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Auxiliary №14

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Auxiliary Magazine is an alternative fashion, music, and lifestyle magazine available online for free. FEBRUARY / MARCH 2011
pete crane shiv-r
audrey kitching
alice in videoland
seduced by style
lingerie / lace leather latex
cyber / re-envisioned
scarfs / get entangled
hey sailor! / toxic vision
This issue is all about sensual, sexy style and is bursting with interviews! I always enjoy watching themes, trends, and patterns develop through the issues and there are many pleasing and unexpected connections being made in this one, whether it’s Covenant talking about their new album Modern Ruin in a way that reminds of the styling inspiration for the Aesthetic feature or the tactile and seductive fash-
ions running throughout the issue. Perhaps all the sensuality in this issue is that Valentine’s Day is just around the corner, yet beyond that it is the perfect time of year to indulge yourself and your senses, get close and cozy. And while you satisfy your lust for style with fashions from Hey Sailor!, Toxic Vision, Betsey Johnson, and satisfy your eyes with images from Luke Copping, Brent Leideritz, Charlie Bones, Ama Lea, satisfy your mind with insights from Audrey Kitching, Pete Crane of Shiv-r, Freezepop, and many more creatives. As always, thank you for you support and enjoy.
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.
Editor in Chief
Jennifer Link
Fashion Editor
Meagan Hendrickson
Music Editor
Mike Kieffer
Associate Editor
Luke Copping
Associate Fashion Editor
Molly Hoeltke and Pretty Deadly Stylz
Copy Editor
Zach Rose and Erin McPartlan
email :
issue 14 : february/march 2011
ISSN 1948-9676
Photographs / Illustrations
Stephanie Bell
Charlie Bones
Luke Copping
Laura Dark
Erica Eichelkraut
Ama Lea
Brent Leideritz
Jennifer Link
Zach Rose
Photographs on 12
Jennifer Link
and Rahul A. Saha
Images on 13
Columbia Pictures and Warner Bros.
Images on 14
Invincible Pictures
Photograph on 19
Ron Douglas
photographs on 21
photographs on 21
photograph on 31
Carla Richmond
Photographs on 35
Jennifer Link
Aaron Andrews
Arden Leigh
Clint Catalyst
Luke Copping
DJ ArcaTek
Meagan Hendrickson
Mike Kieffer
Jennifer Link
Paul Morin
Steve Prinsen Zach Rose
Adam Rosina
Vanity Kills
Graphic Design
Logo Design
Melanie Beitel
Layout Design
Jennifer Link
Luke Copping
email :
with all inquires
editor s letter
mission statement
4 entangl e
scarfs and neckwear
10 aestheti c
12 red l i ght di stri ct
bol d romanti c beauty pi cks media
13 the essenti al s : Dr. Strangel ove and Bl azi ng Saddl es
14 A Serbi an Fi l m
15 the Pi nUp
Audrey Ki tchi ng i n Toxi c Vi si on
19 ask arden
advi ce on rel ati onshi p strategi es
20 The Edwardi an Bal l
E i s for Edward, S i s for Steam
22 Pete Crane
of Shi v-r and The Crystal l i ne Effect
covenant : 28
audrey ki tchi ng . pete crane : 15 . 22 al i ce i n vi deol and . freezepop : 26 . 31
hey sai l or! . toxi c vi si on : 36 . 15
l i ngeri e . cyber . scar fs : 48 . 10 . 4
26 Al i ce i n Vi deol and
28 Covenant
31 seven deadl y questi ons
32 qui ck pi cks
Tron, Sui ci de Commando, and more...
33 musi c revi ews
Komor Kommando, Wi re, Iszol oscope,
and more...
35 styl e
be my (dol l y) val enti ne
36 desi gner spotl i ght
hey sai l or! hats
40 savant
48 harl equi n val enti ne
l i ngeri e, l ace l eather l atex
58 must
Betsey Johnson statement j ewel ry 59 where to buy
Photographer : Brent Lei deri tz Makeup : Mi shka
Hai r : Mi shka
Model : Model: Pete
Assi stant : Wendy Crane
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
AUXILIARY february/march 2011 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 2011.
february/march 2011 AUXILIARY ENTANGLE
photographer Luke Coppi ng
fashi on styl i st Meagan Hendri ckson
makeup arti st Andrea Losecco
hai r styl i st Jessi ca Jean
model s Pai ge Carson and Catheri ne Johnson
AUXILIARY february/march 2011 february/march 2011 AUXILIARY OPPOSITE PAGE
Black Roseberry Delight Stole by Ellita’s Flying Snail with white bracelet by Prototypist.
Olive Strand Cowl by Ratty Wear by Sarah Viscera and black laser cut ring by Prototypist.
february 2010 AUXILIARY
AUXILIARY february/march 2011 february/march 2011 AUXILIARY OPPOSITE PAGE
Ellita’s Flying Snail Ashenputel Neckwarmer with antiqued button detail.
Royal Mink Stole by Ellita’s Flying Snail. To achieve this look try eyeshadows from Urban Decay’s Vegan Palette.
AUXILIARY february/march 2011 february/march 2011 AUXILIARY THIS PAGE
Black bracelet by Prototypist and Heavy Texture Layer Cowl by Ratty Wear by Sarah Viscera.
Retro Cowl by Ratty Wear by Sarah Viscera. To achieve this look try D’Lilac opaque lipstick by Lime Crime.
photographer and author Zach Rose
fashi on styl i st Jenni f er Li nk
makeup arti st St ephani e Si gnorel l i hai r styl i st Eri n Moser
model s Nayi a Govas and Jenn K
The modern art movement of the late 19th to early 20th centuries is one that was all about experimentation. Bold, swirling colors of the expressionism facet, cryptic character portrayal of realism/idealism are among the many genres of what has been called “modern art”. Picasso, Van Gogh, or Matisse are present here. Meta-Nouveau incorporates the free thought of the modern art movement with the vibrations of cybersport style. Your look should evoke the throbbing lights of all-night laser sport and the darkened stroke of the painter’s brush.
Put modern art in the human face. Expressionism, a genre of modern art, is one that portrayed the world subjectively and used color to emphasize moods and emotions. Freeform painted and blended colors can be applied in a number of dif-
ferent ways. Experiment with shapes but remember to keep it clean; moderately defined, not sloppy. This is a look that should demonstrate personality and the power of an artistic soul. Opposing colors worn by a friend for this style could give a nod to the moods expressionism gave while noting whose team you’re on.
European art and cybersport should no doubt re-
flect in the hairstyling, clothing, and accessories. Geometry in the jewelry and wardrobe will nod to Picasso, and complement sculpted hair while providing a futurist aesthetic without being over the top. A cybersport style approach to the hair will complement the geometry that this entire look should elicit. The hair should have that structured yet will stay in place until 7am the next day look; pulled hair and sky-high offset twist buns with shapely flair. For shorter styles, twist and wave the hair into undulating, high sitting waves. Express your own forward thinking style while giving a look back, choose your color wisely.
New York & Company Curved Fringe Necklace, Bluebrow spring line charm bracelet, and Express metal cuffs paired with Futurstate Underworld Top. To achieve this look try Oribe Soft Lacquer Hair Spray and MAC Pro Lipmix in Blue and Acrylic Paint in Marine Ultra.
Custom tubing choker, Screen Dreams bracelet, and Triple Bauble earrings all by Bluebrow paired with Futurstate Replikant Top. To achieve this look try Oribe Soft Lacquer Hair Spray and MAC Pro Lipmix in Red and Acrylic Paint in Basic Red.
AUXILIARY february/march 2011 february/march 2011 AUXILIARY by Vanity Kills
Red’s reputation, as the gutsiest color on the visible spectrum, precedes it. Devoid of all inhibitions, it symbolizes seduction, danger, and aggression. To wear it is to simultaneously issue a mating call and a declaration of war, easily ensnaring willing male victims into a trap of thy feminine wiles. Blurring the lines between posh and tawdry, this spellbinding shade makes it entirely pos-
sible to channel 1940s silver screen icons and 1890s Moulin Rouge courtesans all at once. It matters not which bewitching beauty of times past you secretly wish to emulate, since scarlet women always have the upper hand.
1 Dangerous liaisons (the best kind) and secret co-ed sleepovers call for packing an ornate satin clutch, such as Rapture’s Affair Floral Purse by Heavy Red, to maximum capacity with glamorous necessities a refined dame needs to prep for close encounters with the boy kind. available at $48
2 The key to pulling off blushes in the red color family lies in choosing a sheer water-based gel formula. To fake the first date flush on your 129th tryst, lightly blend a natural looking peachy-red hue like Tarte Cheek Stain in Tickled along the cheekbones up to the temples. available at $30
3 To get what she wants from a man, a coquette first applies Love + Pressed Eyeshadow by Sugarpill Cosmetics all over her eyelids from lashline to crease. She then casually remarks just how delightful it would be to own a pair of red-
soled Louboutin pumps to match her luxe lids. available at www.sugarpillshop.
com $12
4 A high-maintenance broad like you won’t settle for any old paper bag brown emery board, oh no! In your world, even a snagged nail must be filed away with great pomp. And so, the Tweezerman FileMate in White with Lips should mesh well with your prima donna personality. available at $5
5 An immaculately painted crimson mouth is the perennial calling card of pinup girls and burlesque performers. Steal their thunder and score instant retro sex kit-
ten points by filling in your entire lip area using NARS Velvet Matte Lip Pencil in Dragon Girl. available at $24
6 Two coats of China Glaze in Ruby Pumps is the most dazzling, glittering way to get caught red-handed. What you’ll get caught doing is entirely up to you. available at $6.50
Red Light
by Luke Copping
1974 - United States
directed by : Mel Brooks
starring : Cleavon Little, Gene Wild-
er, Harvey Korman
In typical Mel Brooks style, Blazing Saddles is a satirical romp that strips and deconstructs the western genre to the bone and rebuilds it from the ground up while building in a comic sensibility that is simultaneously controversial, slapstick, and insight-
fully witty. Most often considered to be one of the great American com-
edies for its unique takes on race and bent archetypal characterization, Blazing Saddles is a film that bends and breaks the audience’s expecta-
tions with such regularity and in 1964 - United Kingdom
directed by : Stanley Kubrick
starring : George C. Scott, Peter Sellers, Sterling Hayden
For a movie like Dr. Strangelove to be released during the height of the Cold War was a feat in and of itself and a statement of Ku-
brick’s eternal bravery as a film-
maker. But for a film to handle a topic like the oppressive paranoia surrounding the threat of nuclear war that was felt during the 60s with such madcap wit and style was completely unexpected, one of the key factors that has made the movie a favorite well into contemporary times. Peter Sellers was playing multiple roles in films long before Eddie Murphy based the second lackluster half of his career on it. At the time Sellers was easily the most recognized comedic talent in films, having had a string of hits with Battle of the Sexes, The Pink Panther and Kubrick’s previous effort, Lolita. Sellers’ ability to fully inhabit his character’s unique physicality, quirks, and dialects made him a chameleonic actor equally suited to play the calm and polite Captain Mandrake, American President Merkin Muffley, and the over-the-top insanity of titular ex-
nazi nuclear expert Dr. Strangelove. Not to be overshadowed by Sellers’ remark-
able contributions to the film, actors such as George C. Scott, Sterling Hayden, and Slim Pickins all turn in memorable performances. This comedic look at how ineffectual political grandstanding, the hubris and in-
sanity of a rogue military commander, and the self-propagating nature of the arms race can lead to the ultimate destruction of the human race has lead to so many spoofs, references, and homages, that it may be one of the most influential movies of all time. Iconic scenes such as Slim Pickins riding a nuclear bomb down to the ground have become so ingrained in the visual syntax of American filmmaking that they have even been lampooned on The Simpsons. Dr. Strangelove is Kubrick’s canon as his most notable comedic piece. While films like Lolita may have moments of laughter, their overarching themes of obses-
sion were never intentionally wrapped in a package of satire in the same way the Dr. Strangelove was. Kubrick often played mayhem with the conception of genre films that people had, and Dr. Strangelove is like no war film or dark comedy that has come since.
such unorthodox ways that one often forgets they are watching one of the rare films chosen for the Library of Congress’ National Film Registry.
Blazing Saddles sets the scene by introducing Bart, the newly stationed African American Sheriff of Rock Ridge, appointed by a corrupt politician in hopes that the townspeople will be so offended as to either lynch the sheriff or abandon the town. From this point on the movie becomes a madcap experience, rife with fart jokes, continuity breakdowns, departures from the film’s western settings, and ra-
cial humor. Many of these devices may seem tame by today’s standards, but at the time of the film’s release they were pushing the boundaries of major studio films. The anachronistic nature of much of the film’s production also subtly illustrates the fact that in many ways Blazing Saddles is an indictment of the racism that was often obscured by the archetypal portrayals of western characters in classic Hol-
lywood westerns.
Brooks, long held as one of the great comedy and satire writer/directors, achieved a glorious year in 1974, directing Blazing Saddles and Young Frankenstein back to back. Both films were nominated for multiple Academy Awards, and both were inducted into the previously mentioned National Film Registry, a rare feat for a director to achieve once, let alone with back-to-back films created the same year. This accomplishment alone forever cemented his place as one of the greatest co-
medic directors to ever come out of the Hollywood studio system, a legacy that he has continued to mature and refine with his recent work on Broadway musical adaptations of his films. These recent efforts, more than making up for any per-
ceived disappointments fans may find in some of his later efforts, like Dracula Dead and Loving It and Robin Hood: Men in Tights which seemed both out of time for a 90s audience while lacking much of the fresh outlook and style he brought to his earlier films, Blazing Saddles will always stand as one of the finest examples of a comedy film.
blazing saddles
dr. strangelove
AUXILIARY february/march 2011 Much like stocking a bar with the right liquors to service a party properly, there are movies that are key to building a fine movie collection. Thankfully it is easier than ever to get your hands on classic, groundbreaking, or rare films. This issue we are bring you two vintage comedy classics. While both may seem slapstick at times, both of these films use their silliness and wit to com-
ment on the social climate of their times; Blazing Saddles, a raunchy and con-
troversial indictment of the sexism and racism of the western genre, and Dr. Strangelove, an open indictment of war during the height of the Cold War.
february/march 2011 AUXILIARY MEDI A
If you’ve ever fooled yourself into believing in the existence of a just and loving god, I present to you A Serbian Film (Srpski Film in its native Serbia) as evidence to the contrary. If the world was truly a good and decent place watched over by a benevolent deity, something like this would simply not exist. It is the most soul shattering and (sadly) accurate cinematic portrayal of human cruelty and capacity for sadism ever made. Nothing even remotely comes close to the sickness of this film. Not Salo. Not August Underground. Nothing.
The film, directed by first-timer Srdan Spasojevic, tells the story Miloš (Srđan “Žika” Todorović, a former porn star with near-superhuman sexual endurance who’s fallen on hard financial times. He gets a job offer through an old fuck-movie colleague to work on an art porn flick (later revealed to be an outright snuff film) for an ungodly amount of money. Wanting to provide for his wife and young son, he reluctantly agrees, and is slowly walked through a series of increasingly bizarre and violent sex scenarios under the direction of the mysterious Vukmir (Sergej Trifunović). Miloš’ grip on reality slips as his sexual appetite and disgust grow, un-
til it’s revealed that he’s been drugged all along with a combination of mind alter-
ing substances and bull Viagra (not even making this shit up). He is taken captive by Vukmir and his film crew to be coerced into a series of still more depraved acts of sexual violence. From here on out the film rockets toward a climax so shocking it doesn’t put Oldboy’s twist ending to shame so much as it bends it over the chair and fucking humiliates it several times over.
A handful of reviews I’ve read have shied away from revealing some of A Serbian Film’s more shocking set pieces to preserve the surprise. Normally I’d do the same, but this film demands informed consent, and you need to be aware of the litany of depravities that it’s about to violate your mind and soul with. Prepare yourself to endure depictions of rape (both male and female), decapitation during rape, rape of a child, death by skull-fucking, suicide via masturbating with a lead pipe, ux-
oricide and filicide (simultaneously, no less) and finally… baby rape. That last one might have gotten a chuckle out of those readers who like their comedy dark, as they likely imagine something along the lines of dead baby jokes and the “IT’SSS AWWRIGHTTT!!!” meme. But neither this act of unspeakable violence nor any other in A Serbian Film is played for laughs or is remotely humorous even when taken out of context. This isn’t a fucking Troma movie. When I say that a baby gets raped, I mean it happens in full view of the camera, depicted as realistically as pos-
sible. All acts of onscreen torture and perversity are presented in a similarly frank and realistic manner, and even the less explicit examples are absolute nausea fuel. A scene depicting a young girl, dressed as Alice in Wonderland, smiling girlishly as her hand inches towards Miloš’ crotch, packs as much of a revolting punch as anything else in the film, excluding perhaps the aforementioned infant rape.
After the initial shock of its beyond-graphic content subsides, the thing that blows you away about A Serbian Film is how well made it is. I didn’t say competently made; I said well made, and I meant it. This film has production values that rival a bigger independent film here in the States, if not a smaller Hollywood production. And it’s not just the money that’s been thrown at this thing. There is a consider-
able amount of talent being wielded here. Everything from the score to the camera and design work all the way up to the acting and direction is top notch. The script is smartly written, and skillfully acted, with special credit due to lead actor SrД‘an a serbian film
Todorović as Miloš. He plays early scenes sympathetically as loving father and husband, but hints at the caged violent sexuality he will unleash full force later in the film. But the most impressive aspect of the film are the highly convincing gore effects. Most films that share this type of content tend to have effects that don’t hold up to intense scrutiny, so they’re often obscured by editing and lighting, or if shown outright are played for laughs or absurdity. Not so here. Every effect is conceived and executed for maximum believability.
But is it good? I’m not sure how to gauge the quality of a thing like this. On every technical level, it is an absolute triumph and certainly one of the most impressive and professional extreme horror films to ever be released. But is it entertaining? Enjoyable? No. It’s a sad and ugly thing. It disgusts me, as I’m sure was its pri-
mary (perhaps only) intent. Director Spasojevic claims A Serbian Film is about the victimization of the Serbian people by their government. He could be sincere in his claims. Or he could be shoehorning a legitimate sociopolitical message onto a 90-minute exercise in sexual sadism. Exploitative torture-porn trash or Serbia’s lowbrow cinematic take on Guernica? I haven’t the faintest. All I know is I won’t be watching it again any time soon. I have scaled the highest peak of depraved cinematic violence, and feel worse for it. Hardcore horror fans beware: You may think A Serbian Film is the horror epic you’ve been waiting for. It isn’t. It really isn’t. And if it really is, then by all means resume masturbating to your Peter Sotos books and crime scene photos and forget I said anything.
by Adam Rosina
Surrounded by controversy by its nature; an artistic film with a legitimate sociopolitical message or exploitative torture-porn trash?
AUXILIARY february/march 2011 AUDREY
photographer Ama Lea
fashi on styl i st Sharon of Toxi c Vi si on
wardrobe Toxi c Vi si on
model Audrey Ki t chi ng
the PinUp
Auxiliary’s playful take on the sexy centerfold pin up. Flip the page, cut out, and tac on your wall!
february/march 2011 AUXILIARY Making her own way amongst media-made personalities, Hollywood based Audrey Kitching is a multi-faceted, self-made phenom. Now the owner of two clothing brands inspired by punk and vintage fashions, Tokyolux and Coco De Coeur, Audrey continues to achieve independent successes.
You’re one of the few individuals who’s parlayed your notoriety as an �inter-
net personality’ into several successful, revenue-generating business ventures. To be honest, I don’t think I could name all the different companies that are either your own, or with whom you’ve worked, in the last year alone. As a starting point, would you please clarify that facet of your life for us? In other words, 2010: what brands were affected by, or resulted from, your �personal brand’ of Audrey Kitching?
Audrey Kitching : Wow, this last year has been a whirlwind. If I could ever be at the right place at the right time it’s now. When I was younger and first got into styling, modeling, and writing I was clueless. I say that now coming from experience. I listened to a lot of the wrong people, I was told what to do and was horribly taken advantage of by more companies than I could count on one hand. With that being said, they were opportunists and I was very naive. Not the best match. After being beaten down and used as a puppet, you eventually wise up or get eaten. Luckily for me being someone’s snack was never an option. Today I am the proud owner of two knitwear brands. The first being Tokyolux which is elegant vintage-inspired clothing with an edge, followed by the unisex punk rock royalty best known as Coco De Coeur. They are still a baby, neither of them are a year old yet. The possibilities the future holds with designing is so exciting to me at the moment. Those are the only brands I have been attached to that are designed, created, and owned by me!
For someone who might not understand the notion of an individual being a �brand,’ in your own words, how would you explain the phenomenon?
AK : That’s very kind of you to say, I think being a brand accompanies all walks of art. I design, write, style, model, and do select marketing campaigns. When I think of the word �brand’ it has a negative connotation to me, makes me think of Miley Cyrus’ face on toothbrushes, pillows, juice boxes... you name it! I would like to think of myself as the anti-brand. I am one hundred percent self-made where someone like Miley is as corporate as you can get.
interview by Clint Catalyst
Milla Jovovich made a name for herself first as a commercial model; then she established herself as a brand. However, I’m of the belief that it’s exponen-
tially easier for someone whose starting point is through traditional media outlets than it is for an individual who utilizes new media as his or her vehicle, or platform. Said another way: it seems that, generally speaking, society first has to accept a �web celeb’ as a �cred celeb’; then that person has a chance of being taken seriously. (�Seriously’, that is, in their sense of the term.) What are your thoughts on the topic?
AK : I totally agree and for me it has been exceptionally hard. I had this dark bad style period of my life about five years ago that just the thought of it makes me cringe. It has been so hard for me to break away from that. People need to learn to live in the present. In the past year I have been recognized by almost every major fashion magazine you can buy and that alone is a huge accomplishment for me. I like to think of Nicole Richie who was doped up on heroin and certainly far from stylish at one point, now she is a fashionista full force! The same goes for Kelly Osbourne. People grow up and change, that’s the beauty of fashion. When you’re pushed by mainstream media you can turn into a sensation over night with nonex-
istent talent. To use social media as your media outlet you must have something people admire or else no one would care. I say those words sparingly, I am aware there are YouTube stars with millions of views for doing something along the lines of picking their nose and eating it, I’m not referring to that.
What are some of the obstacles you’ve encountered in your journey thus far?
AK : Oh yes, definitely, the most prevalent to me is companies who lie and beat you down so you don’t know your worth. I have never experienced such a nasty game as this. I have come across this countless times, I’ve learned you need to just walk away and write anything they say off as rubbish. Why not build someone up so you both benefit from it even more and grow as a team? I guess that’s the differ-
ence in mindset from an entrepreneur to a greedy corporation. Are you grateful for any of the hardships? What did you learn from the experience(s)? AK : YES! I wouldn’t change them for the world. Knowledge is power and I have learned so much along the way, to think how much wiser I will be in even three years from now excites me. Without mistakes and hardships we would never grow as a person or in our craft.
As far as I’m concerned, a sense of celebrity that’s self-created is infinitely more powerful than that which is manufactured by the system. What’s your take?
AK : It’s scary but true. When the media decides a celebrity is no longer cool, they disappear and we never really hear from them again. With that being said someone like me decides when I want to post and when I will go into hiding. If you create yourself no one can tear you down, that alone is powerful in many ways. The prob-
lem with a lot of self-made should I say �brands’ is they start living in a bubble of narcissism. If you’re ever doing something out of the hopes of fame or fortune you will fail, trust me. Money and fame fades where passion lasts forever.
name : Audrey Kitching
birthday : July 26, 1985
birthplace : Philly, PA
eye color : hazel
hair color : pale pink
turn-ons : Confidence, honesty, intelligence, and someone who can be selfless.
turn-offs : Cocky, rude, ignorant, and selfish.
why do you model? : I love to create an image in my mind and bring it to reality.
how did you get into modeling? : All my friends growing up went to the art schools and always needed someone for their school projects. It was never something I looked at as wanting it to be a lifelong career.
favorite musical artist : I don’t have a favorite, I’m really into soundtracks. I’m a huge movie fanatic and I love when music reflects a feeling and goes along with a story.
favorite movie : Velvet Goldmine or Igby Goes Down
favorite tv show : Freaks & Geeks
favorite book : If You Have To Cry, Go Outside
favorite cocktail : Anything with grenadine and a lime.
favorite color : ice blue or lavender
favorite article of clothing : Vintage capes and old pink jackets.
favorite fashion designer : Vivienne Westwood
favorite star/icon : David Bowie
favorite outdoor activity : hiking
favorite indoor activity : Watching movies, cooking with friends, and dinner parties.
favorite club/club night/place to go out : Silent Movie theater, they have amazing week long screenings like the punk movie fest last month, genius.
Check out www.audreykitchingcouture. and www.cocodecoeur.
AUXILIARY february/march 2011 february/march 2011 AUXILIARY LI FESTYLE
Ask Arden
Q : Sometimes I find it difficult to chill my emotions out. For example, I suf-
fer great anxiety when I perceive I am being ignored, not acknowledged, or a man disappears for a few days and then comes back. I’ve tried to analyze this emotion time and time again and I know it’s an insecurity (i.e. I fear I’ve been rejected, not good enough, that he doesn’t like me/he’s not interested). This results in me going even crazier and wanting to chase him or get him to respond to me and then lacking response I actually feel angry at him or led on or wanting to get back at him in some way. How do I tame this separation anxiety/fear of loss?
A : Ah, yes. Let me guess, this probably happens most often to you right after you’ve slept with a guy for the first time, no? That’s likely because of this pesky little neurotransmitter called oxytocin that gets released in your brain at orgasm. Evolutionarily speaking, you are programmed by your brain to bond to your part-
ner so that you have sex enough times to conceive and therefore further the spe-
cies, but these days, how that can often translate is that you have sex with a guy you feel pretty good about and then afterward start to inexplicably go crazy. I have good news and bad news for you. The bad news is that you can’t control how you feel. The good news is that you can control what you do.
When you start to feel the crazies coming on, realize that what’s happening to you is the neurochemical equivalent of a fog descending on a dark road when you’re driving at night: all you can do to be safe and avoid a dangerous collision is to drive slowly and carefully and not make any sudden moves. Sometimes just an acknowledgment that your brain is acting in an irrational way is a good way to start feeling calmer. When you realize the cause of your feelings isn’t so much the situation in itself, it helps you chill out. When this happens to me, I try to judge my potential moves by how I would have acted before the fog set on; e.g., would I have called/texted/whatever when I was still feeling pretty normal about the situa-
tion? Remember that it is your responsibility to act in your own best interest, and that even if you have to fake being chill, you will feel better about the situation as a whole if you don’t take actions that will hurt the guy’s potential attraction to you. Over time, when you start to realize organically that things turn out better when you relax and don’t freak out, it will be easier and easier to do so, because you’ll relate that behavior to the better results you get from it.
submit your questions to
Arden Leigh is today’s fresh-
est voice on women’s dating and relationship strategies. Bringing together her experience in neuro-
linguistic programming, brand marketing, psychology, pick-up artistry, and the fetish industry, she coaches women on developing a proactive approach to achieving their romantic goals. She is a co-
founder of the Sirens Seduction Forum for Women and the author of The Seduction Manual. When she isn’t writing or coaching, she enjoys being a part of the New York nightlife scene as a personal-
ity and performer.
how do I tame separation anxiety?
is it ever okay to snoop?
Finally, realize that there are a lot of amazing guys out there in the world and that any guy you’re obsessing over actually has quite a bit of competition to win your heart. Keep your eyes open and don’t succumb to romantic tunnel vision. It will be infinitely easier not to get too freaked out over the guy you saw last week if you have another date or two lined up for next week.
Q : Is it okay to snoop through your partner’s phone/email if you suspect him of cheating?
A : No. If you suspect your partner of cheating, you should confront him/her about your feelings and why you feel that way and have a discussion about the issue like adults.
What if you’re wrong? Then you’ve snooped and been an asshole when your part-
ner’s done nothing. And what if you’re right? Then you have evidence but no way to confront them about it without admitting that you took actions that were arguably almost as bad.
I’ll add this too. When you look for a partner that you’re going to actually take seriously in a relationship (as opposed to someone you’re going to date casually or just for kicks, since there’s nothing wrong with that choice either), look for some-
one who has patterns of loyalty. I once considered dating someone I knew to be a notorious casanova, and going into it I knew I was going to have to be incredibly permissive of his pursuits of other women and basically pull a Mme de Pompadour (she was the mistress of Louis XV, and she kept his heart until her death because she allowed him his short-lived trysts with other women whose novelty always faded, but consistently added other kinds of value to his life in addition to sex and romance). Had I gone that route (I didn’t, but for other reasons), I knew I would have to accept that about him because he wasn’t going to change. If, on the other hand, I’m looking for a serious boyfriend, then I’m going to look for someone who has shown patterns of loyalty, whose other relationships have ended relatively non-dramatically and who hasn’t treated all the women he’s been with like shit.
My point is... if you don’t trust someone, why are you with them?
february/march 2011 AUXILIARY E
is for
who inspired a ball.
Go To the Ball...
Go to The Edwardian Ball Los Angeles on March 5th 2011
View photos of The San Francisco Edwardian Ball and prepare for the events in 2012.
At the turn of the century, the works of Edward Gorey found their way into the hands of a few performers at Cat Club of San Francisco. They mingled this eerie work into their shows, reading it on stage, entering the weird world of nonsense and death, until a strange idea was born among them. They would create a ball, a dancing, playful way to celebrate the world of Edward Gorey in all its desperate, stark, and frightening glory.
The first of these celebrations of Edward Gorey were known as “The Gorey Ball”, only later taking on the couturiers twist of words and décor that turned it into “The Edwardian Ball”. The “Edwardian” era of The Edwardian Ball is best described as creatively historical, the dark style of late-19th and early-20th century décor and costume mingled with the surreal characters and monsters found in Gorey’s work. All of this set in the San Francisco’s historical Regency Ballroom, which requires no sprucing up to meet the events dress code, attendees find themselves fully immersed on the ballroom floor dancing beneath two teardrop chandeliers, or observing from the brass rail of the balcony. While costume is not mandatory for entry into this other world, it is strongly recommended. Interested parties can find a full range of costume resources on their website from DIY to affordable rental options. It is the sort of place a lady or gentleman, decadently festooned, is likely to become lost with wonder or even consumed. The central stage show of The Edwardian Ball is themed annually around a differ-
ent Edward Gorey tale. The story chosen for this year is “The Eleventh Episode”. It is a little tale of distraction with very little plot about an artist woman who falls down a well and finds herself in a world exactly the same as the last. It was chosen this year, the founders admitted, for no other reason than this is the 11th year and the name fit well. This is not to diminish the choice which, like the tale itself, is full of as much ciphered meaning as you are willing to bring to the table. On its path to becoming a thirty-minute stage show, the chosen story undergoes an evolu-
tion over many reading sessions with all of the performers. Elements of the story are embellished, backstory is created for characters, and each panel is brought from ink into painstaking reality to create a delightfully digestible spectacle at the center of the events.
If The Ball were a painting, its landscapes would be bleeding out of the frame. Attendees to The Edwardian Ball are greeted by a fully realized fantasy where the show is not confined to the stage. Performers mingle with guests who are them-
selves as interesting as any single stage show. This highly participatory environ-
ment, where the wall between art and audience is removed, is what the founders Mike Gaines and Justin Katz see as the grand purpose. They seek to create an event that will be a safe place, a “permissive canvas,” for the “true individual expression of art.” On the first of two days at the Regency Ballroom the well-costumed crowds ar-
rive to find “The Edwardian World’s Faire”, an extravaganza modeled after the great turn of the century expositions in Chicago and New York. Complete with midway games, historically stylish kiosks, putting greens, and an indoor Ferris wheel powered by the strong legs of Cyclecide, a club of alter-bike mechanics, mariachi-punk musicians and psychotic clowns who love bikes. Yet it is the sound of engines, or the desire for tea that draws them into “The Exposition of Technol-
ogy”. Here they gawk and marvel at an exposition of steam-powered monstrosi-
ties, or take tea in the steam-powered tea garden built by Kenetic Steam Works, a collective dedicated to steam-powered kinetic art that explores and repurposes the artifacts of clockwork modernity. The real art of the event time and again is found not just in what is observed and on the agenda, but in the well-dressed participation of the attendees that stay in character and uphold the integrity of the entire event like one massive performance piece. This self-regulating world that has grown up around The Edwardian Ball, where literal steam mechanics mingle with historical fashion, traditional music, and ballroom dancing, largely predates the popularization of steampunk. The arrival of steampunk fashion and characters at The Edwardian Ball was largely organic over the past decade, and one could argue that The Ball is exactly the sort of fertile ground for artistic experiments that probably catalyzed the emergence of this subculture. Today steampunks are a welcome sect of The Edwardian Ball, mingling with others who come in historically accurate garb, and still others who come dressed as characters from the works of Edward Gorey.
On the second of the two days the ladies and gentlemen spy the excellent wears for sale at the “Vendor Bazaar”. Here men and women alike can satisfy their sartorial needs; hats, corsets, dresses, undergarments, and coats. Here they handle strange and rare artifacts like visitors to a surrealist Portobello Road. Later, they wait before the stage, the affair culminating in a festive night of performance and dance. After much rehearsing, the Rosin Coven and Vau de Vire Society presents Edward Gorey’s “The Eleventh Episode” on stage with original music, choreog-
raphy, and signature circus antics. As the night continues many venture out to ballroom dance unafraid, having taken advantage of the free lessons offered by The Edwardian Ball months in advance. LI FESTYLE
is for S
that powered it all.
Some could argue that it helped to usher in the steampunk subculture. For two days the boundaries between reality and imagination are blurred as the world of Edward Gorey is realized through performance music and dance. Now in its eleventh year, The Edwardian Ball soon moves beyond San Francisco hoping to bring the world of Gorey across the nation.
In the end everyone returns home with more stories to tell than they can really remember or explain, and that is how you know it is good. As Edward Gorey said himself, years ago, “Ideally, if anything was any good, it would be indescribable.” In this way The Ball lives up the standards of the author it celebrates. Its founders expand their vision with every hosting of The Edwardian Ball, drawing upon the bountiful lists of ideas they keep in notebooks. This year, after San Francisco, The Ball will travel to Los Angeles to be hosted again on March 5th at The Music Box on Hollywood Blvd, where it hopes to start a new tradition; touring. After many years of people reaching out to The Edwardian Ball they are now looking into being able to take the show on the road, with possible future host cities to include, Boston, Philadelphia, and New York, a welcome possibility for those of us on the east coast.
by EJ Tower
photos of The San Francisco Edwardian Ball in 2010
AUXILIARY february/march 2011 february/march 2011 AUXILIARY 20 21
Originally from Australia, you moved to London and wrote Shiv-r’s Hold My Hand while there, and you are currently living in the Netherlands, what are your favorite aspects of each? And how have these locations influenced the style and sound of your projects?
Pete Crane : London was probably the single biggest influence in the formation of Shiv-r. I was living in a ghetto-ass area, faced with seeing violence, extreme coldness, emotional alienation, and general filth on a daily basis. I was essentially screaming for expression in a perpetually dark and claustrophobic environment. The Netherlands is like the �anti-London’ for me, in that it’s much quieter, more open, and less centralized. I have since moved back to Sydney, Australia, but with plans to move overseas again in 2012. Ironically, I find the unbeatable weather of Sydney and the cheerful atmosphere of the Netherlands almost take away the inspiration I was feeding on in London, as though the oppression was fueling me. Satisfaction is a very dangerous thing!
How heavily do you weigh visual aesthetic, fashion, and style in your current musical projects?
PC : Shiv-r is an all-encompassing project for us so the visual ele-
ment needs to go hand-in-hand with the music. We create strong, dark music with a haunting, delicate twist, and our visual aesthetic needs to express this. We’ve been fortunate enough to collaborate with amazing fashion designers like Mother of London and photog-
raphers like Brent Leideritz on achieving this vision and it’s some-
thing we’ll be doing more of.
The visual aesthetic of Shiv-r combines harsh and dark with soft and sensual. Your latest styling has moved in a whimsical and dapper direction. What are your current style inspirations?
PC : Mainly it comes from re-interpreting what we see in the com-
mercial fashion domain. Taking an elegant and extravagant look and then recontextualizing it, even by simply wearing it as a man, turns it into something new and potentially sinister. The more whimsical the element, the more twisted it becomes. Taking the familiar and distorting it is a theme at the core of Shiv-r.
What about the goth subculture do you think has allowed for men to play with more androgynous looks and bring sexuality generally considered feminine into their style?
PC : Of course the most appealing aspect of the goth subculture for me is the sheer self-expression. It’s just as common to see this taken in the form of capitalizing on machismo by wearing hyper-
military garb, as it is in taking it in a feminine direction. It’s all self-expression, freedom, and individuality.
Often industrial/EBM bands end up a part of the goth/indus-
trial scene because the nature of their music appeals to it and not necessarily because the artists themselves are a part of it. Yet it seems you have been fully immersed in subcultures with a darker aesthetic right from the start. How has this benefited your projects?
PC : I know exactly what you mean about certain artists, who are not dark or �goth’ in nature at all being embraced by the goth/industrial scene almost by default be-
cause of their music, sometimes to their chagrin as they’d feel more at home in a more mainstream environment. I feel the opposite. A few years ago I started a psytrance project called Plague Sequence, and I would play at outdoor dance mu-
sic festivals. Even though I liked the music I was making, I always felt like an im-
poster in that scene, like the crowd and promoters would, �discover that I’m really a goth,’ or something! And I couldn’t relate to the crowd. In the end I realized that I needed to follow my heart and that I feel most at home in the dark underground clubs and goth/industrial festivals, so that’s where I’m setting my sights!
Shiv-r poses a certain level of shock value, do you think it is important for bands to have a rockstar aspect to them? One of the reasons for the suc-
Through the release of Shiv-r’s debut dark electronic album with a horror edge, Hold My Hand, by three labels; Metropolis Records, Infacted Recordings, and Deathwatch Asia, Shiv-r has experienced a good deal of success worldwide in a relatively short period of time. We had the chance to talk with one half of Shiv-r, Pete Crane, about their new EP Incision, touring Australia and Europe, his other musical projects including The Crystalline Effect, and the importance that captivating visual elements play in his projects.
interview by Jennifer Link
AUXILIARY february/march 2011 photographer Brent Lei deri tz
makeup arti st Mi shka
hai r styl i st Mi shka
model Pet e Crane
assi stant Wendy Crane
Gothic Lady Ruff by Costume Renaissance, sleeves by Mother of London, Sacred Heart Ring by Metal Couture.
Bowler hat by Helen Kaminkski Australia, glove by House of Fetish, bowtie and braces by Myer, corset by Wendy Tonzing for DBC, and lashes by Paperself.
cess of acts like Combichrist, who you recently toured Australia with, is their larger-than-life rockstar vibe. Is success and showmanship important to you for the Shiv-r project?
PC : The �rockstar’ element, even if just in the form of having a frontperson live, is absolutely essential to me, and is what I find most lacking about the more �pure dance music’-oriented scenes. Going to parties where the headliners are DJs who hide behind decks is disappointing for me. I appreciate that the lack of a front-
person in the DJ scene turns the attention back to the dance floor where people and their friends become the focus, but I grew up with posters of alt-rockstars on my bedroom walls and I find it most easy to relate to a project with an identifiable figure at the head of it. The title track of the new Shiv-r EP Incision seems to be moving Shiv-r in this direction, an obviously club-friendly track that is reminiscent of Marilyn Manson. Sometimes acts risk losing creditability when moving too far in this direction, Manson being a perfect example. How do you plan to balance this aspect of Shiv-r?
PC : If we’re going to dedicate as much of ourselves to Shiv-r as possible we need it to be satisfying, and that involves making uptempo club dominating music as well as rocking out like gothic superstars! Credibility is a tenuous phenomena at the best of times anyway, and we’d be just as likely to lose it if we kept to one style.
Making music has always been a part of your life, having started playing guitar at age six. What practices, if any, do you have in place for maintaining the creativity that allows you to write quality music?
PC : For me it’s just like sex; if I haven’t worked on music for a while I get frustrat-
ed and insufferable, and then I have an epic music making session and everything is okay again! It’s just a drive that’s always there and the struggle is balancing it with the rest of my life.
Do you think that one aspect is seeking out good collaborators? How does talent like Elenor Rayner in The Crystalline Effect and Lee Bulig in Shiv-r fuel your creativity?
PC : I always thought I worked best alone, but with these projects I’ve found collaborators who I work uniquely well with. It only works, though, because we respect each other and have defined roles in the band so we don’t tread on each other’s toes. Lee’s parts in Shiv-r contribute invaluably and he is responsible for most of the haunting melodies and atmospheres, while I concentrate on the beats and harsher elements. With Elenor, Lee and myself, we all had our own solo proj-
ects, so we know we’re all capable of writing albums without each other and they aren’t co-dependent relationships. Instead it’s about creating something greater than the sum of its parts.
You have plans to release a new Shiv-r album in 2011, do you have any plans to work on The Crystalline Effect this year? Or any plans for your other projects?
PC : We’re finishing up a new EP for The Crystalline Effect right now called Make the Machines Sing. It’s essentially a concept release in honor of Ada Lovelace, who first envisioned that computers could be used to make music. It will be out in March/April. Other than that, it’s full steam ahead on the new Shiv-r album and tour!
With Shiv-r’s debut album Hold My Hand you released a music video for “The End”, is it a format you enjoy working in? Can you share with us what went into making that video? Do you have plans to make a video for “Incision”?
PC : It was an opportunity we were lucky to have, as our good friend Henry at Hbom Productions put the entire thing together, including the cast and crew. The shoot took one marathon 24-hour session in a fetish dungeon where the producer lived, during an intense summer with no air con and no fans as they’d blow away the smoke from the smoke machines, so it really took a lot out of everyone involved, but spirits were high and it was a lot of fun. I do have a plot line in my head for a film cilp for “Incision”, as the song follows the inaugura-
tion of a sinister public official with a horrifying truth beneath the surface. At this point we’re just planning some more experimental videos, primarily for use as live backing visuals, that might find their way online eventually. It’s definitely an addictive medium.
Shiv-r is planning a 2011 tour, what regions and cities do you hope to make it to? And what new musical and visual additions do you plan to add to your live performances?
PC : We’re hammering out details for the tour right now and I loathe to jinx anything by putting it in writing before it’s announced! But we’ll definitely be hitting Europe for a tour this year, including some festivals. We’ve got a strong visual concept at the core of the project and we will be bringing that to the stage in some incarna-
tion, as well as making the music as engaging and impactful as possible.
Shiv-r is a fairly new project, but has been successful right from the start, what are your hopes and dreams for it?
PC : Our first set of hopes and dreams were to sign to a label like Infacted and play at European festivals. I wish we’d aimed a little higher because we’ve already realized those goals! But the way I see it is that now we have achieved an amazing platform for our music, so I guess my goal at this point is to enjoy some catharsis and to take Shiv-r to the next level.
“ Taking an elegant and extravagant look and then recontextualizing it, even by simply wearing it as a man, turns it into something new and potentially sinister. The more whimsical the element, the more twisted it becomes. ”
february/march 2011 AUXILIARY THIS PAGE
Gothic Lady Ruff by Costume Renaissance, sleeves by Mother of London, Sacred Heart Ring by Metal Couture.
Gothic Lady Ruff by Costume Renaissance, gloves by Plastik Wrap, Sacred Heart Ring by Metal Couture.
TL : Well I never thought of it that way actually, I always write lyr-
ics from my own experiences and thoughts. AA : Perry and Gaga is nothing that inspires me when writing mu-
sic. Music that is being played all the time and everywhere just irritates me, not saying it’s not good music because of that.
The majority of your albums contain at least one melodic and melancholy song like this release’s “No Matter”, do you enjoy writing those change of pace tracks? Would you say you have a more personal connection to them?
AA : Toril has a thing for melancholy and epic ballads. [laughs] I think those songs are the hardest to finish because it’s a very fine line of a cheesy and a good ’ballad’.
Tell us about Alice in Videoland’s recording process, for A Mil-
lion Thoughts in particular.
AA: All songs start with that either me or Toril comes up with a short and very brief idea of a song. After presenting it to each other, we let the each other develop the idea. And then we pass it back and forward between us two a couple of times and then I am finishing the song. For the first time I have had other guys that have nothing to do with the band to make the final mixing on some songs (three of nine). Letting others do the final mixing is something I always wanted to do but my bandmates always prefer my mixes so they vote me down. [laughs]
Tell us a bit about your newest member Martin Kenzo, what does he bring to the lineup?
TL : Especially when playing live he brings a more live feeling since he plays both guitar and synths on stage. With him we don’t have to use computers so much on stage. What are your plans for a tour to support A Million Thoughts? AA : There will be a couple of gigs in Sweden this spring, but from the summer and on will we play Europe a lot more and hopefully USA/Canada. Playing America is a big dream for us, and we get so many mail from fans wanting us to come over and play and we want to do it so much. What do you enjoy most about playing live? Are there any tour destinations you’re looking forward to in particular?
TL : It’s the whole thing, the before feeling, the feeling on stage, and the afterparty. I mean, you can’t have more fun in life than that!
And yes there is... America!
Describe a typical day while touring for AiV and during down-
time. TL : A typical day when touring is starting with confusion and find-
ing all the things that Alex lost the day before. [laughs] Of course you spend a lot of time in a car or on a plane, then we like to chill after soundcheck in our hotel rooms. If it’s a late showtime we like to go out and have some beers in a local pub or restaurant, then you get to know the city a little which is nice. Where do you like to go out? Do you frequent dance clubs? Where do your non-musical interests lie, what do you do for fun?
AA : None of us are ’club people’, but we do go out a lot. I prefer smaller bars with good friends and good non-commercial music. When I’m not working with the band, I like to work with other artists in my studio. Or I take a ride in my big old car, a 1972 Mercury Marquis that I shipped home from San Francisco!
TL : I agree with Alex, I like to see other bands also. I hang with my friends and I love to watch zombie movies!
I hear Alice in Videoland played at goth/industrial and indie dance parties alike, and you’ve received radio play in Sweden, what elements of your sound and style do you think allows for this cross appeal? AA : We have never really understood why people in the goth/industrial scene are paying atten-
tion to us. I don’t think we have any goth or industrial elements in our music. Our music is indie but still very melodic and think that’s why we get plays in a lot of different places.
What do you consider to be the highlight of your musical career so far?
TL : The highlight is still to come! We are not satisfied yet... It seems with each release the band rises to a new level of popularity and success, what are your personal hopes or goals with the release of A Million Thoughts?
AA : We want to come to America and play, and we hope that we get a lot of new fans from all over the world!
february/march 2011 AUXILIARY 27
So you claim to be the �greatest electropunk band in the world’, what are your arguments to support this claim, please present your case. [smiles]
Anders Alexander : Well… [laughs] We have fans from Belarus to Mexico that also claim we are, so we are not the only ones! And after releasing four albums we have a lot of confidence and a steady ground to walk on...
On A Million Thoughts and They’re All About You is a cover of the 1988 in-
ternational hit “Buffalo Stance” by Swedish singer/songwriter/rapper Neneh Cherry, is she an influence you’ve drawn on for Alice in Videoland? What other artists or musical styles have you drawn on for Alice in Videoland?
Toril Lindqvist : I wouldn’t say she’s an inspiration but the way she is mixing singing with rapping might be close to what I do. I’m kind of weak for cheesy 80s and 90s music. [laughs] People have asked us where we get our inspiration from for eight years now and we still can’t come up with a good answer on that. It differs a lot, we have never had specific artists that inspire us, maybe that’s why we sound pretty unique.
The lyrics in tracks like “In A Band” and music in tracks like “Bender” seem to reference the Gaga/Perry female star/icons in pop music right now, would you say A Million Thoughts is more an homage or a parody of them, or a combination?
Back with their fourth studio album, the self-proclaimed, “greatest electropunk band in the world”, Alice in Videoland have A Million Thoughts and They’re All About You! Vocalist Toril Lindqvist and Anders Alexander, the main writing force of AiV along with Johan Dahlbom and newest member Martin Kenzo have fully matured the AiV sound and put together a solid album filled with unforgettable pop hooks, flirtatious vocals, and a jumping dance beat. With the album’s first single, “Spaceship”, having already hit the national charts in the band’s home country Sweden, A Million Thoughts is sure to be winning fans and filling dancefloors near you! interview by Jennifer Link
AUXILIARY february/march 2011 26
Can you tell us a little about the new album Modern Ruin? Are there certain themes, ideas, or techniques that have been important to its creation?
Joakim Montelius : Like every full-length album, Modern Ruin is a collection of ideas and reactions. So there is no overall message. It’s a selection of songs that we think represent what we felt over the last four years. The title itself refers to the loss of some of the ideals that Modernism was about: the idea that we can make a difference, our ingenuity and our power of will can help us build a better world, that positive feeling and the ideological eagerness to dedicate a lot of work and en-
ergy to such a project. Somehow it got lost and grew into cynicism and confusion and our new technology, our knowledge, even our art became tools to maintain the old paranoia and selfishness that Modernism was supposed to oppose. So, to me, that’s the �modern ruin’.
How long was the process of making Modern Ruin? There were push back dates on this album; was it due to record company issues or was it you going back into the studio to perfect the Covenant product?
JM : There were many reasons for the long delay. We toured a lot after Skyshaper, we made a DVD of the tour, then we moved our studio twice, we were busy with personal matters, our record label went bust, we lost our founding member Clas Nachmanson and Daniel Myer took his place, Eskil got married and divorced, I got a daughter... Let’s just say that for us these last four years were anything but quiet but it made the process of recording the album slower. We worked on it on and off for the last couple of years, wrote songs and shuffled demos back and forth, but the work in earnest only started last year. It’s hard to say exactly how long it took since it was so split up and fragmented. A somewhat realistic estimate would be perhaps four to five months in total. Something like that.
Has Clas departing the band changed the direction you may have expected Modern Ruin to go in?
JM : Modern Ruin is, how should I say, an experiment. Yes. We are a �new’ band, so to speak, since Daniel arrived. Eskil and I worked together for so long that we have an almost telepathic connection. As long as we don’t start discussing things it just sort of flows. Enter Daniel and his prodigious energy. He injected the band like a shot of pure adrenaline straight to the heart. That is of course a fantastic thing, we would probably have died without it, but it also confused us. What to do with all those ideas? How to fit everything together? Daniel is used to collaborating with other artists. Eskil and I are not. But I think we found an opening in the end, a path leading to a clear track through the woods. I’m very excited about it and I want to see where this is going to take us.
I have always admired Daniel Myer, his music directions, so I was extremely happy he was added to the band. What was the deciding factor/process for having him join the band? Was there a short list of other musicians for Clas’ replacement or was Daniel the choice all along? Did you know Daniel person-
ally before he joined Covenant?
JM : We’ve known and been friends with Daniel since the very first tour we ever did outside of Scandinavia. Back in 1996 we were the support band of Haujobb in Germany and we connected immediately. Just like Daniel and Dejan, we were outsiders in the scene, actually more connected to the underground dance �move-
ment’ than to the goth/industrial crowd. And we had similar ideas about a lot of things. So we stayed in touch over the years, touring together, exchanging remixes and stuff.
When Clas left we immediately thought of Daniel. He’s almost always around at festivals with one or more of his myriad projects anyway, so it felt completely natural to hire him as a live replacement for Clas. However, Mr. Myer is a restless soul and he wasn’t content with just playing keyboard lines, and it didn’t take very long until he started tweaking the backtracks, adding stuff, and sometimes com-
pletely changing things. We liked what he did, most of the time anyway, and from there it was a no-brainer to ask if he felt like becoming a full member. We’re very proud and happy that he accepted.
You have put out an excellent body of work through the years and built a very identifiable sound, what influence and style did Daniel bring to Modern Ruin?
JM : Daniel has a unique way of treating sounds and building rhythmic structures. It will be obvious to anyone who’s familiar with his work that he’s been involved in Modern Ruin. He also has a different take on beat structures than Eskil and I have, more intricate and detailed I guess is a way of describing it. But I think we did a good job adjusting to each other and it turned out to be a win-win situation.
How do you work on songs, as a unit or as individuals? Is one of you usually the contributor for a specific part (i.e., music, vocals, sound design)?
JM : Almost all songs are collaborative and our roles change. But it varies wildly. There is no fixed workflow or specific areas of responsibility. Anything goes that contributes to the end result.
Covenant’s sound has changed over the years you’ve been together, how do you view your evolution as a band? How would you describe the changes that have accompanied the last few albums?
JM : Change is the only constant. But we’ve tried to do it while keeping the basic �Covenant sound’, otherwise it would be no challenge. I mean, it’s a piece of cake to just follow any whim and present any sound you feel like, with electronics and computers anything is truly possible. For every new release it’s getting more challenging to see where and how far this concept can be taken. But on the other hand, I know very well that these changes tend to be lost on the vast majority of the people who listen to our music. In the end, a good tune is a good tune, and most of the road to that tune is irrelevant to the person who will ultimately listen to it and hopefully find it worth her time. I mean, let’s be honest, no matter how proud we feel over our mastery of our trade, it is of no consequence if the end result isn’t at the very least interesting to listen to.
What lessons have you learned since your first album? If you could go back and tell your 1995 selves one thing, what would it be?
JM : As a matter of fact, I’d rather like my 1995 self to get over here and slap me around a bit. The only thing I truly learned is how difficult it actually is to be good at what you do. My 1995 self wasn’t that wise and more importantly, he had noth-
ing to prove. That sort of confidence is unfortunately moderated by experience.
What would you say is the fundamental message of Covenant’s music?
After a four-year studio hiatus, EBM staple Covenant is back with their new album Modern Ruin, and this time they have brought Daniel Myer, the mastermind behind Haujobb, among many other electronic acts, along for the ride. We had the opportunity to talk about the state of this predominant EBM group with band member Joakim Montelius, and together with Myer and frontman Eskil Simonsson, it is clear that there are more new and different chapters to be written to their story.
interview by Aaron Andrews and DJ ArcaTek
february/march 2011 AUXILIARY 29
ENVY Twenty years from now a band covers one of your songs and be-
comes wildly successful from it, what is your reaction?
Sean : Since we would receive all the publishing money and the dollar amount would greatly outnumber any mechanical royalties the artist might receive, our reaction would likely be, �right on.’
Liz : I’d hope they did a good job of it. I’d get a little cranky if they butchered it. But, like Sean said, I guess I’d have my humongous piles of cash to console me.
GLOTTONY Have you ever considered making and marketing a Freez-
epop freeze pop? If you could put into production any Freezepop branded food or beverage product, what would you make?
Sean : We looked into it but not very deeply. I’ve always thought a Freezepop soda line would be pretty interesting.
Liz : Years ago, an alcoholic freeze pop company got in touch with us about do-
ing some cross-promotion. They sent us some samples, but it never really came together. Honestly, they did not taste �the best’. Sean has made some pretty nice drinks using freeze pops as ingredients though. They are quite aesthetically pleas-
GREED If your music turned your fans into flesh eating zombies, but your fan base grew exponentially, would you continue to make music?
Sean : Yes, especially if the zombies were able to hold down jobs and can afford things like limited edition CDs.
Liz : I would not want to be solely responsible for turning people into zombies. But if our music were only one of many different means to becoming a zombie, I would have less of a problem with it.
LUST Which member of Freezepop is the most heartthrob worthy?
Sean : I’m the least attractive physically but I have the most �fans’ if you catch my meaning there... the new kids are pretty attractive though...
Liz : Hm. Bananas would win the swimsuit competition. Christmas would win Miss Congeniality. I’d win in the evening gown category, and Sean would win the talent competition.
PRI DE Have you ever worn your own band’s shirt with the goal of receiv-
ing comments like, “Hey, I love that band!” or shamelessly promoted Freez-
epop in some similar fashion?
Sean : Not with that goal, but I wear the Freezepop 10th anniversary gear quite a bit. I’m proud of that and the stuff looks nice.
Liz : Ha, Sean wears our stuff when he needs to do laundry! I don’t really wear our stuff (although I do have a jacket with the Bananas Foster pin on it). I have high-
fived people I’ve seen wearing our shirts though.
SLOTH If you could design a robot to perform one task for you, what would you have it do and what would you name it?
Sean : I would have it play for me in the studio, and join me onstage to play my parts so I could concentrate on just being a rock star.
Liz : Go to my day job for me, so I could sleep late. I suppose that is pretty much the epitome of sloth, huh? I would name her, �The Other Liz Enthusiasm’.
WRATH You discover that someone has stolen your bicycle, what do you do?
Sean : Ask for it back. I’m diplomatic like that.
Liz : My bike is pretty old and clunky. I guess I’d mostly just be confused about why somebody went through all the trouble of stealing it.
Liz Enthusiasm and Sean Drinkwater of Freezepop reveal how they sin.
interview by Jennifer Link
Freezepop, the beloved retro-futuristic synth band, just released their new album Imaginary Friends. You can sample the album by downloading the new track “Doppelganger” on their website for free!
february/march 2011 AUXILIARY JM : I’m not sure. It’s not a single thing, it sort of changes all the time. But the core drive is probably anxiety and disassociation. To quote myself, incidentally from “Figurehead”, written in 1995, �we work so hard to be wise, and dream of light to be pure, we need brighter death to grow, the clean touch of virgin hands.’
What’s your personal favorite track you’ve ever made? One you wish you could take back? Is there a favorite to perform?
JM : In spite of the last couple of comments on years passed by I really try hard to be in the present moment, or at least not in the past. There are always regrets and there will always be things you are especially connected to, no matter what hap-
pens. That’s human nature, but I think the most important thing is to never resort to nostalgia or remorse. Time passes and what you will remember in the end are the moments when you were completely in the moment, the present now, in sync with yourself and the world around you. So I can’t really answer that question. It all changes with time and mood. I like it that way.
What types of music do you listen to? Any favorite artists or songs you’d like to turn us on to?
JM : Oh dear. I wish I had Daniel and Eskil here right now. Together the three of us would probably touch any music ever made anywhere. We are all extremely eclectic and curious about all things musical. So instead of pointing to anything in particular, something that would probably be yesterday’s news in about 20 min-
utes, I’d just like to point out that whatever makes you stop whatever you’re do-
ing when you hear it is a good thing. Keep your ears open and always obey that impulse to explore anything that catches your attention, even if it’s something that doesn’t immediately strike you as �good’ or �enjoyable’.
When you’re not involved working on an album or touring you’re…
JM : …minding my own business.
What do you feel like it takes for an electronic band to be an engaging live act?
JM : An interest in people. Machines are great, but they are just interfaces or exten-
sions of ourselves. If you don’t care about people you probably don’t really care about music either, and that will be evident as soon as you set foot on a stage.
Your North American tour has already come and gone and you’re currently making your way through Europe, all before the release of Modern Ruin. Why did you decide to tour this way instead supporting an album you al-
ready have out?
JM : That’s a complicated story. It’s just not possible to be everywhere at the same time. We had opportu-
nity to tour North America last year and this spring we will focus on Europe. There are plans to go back to your continental shelf later in 2011 though. Keep your eyes open.
Do you have something you like to do to pass time while on tour?
JM : Power sightseeing (that is, to see as much as we can in the short amount of time we have at every new location), eating interesting food and arguing about what to listen to in the tour bus. Reading. I wish I could say sleeping and dreaming, but that rarely hap-
pens on the road.
Do you see yourselves on a certain path for the fu-
JM : No. There will be a path, that’s all that can be known for certain. I hope it will take us to new and unexplored territory.
“ The title itself refers to the loss of some of the ideals that Modernism was about. Somehow [they] got lost and grew into cynicism and confusion. ”
AUXILIARY february/march 2011 30
Daft Punk - Tron Legacy Soundtrack
released by Walt Disney Records on 7 Dec 2010
genre : soundtrack/score
Daft Punk’s music accompaniment for the long-
awaited Tron sequel blends the sounds that you know and love from them with an orchestrated score. If you expected banging house music, then you are out of luck. Instead you get a collection of compositions that are short and precise, each excellently match-
ing their scenes in the film. There are, for better or worse, no extended versions. This score is of an ob-
vious film and musical lineage and sounds informed and inspired by electronic composers Vangelis and Wendy Carlos, who wrote the music for the original Tron. In addition, the sound design has both a retro analog tone and the audible fingerprints of 16-bit video gaming. The end result is futuristic music with an 80s perspective for a film icon. 7/10 - AA
quick picks
Shiv-r - Incision EP
released by Deathwatch Asia/Infacted on 11 Jan �11
genre : electro-industrial
After an impressive debut release with Hold My Hand, Shiv-r follows up with an EP to whet the ap- petite for their second album. While this EP didn’t floor me like the album did, I didn’t expect it to. EP’s are usually disappointing and really just offer up a few b-side tracks and some club friendly remixes. The original title track “Incision” is the best song on the album and the most like Shiv-r. The Virulent mix of “Incision” is a hard club mix with scream-ing synth lines whereas the Kong remix offers an experi-
mental take, which I did enjoy. The new songs “Zeit-
geist”, “Dead Eyes”, and “Hacker” are somewhat average. Although this EP isn’t supreme, Shiv-r is still a rising star. 7/10 - MK
Suicide Commando
- Death Cures All Pain
released by Metropolis on 7 December 2010
genre : EBM, industrial
The latest single from Suicide Commando features “Death Cures All Pain, “Perils of Indifference”, and “God Is In the Rain” off of the album Imple-
ments of Hell, plus the B-side, “Go Fuck Yourself” in several remixes. There’s contributions from out-
side artists and several takes from Johan Van Roy himself. The best part of any single is the chance to find new artists based on their interpretation of the work of someone of whom you’re already a fan, and I felt like my favorite takes are from SITD and Kant Kano. No remix on here is a killer addition to their catalog, but if you’re a fan, or just curious like me, check it out, even if its just for the alternate takes and extended versions of his own songs. 6/10 - AA
Vert i cal Secti on - Death Throes
sel f-rel eased vi a vert i cal sect i on 25 Jan �11
genre : i ndust ri al rock
Vert i cal Sect i on i s t he proj ect of Seat t l e’s Joe Day and t hi s EP represent s t he soft ware engi neer ’s first mat eri al. It i s i ndust ri al rock t hat i s comparabl e t o 16Vol t or God Li ves Underwat er. The first and most st ri ki ng t hi ng about t hi s rel ease i s t hat for a sel f-
produced and sel f-rel eased debut, t he product i on val ue i s except i onal, songwri t i ng and assembl y i s compl ex, deep, and l ayered; wi t h every component fal l i ng i nt o pl ace perfect l y. Day al so has an excel-
l ent voi ce whi ch t o hi s credi t he avoi ds dressi ng up i n di st ort i on. You can hear t he at t ent i on t o det ai l and perfect i oni sm of Vert i cal Sect i on t hroughout, whet her i t ’s t he synt h flouri shes, background vocal s, sound desi gn, or perfect pop hooks. 8/10 - AA
Vari ous Arti sts - Werkschau
rel eased by BPi t ch Cont rol on 31 January 2011
genre : t echno, mi ni mal t echno, t ech-house
Werkschau showcases t he great dept h of art i st s on BPi t ch Cont rol. Unl i ke most t echno base al bums, t here i s a surpri si ng amount of l yri cs present. There i s a darker t one t o each of t he t racks, and a real mood devel ops whi l e l i st eni ng. There are some real gems here, l i ke Di l l on & Coma’s “Ai mi ng For Dest ruc-
t i on”, pl us t here are new t racks from Paul Kal k-
brenner, We Love, and Tel efon Tel Avi v. A DJ coul d pi ck up a copy of t hi s and creat e a st el l ar mi x, each t rack flows ni cel y i nt o t he next maki ng an enj oyabl e l i st eni ng experi ence. It ’s not very oft en t hat I woul d revi ew a compi l at i on al bum, as t hey are usual l y cl unky, fil l ed wi t h average bands, and a few super-
st ars wi t h t hei r overpl ayed cl ub hi t s. 8/10 - MK
Twi tch The Ri pper - Bodi l ess
rel eased on 1 February 2011
genre : synt hpop
Hai l i ng from Connect i cut and poppi ng up al l over t he i nt ernet, Twi t ch The Ri pper rel eases t hei r debut al bum Bodi l ess. Thi s mel anchol i c al bum mi xes syn-
t hpop wi t h very heavy new wave i nfluences. The product i on and mi xi ng on t hi s al bum i s t op not ch and al t hough I t hought I not i ced t he vocal s mi ssi ng t one once or t wi ce, most of t he t i me t he soot hi ng voi ce carri es t he songs. I recommend checki ng out “Di sconnect ed”, “Bri ght As Possi bl e”, and “A Pl ace For Pol ari s” for a good sense of what t hey are about. Thi s al bum i s has a cal m feel i ng t o i t, worki ng wel l as you ki ck up your feet and rel ax aft er a hard day. 7/10 - MK
musi c revi ews
Freezepop - I magi nary Fri ends
rel eased by Archenemy Record Company on 7 December 2010
dat a : 4t h al bum . 12 t racks . 48:15 run t i me .
revi ewed by : Steve Pri nsen aka DJ Darkwave genre : synt hpop, el ect roni c, el ect ro
Hel l o, my name i s St eve and I am a synt h-
pop-ahol i c. Man, i t feel s good t o get t hat off my chest. I’ve been t ryi ng t o keep t hi s addi c-
t i on i n check but recent l y I fel l off t he wagon; hard. It i s cl earl y not my faul t and I pl ace t he bl ame squarel y on Sean T. Dri nkwat er and Li z Ent husi asm from Freezepop. Thei r new al bum Imagi nary Fri ends i s si mpl y t oo good. Toget her wi t h t hei r new ful l -t i me bandmat es Robert John “Bananas” Fost er and Chri st mas Di sco-Mari e Sagan t hey have craft ed an al bum t hat may come t o define t he modern synt hpop genre. The songs are cat chy and fun wi t h j ust enough qui rki ness t o make you gi ggl e at t hei r audaci t y. At first l i st en, “Lose That Boy” made me l augh uncomfort abl y as I pi c-
t ured t he fami l i ar scene unfol di ng and i magi ned a coupl e somewhere real i zi ng t he song was about t hem. Songs about ki l l er spi ders and hot ai r bal l oons? Bri l l i ant! Al l i n al l, a great effort. Al t hough i t i sn’t compl et el y cl ear what rol e t he new members pl ayed i n t he creat i on of t hi s al bum, t he new dynami c i n t he band wi t h t he expanded l i ne-up real l y seems t o have mat ured t hei r sound and songwri t i ng and amped up t he fun at t he same t i me. I do mi ss some of t he more experi ment al aspect s of t hei r earl i er rel eases, perhaps evi dence of t he el ement l ost wi t h t he ret i rement of The Duke i n 2009, but t hi s i s cl earl y a st ep i nt o t he fut ure for Freez-
epop. I can hardl y wai t t o hear t he new songs performed l i ve! The vi sual nat ure of t hi s mat eri al shoul d gi ve t hem l ot s of opport uni t y t o spi ce up t he product i on of t he l i ve set s i n new ways. I al so have t o ment i on t he excel l ent sound qual i t y of t hi s recordi ng. I was qui t e i mpressed wi t h t he cl ari t y and soni c range of t he musi c and vocal s. What ever product i on process t hey used was spot -on perfect for t hi s mat e-
ri al. I wi sh more bands had t he wi sdom t o di al back t he l evel s and l et t he musi c breat he l i ke t hi s. Wel l done.
recommended tracks : Speci al Effect s, Doppel ganger, Nat ural Causes
i f you l i ke you may l i ke : Parral ox, La Roux, Pl ushgun
grade : overal l 9 - musi c 9 - l yri cs - 8 - recordi ng qual i t y 9
Covenant - Moder n Rui n
rel eased by Met ropol i s Records on 8 February 2011
dat a : 7t h al bum . 11 t racks . 48:58 run t i me .
revi ewed by : Aaron Andrews genre : EBM
Covenant ret urns aft er four years a l i t t l e ol d-
er, a l i t t l e wi ser and wi t h a di fferent l i neup. Cl as Nachmanson has l eft t he band and i n hi s pl ace i s somet i mes l i ve fil l -i n Dani el Myer, from such proj ect s as Hauj obb, Dest roi d, Archi t ect and, wel l, much more. Eski l and Joaki m have moved forward wi t h t hei r new t hi rd member and have creat ed a more ma-
t ure soundi ng al bum t hat has l ess of t he st rai ght forward cl ub sound and, whi l e not l osi ng t rack of t hei r past, has more compl exi t y and nuance. The l ead si ngl e and al bum l ead i n, “Li ght bri nger”, i s an i ncredi bl e t easer. And whi l e bei ng epi c, gran-
di ose and l arger t han l i fe, i s not qui t e l i ke previ ous Covenant si ngl es. It exchanges t he st eady cl ub rhyt hms of a song l i ke “Ri t ual Noi se” for a st ruct ure more focused on i t s mel odi es and vocal s. “Judge of My Domai n” i s t ruer t o Covenant ’s previ ous form and of course feat ure’s Eski l ’s di st i nct voi ce i n a song based more on t he pop song framework t hat t he band bends t o t hei r wi l l. Ot her st andout s i ncl ude t he house i nspi red “Dynamo Cl ock” and t he sl i ght l y mel anchol y but gri ppi ng al bum cl oser “The Road”. Modern Rui n spot l i ght s Covenant at a t i me of change and growt h, havi ng come back from from t hei r t i me off wi t h t hi s great addi t i on t o t hei r cat al og, whi ch shows off not onl y t hei r newest and l at est t hought s and experi-
ences, but al so a new vi si on of t hei r sound. Thi s i s t he sound of an art i st t hat has t aken i n l i fe’s l essons and reflect ed t hem back wi t h grace, i nsi ght and a new i dea.
recommended tracks : Li ght bri nger, Judge of My Domai n, Worl ds Col l i de, Dy-
namo Cl ock, Beat t he Noi se
i f you l i ke you may l i ke : Rot ersand, Hauj obb, Depeche Mode
grade : overal l 8 - musi c 8 - l yri cs 8 - recordi ng qual i t y 9
Al i ce I n Vi deol and - A Mi l l i on Thoughts And They’re Al l About You
rel eased by Art offact Records on 11 January 2011
dat a : 4t h al bum . 11 t racks . 37:26 run t i me . i cei nvi deol and
revi ewed by : Mi ke Ki effer genre : el ect ropunk
Ri ght from t he first drumbeat t here i s t he un-
mi st akabl e sound t hat ri ps i nt o your soul and pumps you up wi t h enough energy t o power a smal l count ry. The el ect opunk band from Sweden, Al i ce i n Vi deol and ret urns wi t h t hei r fourt h al bum A Mi l l i on Thought s And They’re Al l About You, and i t ’s t i me for anot her 30 mi nut es of cat chy mel odi es and i n-your-face rocki ng fun. Yes, t hat ’s ri ght. Onl y 30 mi nut es j ust l i ke al l t hei r ot her al bums, and yes, i t l eaves you cravi ng more. Al t hough t hi s t i me around t he Art offact Records rel ease feat ures t wo bonus t racks; wel l, one remi x of “Li t t l e Bi rds” whi ch i nj ect s a l i t t l e t echno flavor, and a censored versi on of t he si ngl e “Spaceshi p”, and t hi s i s what pushes t he t i me t o 37 mi nut es. Every t rack feat ures si nger Tori l Li ndqvi st ’s st ri ki ng vocal s fil l ed wi t h at t i t ude and emot i on t hat sends shi vers down your spi ne. The mel odi c song “No Mat t er” i s perhaps t he best -wri t t en song on t he al bum, al t hough I prefer t he more upbeat songs l i ke “In A Band” and “Bender”. I do have a personal probl em wi t h t he cover of “Buffal o St ance”. Al t hough t he cover t hat appears on t hi s al bum i s t ol erabl e, I wi sh i t never exi st ed because I real l y don’t l i ke t he ori gi nal and I can’t get over i t. Besi des t hi s personal i ssue, A Mi l l i on Thought s And They’re Al l About You i s absol ut el y sol i d and shoul d be rocki ng at your dance part y, even i f i t ’s j ust you i n your bedroom. Al i ce In Vi deol and i s on a mi ssi on t o ki ck ass and t hi s rel ease i s t hei r best si nce t hei r debut al bum Mai den Voyage. recommended tracks : Spaceshi p, In A Band, Last Lover i f you l i ke you may l i ke : Gol dfrapp, Di e Perl en
grade : overal l 8 - musi c 8 - l yri cs 8 - recordi ng qual i t y 9
february/march 2011 AUXI LI ARY FASHI ON
Valentine’s Day is a celebration of love that is honored every year on February 14th. The origins of Saint Valentine’s Day dates back to the Greco-Roman Era in re-
membrance of the one or more Roman Christian martyrs named Valentine. The reasons why Val-
entine’s Day has been related to romance is unknown, yet has been a designated day to woo your lover. The romantic tradi-
tions have trickled down through-
out the years from handmade paper valentines to modern day declarations of love with sweet confectioneries, love letters, jew-
elry, and flowers. Valentine’s Day can be symbolized by the color red, kitschy and bold heart prints, or just wearing a heart pin on your lapel. The modern day has made February 14th a very com-
mercialized and stale holiday, yet whether you love or hate it, it’s been a time honored testament of romance dated back to the Roman times.
Be My (Dolly) Valentine
1 Deliliah Dress by Dolly Valentine and Chloe Purse in Lucy Dot by Dungaree Dolly.
2 The Moxie heart fascinator by Topsy Turvy Design.
3 Retro Robot Earrings by Whiskey Darling.
4 Sacred Heart Necklace by Whiskey Darling.
5 Cutie Pie Heart Compact by Retro-A-Go-Go.
6 Strawberry Dreams Cigarette Case by Retro-A-Go-Go.
7 Skull n’ Bow Continental Ring by Retro-A-Go-Go.
8 Red suede bow heels by Two Lips.
styl ed and wri tten by Meagan Hendri ckson
photographed by Jenni f er Li nk
model Beth “Dol l y” Dauri a
february/march 2011 AUXILIARY 2
music reviews
Wi re - Red Barked Tree
rel eased by Pi nk Fl ag on 11 January 2011
dat a : 12t h al bum . 11 t racks . www.pi
revi ewed by : Paul Mori n genre : post -punk
If t hi s al bum had been rel eased by any of t he “post -punk revi val i st s” current l y maki ng mu-
si c, i t woul d be an i nst ant cl assi c because i t sounds l i ke, wel l, Wi re. Whi ch i s al so a huge compl i ment t o Wi re t hemsel ves, consi deri ng t hey are now wel l i nt o t hei r t hi rd decade of maki ng musi c. The musi c has sl owed down a bi t t o a mi d-t empo (more “Out door Mi ner” and l ess “12XU”), and t hey’re cont ent t o ri de t he wave t hey st art ed t hese days, but al l of t he cl assi c el ement s of t hat sound are st i l l present and have never been st ronger; t hey’re st i l l del i veri ng soari ng vocal harmoni es wi t h pi ss-and-vi negar l yri cs, st i l l wrappi ng art -rock i n t he gui se of pop sensi bi l i t i es, and are probabl y st i l l usi ng t he same chorus pedal t hey used on Chai rs Mi ssi ng. It ’s a haunt i ngl y fami l i ar sound, and one t hat has been i mi t at ed and emul at ed by count l ess bands si nce. Thi s al bum doesn’t real l y bri ng anyt hi ng new t o t he game (al t hough t hey are usi ng GPS t hese days rat her t han map references), and t hat ’s probabl y t he bi ggest compl ai nt one can make about t hi s al bum, consi deri ng Wi re were never t he t ypes t o rest on t hei r l aurel s. But on Red Barked Tree t hey are si mpl y doi ng what t hey do best. It ’s not 154. It ’s not Pi nk Fl ag. But i t ’s st i l l Wi re.
recommended tracks : Two Mi nut es, Pl ease Take, Down To Thi s
i f you l i ke you may l i ke : The Cure, Gang of 4, Joy Di vi si on
grade : overal l 7 - musi c 7 - l yri cs 7 - recordi ng qual i t y 7
I szol oscope - The Edge of Certai nty
rel eased by Ant -Zen on 3 November 2010
dat a : 7t h al bum . 9 t racks . 60:52 run t i me . www.i szol
revi ewed by : Mi ke Ki effer
genre : rhyt hmi c noi se, dark ambi ent
Hai l i ng from Mont real, Canada, Iszol oscope has been brewi ng up The Edge of Cert ai nt y for t hree years and t he resul t s are an at om-
i c bomb on your senses. The first t rack i s a pri me exampl e of how dark ambi ent shoul d be done. “The Fi rst Transcendent al Compo-
nent (feat uri ng Norad)” draws you i n and gi ves a feel i ng of somet hi ng massi ve l oom-
i ng i n t he darkness. Thi s i s t he perfect set up for t he next t rack, “Fl at l i ne Recei v-
er”, whi ch drops t he hard rhyt hmi c noi se. Poundi ng hard wi t h dri l l i ng crunchy synt hs, you can feel your aggressi on ri si ng t o t he poi nt where you mi ght punch your mot her. The t i t l e t rack keeps your body movi ng but i t cl eans up t he noi se a bi t and adds chi mes and cl i ngs for a more t echnoi d-t ype t rack. Thi s i s fol l owed by anot her dark ambi ent t rack “Second Transcendent al Component ” and t hen by anot her pounder, “In t he Face of Descent ”, whi ch has a ni ce deep bass l i ne t hat shakes your i nner core. Just t o make sure you don’t t hi nk Iszol oscope has l i mi t s, “When Al l You See i s Li ght ” assaul t s you breakcore st yl e. The al bum cont i nues wi t h ambi ent t racks “L’i magi nai re de l a fin”, or “The Imagi nat i on of t he End” for us non-French speaki ng fri ends, and t hen “Thi rd Transcendent al Component ” and a noi se t rack “Inseparabl e From t he Voi d” whi ch has a creepy-yet -i nnocent musi c box chi me mel ody t hroughout. Thi s al bum has appeared on numerous bl ogs’ t op 10 of 2010, and one who l i kes t hi s genre of musi c woul d find i t hard t o argue. There are pl ent y of wel l -const ruct ed t racks ful l of ori gi nal i t y t hat hol d your at t en-
t i on span t hroughout even t he l ong ei ght and a hal f mi nut e t racks. Aft er t aki ng a deep l i st en t o t he al bum i t wi l l l eave you sayi ng, “Fuck Yeah!” recommended tracks : The Fi rst Transcendent al Component, In t he Face of De-
i f you l i ke you may l i ke : Memmaker, Synapscape, W.A.S.T.E
grade : overal l 9 - musi c 9 - recordi ng qual i t y 10
Komor Kommando - Oi l, Steel & Rhythm
rel eased by Al fa Mat ri x on 25 February 2011
dat a :1st ful l l engt h. 15 t racks . 77:36 run t i me .
revi ewed by : Aaron Andrews genre : t ri bal i ndust ri al, rhyt hmi c noi se
Producer, creat or, and member of Icon of Coi l, Sebast i an R. Komor, has expanded on hi s Das EP i n t hi s hi s first ful l al bum under t he Komor Kommando moni ker. Wi t h t he addi t i on of t he new mat eri al, Oi l, St eel & Rhyt hm i s an i nt ense ful l l engt h. Komor ’s i nt ent i s t o bui l d t he hardest danceabl e cl ub songs he can, wi t h more beat, more ki ck, and more fury t han t he next guy. Drawi ng on what makes i ndust ri al musi c i ndust ri al i n t he first pl ace Komor has creat ed songs t hat are t hi ck wi t h met al and machi nes. Each i s a part of t he never-endi ng beat and rhyt hm of i ndust ry and l i fe i t sel f, beck-
oni ng l i st eners t o t he dance floor. Oi l, St eel & Rhyt hm i s as based i n t he present as i t i s i n t he past, as i t harkens t o t he sounds of Ski nny Puppy’s noi se and sampl e dri ven i nst rument al s and t he soni c t ext ures of Ei nst urzende Neubaut en reshaped i nt o more pop and dance focused di rect i ons. The overwhel mi ng t hrob of most of t he mat eri al i s compl ement ed by some excel l ent et hereal vocal sni ppet s and fun mel odi c flouri shes. The songs are usual l y devoi d of act ual l yri cs, whi ch add t o t hei r mood and i nt ensi t y. There i s a guest appearance by Sasha K of KMFDM on “Predat or” and t hi s envi ronment put s hi m i n t he best form I’ve heard i n a whi l e. Oi l, St eel & Rhyt hm i s energet i c and i nt ense but not wi t hout fun, songs l i ke “BoomTscheekah” wi t h i t s i ndust ri al beat boxi ng or t he West ern fil m i nspi red “Hast a l uego” are sl i ght l y si l l y but t hey show such a j oy for l i fe and musi c i t ’s i m-
possi bl e not t o smi l e. Sebast i an’s made an al bum t hat i s i nt ense, l oud, and wel l i n-
formed by what i ndust ri al musi c i s, and i n every pl ay you hear how much he l oves what he does. It ’s i nfect i ous, every t i me I l i st ened t o t hi s my smi l e got broader and I l oved i t more. Hi s abi l i t y t o make poundi ng, oi l dri ppi ng musi c i s onl y a smal l part of t he charm of t hi s al bum, t he abi l i t y t o enj oy what he does i s t he ot her part t hat ot hers somet i mes mi ss. It i s an essent i al pi ece of maki ng art. recommended tracks : The Fact ory Inci dent, Predat or, Das Oont z, At rapado, Sl aves of Machi nes
i f you l i ke you may l i ke : Icon of Coi l, i Vardensphere
grade : overal l 8 - musi c 8 - l yri cs 7 - recordi ng qual i t y 9
AUXI LI ARY february/march 2011 In recent years, accessory boutique chains latched onto the tiny top hat trend seem-
ingly for dear life. It’s now easier than ever to affix a mass manufactured concoc-
tion of felt, marabou feathers, and sequins to your head for the low, low price of $12.99. Alas, it is advised that the ladies who pride themselves on rejecting the concept of disposable “fast fashion” , who long to add handmade tricorns, pill-
boxes, and cloches crafted with utmost skill and care to their accessory arsenal, to seek out San Francisco based master milliner Kat Toronto of Hey Sailor! So, if you dream of a nine-inch pirate ship sailing on a bed of hot pink PVC, pleat trims of whimsically striped fabric, and chenille dot veils decorating your �do, Kat can bring it to reality. And that’s just one way Hey Sailor’s splurge-worthy treasures can up your style ante at the drop of a hat.
Your venture into millinery began when you fashioned fancy head adorn-
ments to rock at events where you sang for the band Ragwater Revue. Despite your original desire to handicraft one-of-a-kind accessories intended solely for personal use, at Ragwater Revue’s shows, people offered to buy the hats right off your head which must’ve felt positively exhilarating. What did these proto-Hey Sailor! concept hats look like?
Kat Toronto : Many of the hats I created in the very beginning were fashioned from bits and pieces of vintage hats that I had procured while thrift shopping or on eBay. I absolutely love playing with slightly tattered and torn bits of vintage clothing and turning them into new garments or accessories, this is where Hey Sailor! Hats had its humble beginnings. While working on my BFA at the Kansas City Art Institute I created a collection of garments from recycled vintage cloth-
ing and vintage fabrics so I think it was just natural that this transferred over into my hat making. Although I greatly enjoyed creating these early hats from vintage materials I soon realized that I wanted to know more about the technique, trade, and history of millinery. So began my serious venture into handmade millinery, and ultimately, Hey Sailor! Hats.
Which one of your designs do you consider to be most universally flattering to all women?
KT : Whether you’re going for elegant or over-the-top eccentric, a Hey Sailor! cocktail hat is always a flattering and failsafe (not to mention beautiful!) way to top off your ensemble.
What is the bare minimum of hats the average modern woman should have in her wardrobe?
KT : That really depends on the woman! I imagine that most fashion-conscious women have at least a couple of hats for each season, in my opinion one must have a variety of evening and occasion hats and a selection of more utilitarian, comfort-
able styles to wear throughout the day.
What is your favorite period for head decor? In your opinion, which era boasted the best chapeaux?
KT : I must admit that my favorite time period for hats were the 1930s and 1940s. I’m absolutely smitten with the tilt and toy style hats that epitomized that era! If suddenly granted the ability to time travel, which old Hollywood screen icon would you most love to outfit in a custom Hey Sailor! creation?
KT : I’ve always had a fascination with the inimitable Joan Crawford. She was not only gorgeous and a fashion icon but I also love her fierce tenacity and tendency towards camp, a great combination!
What’s the most unusual person, place, or thing you’ve ever derived inspira-
tion from?
KT : Since becoming a milliner I’ve made a handful of hats featuring small taxi-
dermy alligator heads for my Ragwater Revue stage wardrobe, I suppose you could say the alligator is sort of a good luck talisman for me, be it a slightly odd ornament for a hat!
Which fellow designers do you tip your hat to?
KT : I tip my hat to the incredible Philip Treacy. I garner so much inspiration from his design sense and his wisdom of the millinery industry. I wholeheartedly agree with his belief that hats are a fantasy that a milliner creates for their client, this is an absolutely perfect description of what I do and why I love doing it.
What is your favorite aspect of vending at San Francisco’s highly esteemed Edwardian Ball?
KT : The Edwardian Ball is always an amazing event whether you come as an at-
tendee or are participating as a vendor. My favorite part of the whole experience is being able to meet past and present Hey Sailor! customers face to face. It’s a wonderful feeling seeing people wearing Hey Sailor! hats in person, that is what I live for as a designer!
From Art Deco cloches to pinup perfect pillboxes, Hey Sailor’s pieces hear-
ken back to times when ladies favored elegance over comfort. What, if any, historically influenced trends would you like to see make a mainstream re-
surgence in 2011?
KT : Lately I’ve been in an Art Deco mood. I would love to see 1920s fashions make their way into mainstream style again in the near future. I’m hoping that with the acclaim HBO’s Boardwalk Empire has garnered it may prompt designers to look towards the roaring 20s for inspiration.
Finish the sentence “The single best slice of style advice I’ve ever received was …”
KT : Wow, this is a tough question! I’m not sure that I have a single piece of style advice that I could pinpoint as being the single best, but I must say that John Waters’ words of wisdom on fashion and style are rather fabulous and if I could pinpoint one person as a huge inspiration for me both as an artistic and fashion icon, he would definitely be on the top five of my list. I think being able to take everything with a grain of salt and have fun with fashion is what is most important to me, not worrying so much about what everyone else is creating or wearing but doing what is in my heart and what I really, really love.
Since the inception of your business, have you encountered any unforeseen setbacks? How were you able to triumph over them to get your endeavor to where it is today? KT : As much as I loathe it, money seems to be the gauge for any business in Even in the uncertain economic climate of today, the old adage of “You get what you pay for” appears to hold as much weight as ever. If exquisitely opulent headwear is what your heart lusts after, it’s wisest to opt for an investment piece that is truly built to last. Kat Toronto of Hey Sailor! rises to the occasion.
i nt er vi ew by Vani t y Ki l l s
sai lor!
photographer Charl i e Bones
makeup arti st Xeni a Reyes
hai r styl i st Chad Cl ark
model s Jessi ca Ml yn Mi nt er, Mynxi i Whi te,Mari na Rose, and St aci Loui se
Crow Skull Cocktail Hat with pheasant wing and floral detail by Hey Sailor! with corset by Dark Garden Corsetry.
“ I imagine that most fashion-conscious women have at least a couple of hats for each season, in my opinion one must have a variety of evening and occasion hats and a selection of more utilitarian, comfortable.”
february/march 2011 AUXILIARY AUXILIARY february/march 2011 37
regards to success or setbacks. In my case I was able to save money little by little and slowly invest in supplies and equipment as I went along which has proved to work quite well for me.
Fill in the blank, “_____ drives Kat as mad as a hatter.”
KT : PROCRASTINATION drives Kat as mad as a hatter.
If finances were no object, which high-end raw materials would you love to employ?
KT : I am a total pushover for silk, so I imagine that given the funds I would go crazy buying all sorts of decadent silks!
Influential fashion designers, such as Coco Chanel, often worked within the medium of millinery in addition to crafting couture. I wonder if the inverse tends to be true. Do you have any sartorial side projects in the works? Any chance of your fans ever seeing a line of decadent vintage-inspired gowns to accompany your luxurious headwear?
KT : I would positively LOVE to branch out and design clothing and other ac-
cessories for Hey Sailor! I actually began as a costume and clothing designer in college but since Hey Sailor! has taken off I really haven’t found much time to concentrate on anything other than hats. In due course I could definitely see Hey Sailor! producing elegant and eclectic clothing pieces to go along with the hats. In your mind’s eye, do your distant future plans include continuous construc-
tion of unique handmade headwear, or do you see pursuing a wholly different trade 20 years from now? What is your ultimate goal as a milliner?
KT : Absolutely! I plan to continue creating new and exciting millinery delights, with my ultimate goal as a milliner to have my customers love the hats as much as I love dreaming them up.
What’s next for Kat and Hey Sailor?
KT : Right now I am wholly content to sit back and see where life and Hey Sailor! takes me. My band, Ragwater Revue, is in the process of recording a new EP with a tour in the works, I’m excited to not only take the band on the road but also to take Hey Sailor! along for the ride and share my hats with as many people in as many countries as possible! Ten years ago I never would have thought in a million years that I’d be a milliner but here I am and I couldn’t be happier... who knows what’s in store for the next 10 years! FASHI ON
Stripes & Lace Cocktail Hat with jewel charm detail by Hey Sailor! and top by Lovechild Boudior.
Striped Tricorn with pheasant wing and Art Deco buckle detail by Hey Sailor!
Mini Antoinette Cocktail Hat with ship by Hey Sailor! and corset by Sweet Carousel Corsetry.
february/march 2011 AUXILIARY AUXI LI ARY february/march 2011 38
february/march 2011 AUXILIARY THIS PAGE
Cage Leather Skirt and Leather Zip Bra by Logan Neitzel with Master Blaster ruffled bustier vest by Morgen Love and Two Toned Thigh High Leggings by Molly Maureen.
Strapless Leather Dress in cranberry and Albino Epaulets by Logan Neitzel.
photographer Eri ca Ei chel kraut
creati ve di rector Mol l y Maureen Hoel tke
fashi on styl i st Mol l y Maureen Hoel t ke
makeup arti st Jodi e McGui re
hai r styl i st Jodi e McGui re
model s Mari e Vaccarel l o and Kai t l i n I sabel l a
assi stant Chri s Henneberger
AUXILIARY february/march 2011 february/march 2011 AUXILIARY THIS PAGE
Cloak Top in cream by Logan Neitzel with custom Goddess Alchemy macramГ© leather and chain hybrid adornment by Iron & Fire.
Asymmetry Strap Dress by Logan Neitzel with custom Urban Priestess leather and chain body harness by Iron & Fire.
AUXILIARY february/march 2011 february/march 2011 AUXILIARY THIS PAGE
Cutout Sleeve Blazer and Taper Leg Leather Pants in black by Logan Neitzel with Cream Rope Detailed Camisole by Morgen Love and vintage watch necklace and pocket watch.
Cage Epaulets and Cage Belt by Logan Neitzel with Skelton of Trust shreaded and woven tank by Morgen Love and vintage cross necklace.
AUXILIARY february/march 2011 february/march 2011 AUXILIARY THIS PAGE
Cage Epaulets and Cage Belt by Logan Neitzel with Skelton of Trust shreaded and woven tank by Morgen Love.
AUXILIARY february/march 2011 THIS PAGE
Strapless Leather Dress in cranberry and Albino Epaulets by Logan Neitzel.
Harlequin Valentine
photographer St ephani e Bel l
creati ve di rector Pret t y Deadl y St yl z
fashi on styl i st Prett y Deadl y St yl z
makeup arti st Ai nsl ey Graham
hai r styl i st Jenny Bel l f or W.A.C Hai r Group
model s Cai t M and Layna Bret t
february/march 2011 AUXI LI ARY THIS PAGE
St arkers 18t h Cent ury corset i n bl ack wi t h Art wi t h Lat ex Bj el ovar ’07 Neckl ace, Bet t y Monroe 40s Hi gh Wai st ed Pant i es wi t h Gart er, and shoes by Anne Mi chel l e.
Bet t y Monroe 40s Bra and Bi zune Ski rt wi t h Bi zune Leat her Neckl ace, Al do Leat her & Lace Gl oves, and shoes by Dol l house.
Veruca Cyn Lace Zi pper Dress wi t h st yl i st ’s own l eat her rose neckl ace and st ocki ngs.
AUXI LI ARY february/march 2011 february/march 2011 AUXILIARY THIS PAGE
Veruca Cyn Front Zipper Jacket and Starkers Red Bustle Skirt with stylist’s own vintage Trifari gold and rhinestone bracelet.
Veruca Cyn Back Zipper Jacket and Starkers Red Halter Corset with Betty Monroe Red Bloomers and Purrfect Pineapples Lace Sock Garters.
Betty Monroe Keyhole Dress and KvO Designs Victorian Lattice Lace Choker with Purrfect Pineapples Black Heart Mesh Sheer Halter Bra and stylist’s own black panties with lace up ribbon side, garter, and seamed stockings.
AUXILIARY february/march 2011 february/march 2011 AUXILIARY THIS PAGE
Ego Assassin Seeker Jacket, Mystery Skirt, Plunge Dress, and Utility Belt with Bizune Spiked Tie Necklace.
Gothfox Designs Velvet Valentine Pasties, Betty Monroe Tail Coat Waist Cincher, and Veruca Cyn Sheer Innocence Zipper Pants with KvO Designs Victorian Lace Mask and Fashion Whore Black Bow Necklace.AUXILIARY february/march 2011 february/march 2011 AUXILIARY THIS PAGE
Purrfect Pineapples custom Skull with Red Glitter Eyes Halter Bra and Garter Set and Starkers Black Widow Corset with Gothfox Designs Molotov Eyepatch, Fashion Whore Metallic Red Bow Necklace, and stylist’s own seamed stockings.
Betty Monroe Red Tail Coat Shrug, Veruca Cyn Personal Identity Zipper Dress, and Purrfect Pineapples Black Heart Mesh Sheer Halter Bra with stylist’s own rings.AUXILIARY february/march 2011 february/march 2011 AUXILIARY THIS PAGE
Ego Assassin Edo Shrug and Betty Monroe Steampunk Bra, Panties, and Garter Set with stylist’s own seamed stockings.
Gothfox Designs Velvet Valentine Pasties, Betty Monroe Tail Coat Waist Cincher, and Veruca Cyn Sheer Innocence Zipper Pants with KvO Designs Victorian Lace Mask, Fashion Whore Black Bow Necklace, and shoes by Harajuku Love.
Purrfect Pineapples Custom Skull with Red Glitter Eyes Halter Bra and Garter Set and Starkers Black Widow Corset with Gothfox Designs Molotov Eyepatch, Fashion Whore Metallic Red Bow Necklace, and shoes by Marc Fisher.
AUXILIARY february/march 2011 Express
Fashion Whore
Gothfox Designs
Helen Kaminkski Australia
Heavy Red
Hey Sailor! Hats
House of Fetish
Iron & Fire
Karen von Oppen for KvO Designs
Logan Neitzel
Metal Couture
Morgen Love
Mother of London
New York & Company
Plastik Wrap
Purrfect Pineapples Lingerie
Ratty Wear by Sarah Viscera
Starkers Corsets
Topsy Turvy Design
Toxic Vision
Two Lips
Veruca Cyn
Wendy Tonzing for DBC
Whiskey Darling
where to buy
Artwith Latex
Betsey Johnson
Betty Monroe
BГЇzune Fashion
China Glaze
Costume Renaissance
Dolly Valentine
Dungaree Dolly
Ego Assassin
Ellita’s Flying Snail
author Meagan Hendri ckson
photographer Laura Dark makeup arti st Mascarai
hai r Synt heti c Rebel l i on
model Bri anne Jeanet te
Statement Jewelry Instantly add an injection of glamour into your wardrobe by choosing fashion jewelry by Betsey Johnson. An easy and economical way to revamp your little black dress is with some quirky statement pieces such as layered necklaces, giant cocktail rings, and dainty delicate earrings. When you turn up the volume with these glitzy accent pieces, keep the rest of your look more streamlined as you’ll want to focus attention on the cute details of the jewelry. There’s nothing wrong with looking like a million bucks when you know you didn’t break the bank!
Betsey Johnson necklace, rings, and earrings
AUXILIARY february/march 2011 email
for more information
advertise in auxiliary
“Methamorfika” by Noiz+Zilenth
releasing February 20th
12 track album with remixes by nlinear, Rugitus Aeternam, Sonitus Niger
“Rest In Pieces” by Sonitus Niger
releasing February 15th
14 track album with remixes by
Dacaboya, GIUSY L@ [DINGUE], Noiz+Zilenth
Mastered by: Xris FLAM of Mindswerve Studio, NYC
Album design by:
Marco of Sonitus Niger
Mastered by:
Fernando Cruz of
não linear produções audio, Lisbon, Portugal
Album photo and design by:
Amanda Dutton of Synesthesia
Friday, February 25, 2011
@Port 41 Bar, NYC 355 West 41st Street & 9th Avenue
3 blocks from Times Square trains 1, 2, 3, N, Q, S, 7, A, C, E
First 20 guests to receive a complimentary CD, courtesy of MoonSlave Radio
Noiz+Zilenth, (Mexico) & ESA (UK) (Electronic Substance Abuse)
with DJs: Swabby (MediaDent), Jet (VampireFreaks), Mighty Mike Saga, Hellraver (TERRORFAKT), Wintermute (Cenotype/Life Cried)
$12 Cover
Doors open 9pm
Party until 4am
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book, photo, media, gothic, lifestyle, Auxiliary, music, fashion
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