah, you’re looking at pretty good money, maybe upwards of $15,000 or $20,000. Is that the Holy Grail of record collecting?
DK : Kind of. But I think even more of a Holy Grail would be Robert Johnson 78s. To me, that would be one of the most mythical things you could ever find. One just sold yesterday for $2,000. And I want to say that two days ago another one sold for $10,000. And that’s really good money, but again, when you compare it to something like art or antique furniture or something, it’s still sort of small potatoes. Let me put it this way: There’s no record out there that’s going to let me retire. I’m not going to find some 45, sell it and pay everything off and just never do anything again. There’s no record that I know of that’s worth that kind of money.
Then why do you stubbornly stick to music?
DK : Records are what I know. They have been my life for many years. If a day goes by where I don’t get to crate dig, I don’t like it. I mean, I could look through records for days without food or water or sleep if the collection was right. In fact, I have recently become one with my ESVP [“Extra Sensory Vinyl Perception”]. by Paul Morin
Dr. know
32
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bibian blue
december/january 2010/2011 AUXILIARY AUXILIARY december/january 2010/2011 photographer MarГ­ a S. Varel a
makeup arti st Jose Val l e and Masui mi Max
hai r styl i st Jose Val l e
model s Masui mi Max, BГЎrbara Masi ГЎ, and Mi ss Dol l
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Opera Pink Dress.
Android Lust
Human Animal If it’s not the best Android Lust album, then it’s at least the most mature. Moody and organic, cold and sterile, all at once. Android Lust is back after a four-year break, and it was well worth the wait!
Ascii.Disko Stay Gold Forever Gold Great hard driving beats that progress and weave throughout the album, this will transcend you to the next level.
The Birthday Massacre Pins & Needles Chibi and crew return with a powerhouse of a synthrock album. Each song on this album deserves its own single. Edge of Dawn Anything That Gets You Through The Night The highly anticipated album delivered. With the right mix of poetic lyrics and intelligent beats, it pushes the bar for futurepop albums.
Goldfrapp Head First Taking the band’s fascination with disco and 80s synthpop another step couldn’t have worked out better. Alison’s incredible voice and the fantastic song writing make this some really addictive pop music.
Groove Armada Black Light Cues from indie rock, synthpop, electro house, and downtempo with a taste of new wave 80s. This is club and pop music friendly but easily the best Groove Armada album and one of the best retro-electro releases of the year.
iVardensphere Bloodwater A mix of rhythmic noise and tribal industrial, the hardness mixes very well with the worldly and raw tribal drumming and chanting vocal samples. A cool direction for industrial music to be going in.
LCD Sound System This is Happening Indie-disco-punk explosion featuring the whole party from start to finish, from dancing on tables to the hangover and pangs of regret.
Liars Sisterworld Noise-punk revivalists put out their strongest, most consistent album to date.
Matthew Dear Black City Ghostly International label head puts out the best Low/Heroes era Bowie album you never heard.
Nitzer Ebb Industrial Complex The first new material from the band in years finds them older, wiser, and focused on writing both kick ass and more mature music. Their time apart has grown their ability and this has allowed them to show it off. Niveau Zero In_Sect We’ve been excited all over again with this fresh face to dubstep. Excellent beats and hard bass mixed with cool sampling and talented MCs make this a great listen over and over.
Shiv-r Hold My Hand This is a solid dark EBM dance album. Shiv-r will make you dance the hardest in your darkest of blacks with a big gleaming white smile.
Swans My Father Will Guide Me Up A Rope To The Sky The return of Michael Gira’s noise machine resurrected after a decade of silence with a new album that easily ranks in with the best of their old material.
Underworld Barking The return of Underworld finds them excited, invigorated, and in love with life on this mostly happy and upbeat album that features collaborations with musicians across the electronic dance spectrum.
These New Puritans Hidden Borderline prog-rock, math-rock, and post-punk but none of the above. Strikingly original and ambitious in a Public Image Limited kind of way.
Veil Veil Vanish Change in the Neon Light There is no denying The Cure connection, yet this album is simply a post-punker’s wet dream. This quintet puts out an amazing wall of sound that is filled with solid bass lines, crunchy guitars, and haunting vocals.
We Love We Love If The Knife went more techno you would get We Love. The album brings a dark and eerie mood. You can not resist this album. Xiu Xiu Dear God I Hate Myself Neurotic indie rock for the depressed and masochistic set with everything but the kitchen sink thrown into the mix to get their point across.
Yeasayer Odd Blood The Brooklyn based experimental pop group continues to build their eclectic psychedelic dance empire with their most pop inspired album to date.
MUSI C
Top 20 of 2010
34
* listed in alphabetical order
Receiving multinational successes out of Barcelona, Spain, Bibian Blue’s ap-
proach to the bygone era is one that has led to a bright future for connoisseurs of a darker aesthetic. Beginning her career in graphic design, Bibiana (founder and lead designer) has had the opportunity to dress the likes of well-known Spanish celebrities, wardrobe for television programs and feature films. With international press and acclaim, and now beginning an expansion of custom boutique shops outside of their Barcelona hub base, Bibian Blue’s selections of custom lace, corsetry (for men and women alike) and high-class wear recently enjoyed full publication in the 2009 collection book Lacing Glamour with designs ranging from the elegant and colorful, to non-conformist items with a focus on portraying the art of the female body.
Could you tell us about the origin of the name “Bibian Blue”, how did you come by that name?
Bibiana : My real name is Bibiana and Blue is an adjective that when I started, described perfectly the sort of mood that I wanted to transmit into my clothing. Nowadays my collections are more colorful and diverse but still keep the romantic feeling of it. I think it suits my designs.
Your designs clearly have a lot of passion behind them, what are the goals or principles you try to adhere to when creating them?
BB : I just do what I like, I don’t really think about it that much. With time I am getting more confident about my ideas, so I just let them flow. I love to experiment with new directions. What is your design process and how has it changed over the years?
BB : When I start a collection, I find the general concept of it, and I spend a few months looking for inspirations toward that direction, like colors, shapes, and fab-
rics or anything that I find interesting or related to the concept of idea of the collec-
tion. When part of the designs are drawn, then I start to make them. Some of them are the same as they were drawn and some end up completely different from the original idea, but in any case, there’s been a few months of work behind them.
I see many historical references in your designs, how do these inspirations translate into your creative design process and into your original modern de-
signs?
BB : My parents were antique dealers. I grew up surrounded by gorgeous antique things. I think it is impossible not to be inspired by that, but I also take inspiration from everywhere, and historical fashion is a big reference for me. But I always try to add a twist of modernity.
The corset is an essential garment in Bibian Blue designs, what draws you to the corset and keeps your interest in it alive?
BB : I think it is a great garment, usually forgiven by fashion, that gives a great shape and beautiful forms to the human body. It is nice to create new volumes and to exaggerate others. One of the first garments I ever created was a corset, I’ve always been in love with them.
Do you find that your personal fashion tastes get reflected in your designs for Bibian Blue?
BB : Definitely, yes. I create what I’d love to wear. Some items I would wear more often than others, but always created with my personal tastes. I also like to experiment with volumes, colours or textures that may not be the best for my own style, but I think I would always find an occasion to wear it.
What is your favorite article of clothing in your closet?
BB : Corsets and shoes.
What has been the biggest challenge for you as a couture designer?
BB : Currently, to make a fashion show into the official fashion week of Barce-
lona How do you relax after a long day? What hobbies or interests help you un-
wind?
BB : Last year it’s been a really hard working year so I don’t have much time nowadays for myself, and I usually arrive home quite late, but I try to take time for my boyfriend and I, or going out with friends. I also love music and concerts. I Spain’s underground fashion can likely hold a torch to the tight lace, undulating ruffle, and arresting shades and colors of Bibian Blue. Using the corset in so many interesting ways, including steampunk, couture, and glamour designs, the catalogue of style at Bibian Blue appeals as much to the imagination as to the delight of the world over. 37
FASHI ON
interview by Zach Rose and Meagan Hendrickson
love traveling so for my job it is something I do quite often, so it’s nice to take one or two days off for my-
self to visit new cities. I love art and fashion, and the internet is a great way to know what is going on. I think I spend too much time on it. It is great also to sometimes watch some movies.
Auxiliary Magazine has a North American view-
point, could you share with us your thoughts on the current fashion scene in Barcelona and your ideas on Bibian Blue’s place in it?
BB : Barcelona is a very artistic city full of great cre-
ative people, but tastes in fashion are more into other directions. Sometimes it is hard to be considered but I still like it. Though for me at the moment, there’s a bit of a boring period that seems that not much is going on. The problem I think that it is a very expensive city to survive, so all the underground culture is limited in many ways.
Bibian Blue has achieved great success in the Spanish couture fashion market and has received a wide variety of press coverage. What stands out as the most notable recognition to you thus far? How has it affected you as a businessperson?
BB : It’s been a hard job for many years, so now it’s great to be in all these magazines or on TV, even on the news, but that doesn’t change people that much. They might think that it’s something beautiful to see, but they would never wear. It is another mental-
ity, much more classic than other countries. We are lucky that we sell worldwide, so this does not affect us too much. I was very happy when I was featured in Vogue.
In 2009 your first book Lacing Glamour, a 50 page collection of your designs was released, any plans for future publications?
BB : When I started, I love to do photoshoots with all my best designs and it was the best way to show my work, so I have a lot of photos from that period. That is why the idea of the book came. Nowadays I am more focused on catwalks as it is quite new for me, and to expand my business so I don’t have that much time anymore. I’d love to do a second book, but that needs time, as every photo has a lot of work behind it. In the future I hope that there will be a second one. Now the same editorials are being published in different merchandising like puzzles and calendars of the best photos.
You collaborate with many amazing photogra-
phers and models, I see you are often also credited as the makeup and hair stylist, how do you balance all your talents on a photo shoot?
BB : I love to work with great artists, that makes my work more powerful, so I will keep doing collabora-
tions with all these great models and photographers. I used to do hair and makeup in all photoshoots to make my work more personal, and still do it sometimes, but now I prefer to collaborate with great professionals so the work becomes even greater. Still in some cases I prefer to do it myself than to explain how I want it and don’t get the expected results. Now I only do it when I feel like it.
The current Bibian Blue catalogue does not cater towards menswear, yet you do create custom mens-
wear for special clients. Any plans to expand your line to include more men’s fashion?
BB : I love to do men’s fashion. I used to do lots of clothing for them and used to sell very good, but now I am more focused on women’s fashion. I just did some new corsets for men, and in my store I have beautiful shirts, but not as much as before, and not online yet.
Bibian Blue currently has one boutique located in Barcelona where visitors can peruse your collections. Has the international success of your clothing line inspired you to open shops elsewhere such as New York or Los Angeles?
BB : We are opening a small boutique in London, in Camden in two weeks, so for us it is already a big step that we are very happy and proud of. We expect it to be a big change for us, so who knows what the future will bring. We have lots of clients and visits to our website from the US, so it would be a great new step.
36
december/january 2010/2011 AUXILIARY Medical Bodouir Dress
Opera Corset
FASHI ON
FASHI ON
39
style
One of the great style icons is Ed-
ward from the Tim Burton film, Ed-
ward Scissorhands. He’s become an archetype for many modern fashions, while not literally screaming, “I wan-
na be Edward from the movie!” The system of straps, buckles and other various hardware literally kept Ed-
ward’s body together, but they also served as accessories to give him a great look that was distressed and di-
sheveled. Menswear designers have taken inspiration from Edward’s en-
semble in forms of jackets and pants that include these intricate restrictive bondage-like straps and buckles and have mixed in an apocalyptic touch with repurposed materials. Pile it on, using materials such as PVC, stretch twills, and leather to get a cut up, multi-layer effect that can include leather belts, wrist cuffs, and disintegrated neck cowls. Edward is a character who was depicted as an unfinished creature, yet there is no denying he’s become a cult style icon and his image will continue to inspire men’s fashion in multiple forms. Iconic Edward
1 Eruption and Disfunction mens woven military shirt with detachable vinyl caplet and mens JUNKIE Fit stretch twill bondage pants both by Lip Service paired with Distressed Black Split Ring Hip Belt and Rock Star Belt both by Backstreet Leather Company and boots by New Rock.
2 Basic Textured Cowl by Ratty Wear by Sarah Viscera.
3 Death in the Arena mens military jacket with harness detail by Lip Service.
4 Death Star mens woven military shirt with wrap closure, buckle, and eyelet hardware details by Lip Service.
5 Distressed Pewter Studded Wrist Cuff by Backstreet Leather Company.
6 Collar Boned Spike Strip Collar by Ratty Wear by Sarah Viscera.
7 Vintage multi-strap boots by London Underground.
1
styl ed and wri tten by Meagan Hendri ckson
photographed by Jenni f er Li nk
hai r, makeup, and model
Chri st opher “Darren” Rackham
2
3
4
5
6
7
december/january 2010/2011 AUXILIARY Medical Bodouir Dress
Lovelace Couture Corset Dress
Purple Lovelace Dress
Lovelace Blue
Lovelace Couture Corset Dress
38
FETISH
photographer Luke Coppi ng
fashi on styl i st Mol l y Hoel tke
model s Kate O’ Connor and Mari e Vaccarel o
l ocati ons Noi r, Cl ub Di abl o, Buf f al o Chop House, and Pearl Street Brewery
december/january 2010/2011 AUXILIARY AUXILIARY december/january 2010/2011 THIS PAGE
Digi Skull Boot by Iron Fist.
december/january 2010/2011 AUXILIARY AUXILIARY december/january 2010/2011 THIS PAGE
Swordmaker Heel in silver by Irregular Choice with stylist’s own pinstripe tights.
UPPER OPPOSITE PAGE
Spit Spot Boot in silver by Irregular Choice with silver, black, and white patchwork leggings by Trendy Love.
LOWER OPPOSITE PAGE
Thelma Bootie by Iron Fist with leopard patchwork leggings by Trendy Love.
december/january 2010/2011 AUXILIARY AUXILIARY december/january 2010/2011 THIS PAGE
Ruff Rider Bootie by Iron Fist with grey and blue feather textured tights, studded shoe cuffs, and stylist’s own ankle tassel.
UPPER OPPOSITE PAGE
Attention Paris Heel in pink by Fluevog with pink and black leggings by Trendy Love.
LOWER OPPOSITE PAGE
LA Silverlake Ankle Boot by Fluevog with turquoise and black patchwork leggings by Trendy Love.
STONE
AND
SHADE
photographer Frankl i n Thompson
fashi on styl i st Domi ni c Loui s
makeup arti st Chri sti ne Lewi s
hai r styl i st Chri sti ne Lewi s
model Dyl an Monroe at Edge Model s
december/january 2010/2011 AUXILIARY AUXILIARY december/january 2010/2011 THIS PAGE
Mohair Cocoon by Dominic Louis.
OPPOSITE PAGE
Belted Tabetin Lamb Shall by Dominic Louis.
december/january 2010/2011 AUXILIARY AUXILIARY december/january 2010/2011 THIS PAGE
Organic Cotton Woven With Leather Epolit by Dominic Louis.
UPPER OPPOSITE PAGE
Recycled Denim Body Suit with Deer Skin Gauntlets by Dominic Louis.
LOWER OPPOSITE PAGE
Oxidized Lamb Warrior Trench by Dominic Louis.
Anticipation
photographer Jenni f er Li nk
fashi on styl i st Meagan Hendri ckson
makeup arti st Leane Steck
hai r styl i st Eri n Moser
model s Kerry Quai l e, Sarah Wi nt l e, and Benn Pul l i s
assi stant Zach Rose
december/january 2010/2011 AUXILIARY AUXILIARY december/january 2010/2011 THIS PAGE
Rose and Rapture Couture Gown paired with Cruel Passion Waist Cincher by Heavy Red. Das Bunker Button Front mens shirt in black and gunmetal color way by Lip Service paired with black and silver neck cravat and model’s own leather knee high boots. Untie Me dress by Heavy Red with Bella Noir necklace by Ghostlove Jewelry and Lena Horne sequined cloche hat by Boring Sidney.
THIS PAGE
Bella Noir necklace by Ghostlove Jewelry paired with Untie Me dress by Heavy Red and Lena Horne cloche hat by Boring Sidney.
december/january 2010/2011 AUXILIARY AUXILIARY december/january 2010/2011 THIS PAGE
Ghostlove Jewelry Blue Girl cameo brooch and Dark Charms layered bracelet, Silver Bolero Jacket by Blue Velvet Vintage and Elegant Affliction Evening Gown by Heavy Red. Lip Service’s The Blacklist Mens Waistcoat paired with Brocade Piracy Ruffle Shirt in black and wine color way and Step In Time Military Pant by Lip Service and Royal Blessing brooch by Ghostlove Jewelry. Burgundy Bias Cut Evening Dress with silver crocheted lace detail, Insurgent & Discontent Necklace by Heavy Red and Charlotte the Gypsy head wrap with rhinestone buckle by Boring Sidney.
THIS PAGE
Satin Black Corset with Heart Attack of the Dead of Night Netting Skirt by Heavy Red, stylist’s own hat featuring Royal Blessing brooch by Ghostlove Jewelry paired with Angelina’s Enrapture Necklace and Black Stone Cross Necklace by Heavy Red. december/january 2010/2011 AUXILIARY AUXILIARY december/january 2010/2011 THIS PAGE
Step In Time collection featuring Ivory Ruffle mens shirt, black Button Front Vest, and Step In Time Dress Coat with copper colored vinyl and buckle details by Lip Service.
THIS PAGE
Victorian Misfit Gown adorned with black lace, ribbons and sequins by Heavy Red paired with Bella Noir necklace and hair adornment by Ghostlove Jewelry Necromonicon Locket with rosary style design. Faux Fur Mens Tailcoat by Lip Service, Gangsta Pranksta Mens Snap Front Shirt by Lip Service paired with stylists own purple brocade cravat and Step In Time Military Pant by Lip Service.
december/january 2010/2011 AUXILIARY AUXILIARY december/january 2010/2011 THIS PAGE
WAC Cap and Neck Ruff in sacred heart print by Boring Sidney paired with Alice’s Mourning Tea Dress in black, Alice in Wonderland Tea Party Glove Set and Insurgent & Discontent Earrings by Heavy Red. Ivory Step In Time Ruffle mens shirt, Step In Time Button Front Vest and black Step In Time Dress Coat with copper vinyl and buckle details by Lip Service. THIS PAGE
Beaded Black Asymmetrical Evening Dress by Blue Velvet Vintage paired with Heavy Red Enigma Gloves, Kiss the Mistress Crop Jacket and Angelina’s Enrapture Necklace with ruby red details. Victorian Misfit Gown by Heavy Red paired with Bella Noir necklace by Ghostlove Jewelry, hair adored with Ghostlove Jewelry’s Necromonicon Locket with jet black glass beads. Faux Fur Mens Tailcoat with striped piping details by Lip Service, Gangsta Pranksta Mens Snap Front Shirt by Lip Service paired with stylists own cravat and Step In Time Military Pant by Lip Service.
FASHI ON
author Pret t y Deadl y Styl z and Meagan Hendri ckson
photographer Nadi a Papi neau
fashi on styl i st Prett y Deadl y St yl z
makeup arti st Carl y Sel l en hai r styl i st Sharon Burke model Eve Horodnyk MUST
Ghostlove Jewelry
www.ghostlove.com
Glamour Lush
www.glamourlush.com
H&M
www.hm.com
Heavy Red
www.heavyred.com
Iron Fist
www.ironfistclothing.com
Irregular Choice
www.irregularchoice.com
Lip Service
www.lip-service.com
London Underground
www.underground-london.net
Lux De Ville
www.luxdeville.com
Make Up For Ever
www.makeupforever.com
Manic Panic
www.manicpanic.com
New Rock
www.newrock.es
Oribe
www.oribe.com
Orly
www.orlybeauty.com
Paul Mitchell
www.paul mitchell.com
Ratty Wear by Sarah Viscera
www.oOoPlasticCouture.etsy.com
Sephora
www.sephora.com
Sugarpill
www.sugarpillshop.com
Tick Tock Trinkets
www.sarynangel.etsy.com
Trendy Love
www.zelnatt.etsy.com
where to buy
Artifice Clothing
www.artificeclothing.com
Backstreet Leather Company
www.backstreetleather.etsy.com
Bibian Blue
www.bibianblue.com
Blue Velvet Vintage
www.bluevelvetvintage.com
Boring Sidney
www.boringsidney.etsy.com
Doll Factory by Damzels
www.damzels.com
Dominic Louis www.dominiclouis.com
Fluevog
www.fluevog.com
AUXILIARY december/january 2010/2011 Steal the spotlight this holiday season in a vintage inspired party dress. A pin-up styled dress shows off those curves, yet is conservative enough to wear to an office party or family gathering. You’ll sparkle in the crowd even though you’re not wearing a typical special occasion rhinestone evening dress. Wheth-
er you want to capture the look of old Hollywood by pairing the dress with a pillbox hat and gloves, or give it a modern edge with stilettos and a wide belt, pin-
up inspired party dresses are an excellent choice for this holiday season. All eyes will be on you! PARTY
DRESS
ENJOY
VINTAGE STYLE
PinUp Peplum Dress by Damzels in this Dress
Available exclusively at Doll Factory by Damzels
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Tyrion
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