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Auxiliary Magazine is an alternative fashion, music, and lifestyle magazine available online for free. APRIL / MAY 2011
tim skold
amelia nightmare
claire geist / faboo
sensual spring
babylove’s latex / artifice
ghostly lace / tribal military
noir flapper / fine dandy
Spring is in the air and it’s time for things new and fresh. Refresh your style with bright beauty picks for tiki parties and tropical getaways, unique vintage pieces, deconstructed military and tribal styling, bold yet polished color, pastel and retro inspired latex, evoking a bit of the dandy persona, a bit of the flapper persona as well, flowing sheer dresses, and quirky and socially conscious eyewear. Draw on the inspiration of creatives not afraid to make their own path and stay true to their self, with our interview and exclusive photos of Tim Skold, our feature on Matt Fanale of Caustic, our PinUp Amelia Nightmare, our feature on the dark and play-
ful art of Achraf Amiri, and our interview with the team behind BabyLove’s Latex. Enjoy the issue and as always, thank you for you support!
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 15 : april/may 2011
ISSN 1948-9676
Photographs / Illustrations
Luke Copping
Zach Rose
Saryn Christina
Le Mew
Tom Ma
Jennifer Link
photographs on 5
Jennifer Link
and Rahul A. Saha
illustration on 17
David M. Woodson
photograph on 18
Ron Douglas
photograph on 32
Darrell Budic
photographs on 37
Jennifer Link
Fluevog photographs courtesy of Fluevog
Aaron Andrews
Arden Leigh
Luke Copping
Rena Finkel
Claire Geist
Meagan Hendrickson
Molly Hoeltke
Mike Kieffer
Jennifer Link
Paul Morin
Pretty Deadly Stylz
Steve Prinsen Zach Rose
Adam Rosina
Vanity Kills
Graphic Design
Logo Design
Melanie Beitel
Layout Design
Jennifer Link
Luke Copping
Josh Rutski
email : with all inquires
editor’s letter
mission statement
4 vi ntage fashi on
cl ai re gei st wri ter of Faboo
5 mi dori fl ower
fresh beauty pi cks for spri ng
6 aestheti c
i denti ty warri or
10 Tetsuo: The Bul l et Man
11 ti me capsul e the western anti -hero 12 the trashi on show
the art of Achraf Ami ri lifestyle
16 bl ack theorem
cutti ng through pop cul ture and soci ety at l arge
18 ask arden
advi ce on rel ati onshi p strategi es
19 the Pi nUp
Amel i a Ni ghtmare i n Arti fi ce Cl othi ng
ti m skol d : 24
babyl ove’s l atex . arti fi ce : 33 . 19
causti c . amel i a ni ghtmare . cl ai re gei st : 32 . 19 . 4
ghostl y l ace . tri bal mi l i tary : 46 . 6
noi r fl apper . fi ne dandy : 38 . 37
24 Ti m Skol d
the rock veteran of KMFDM and Mari l yn
Manson on hi s new sol o al bum
29 qui ck pi cks
The Death Set, Matthew Dear, Ghost & Wri ter, and more...
30 musi c revi ews
IAMX, Cut Copy, Col d Cave, and more...
31 what’d I mi ss?
Mi nerve
32 seven deadl y questi ons
Causti c
33 desi gner spotl i ght
Babyl ove’s Latex
37 styl e
fi ne & dandy
38 l umi ere
46 saturni ne
54 must
Warby Parker eyewear
55 where to buy
Photographer : Luke Coppi ng
Fashi on Styl i st : Jenni fer Li nk
Makeup : Andrea Cl ai re Losecco
Model : Manchester
Assi stant : Jason Stoos
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 april/may 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.
april/may 2011 AUXILIARY by Vanity Kills
April showers bring midori flowers, as we turn over a new leaf, with lush foliage-
tinged color that perks up photoreceptor cells, after a winter spent in camel beige and khaki hell. The staple shade of pea soup and algae reinvents itself for Spring 2011 with brilliant tints that turn up the chlorophyll on eyes, nails, and lips. Skip right over those drab, uninspired olives and duller-than-dishwater army greens, grabbing freshly sprouted hues of grass, mint, and lime by the handful.
1 Adventure at every turn surely awaits she who holds the Matinee Tiki Time Clutch by Revamp Productions in one hand and a Missionary’s Downfall (rum, pineapple, peach liqueur, honey, lime juice and sprigs of fresh mint) in the other. Is that a cool island breeze hitting you or is it the rum? available at www.revamp- $140
2 Defining the lower lashline with a crisp, eye-brightening grass green pigment such as Lime Crime Magic Dust Eyeshadow in Mischief Managed applied with a slightly moistened small angle brush, gives the windows to your soul a new lease on life after that week-long Kinetik bender. available at www.limecrime- $14
3 What’s on tap for lips this April? Let Obsessive Compulsive Cosmetics Lip Tar in Lo-fi impart a hint of mint on your pout, making for an intoxicatingly yummy mojito mouth. available at $13
4 Remember Fall 2010’s unexplained greige nail polish runway trend? It’s high time we all collectively forgot it. Who wants their nails to resemble office furniture anyway? De-cubicle your fingers with a bold, decidedly un-muted varnish such as Sally Hansen HD Hi-Definition Nail Color in Hi-Def. available at www. $6.50
5 I’m sold on anything that bills itself as a celebration of the “futuristic culture of cuteness”; and if it’s presented in the form of whimsically neon lip gloss con-
taining treasure, much like the Tarina Tarantino Tokyo Hardcore Fashion Col-
lection Lip Gloss Ring, then the sell was particularly easy. available at www. $10
6 Nightclub restrooms are widely recognized to be some of the filthiest places on Earth. Protect your hands from all the germs you accidentally came in contact with via skanky stalls, squalid sinks, and foul toilet flushers with Sephora by O.P.I Moisturizing Hand Sanitizer Spray. available at $5
7 Tokidoki’s SANDy Nail File is significantly more compact, less painful and more manageable to carry on your person than real cacti. Additionally, cacti have no proven effect on the overall appearance of your nails. Based on the scientific evidence presented above, the nail file is clearly the superiorly efficient option. available at $5
“It’s an added quirk.” That’s the answer I give a friend on a Sunday afternoon as I pull a 25-year old Perry Ellis cropped knit tank from my closet, a garment that is older than I am. She had asked what the point of wearing something vintage or retro is when I can get something so similar from Forever 21 these days. It was an irritating notion, why buy some cheap of-the-moment knockoff and not take advantage of the real deal that has survived and is now being celebrated again in the mainstream? Aside from the fact that craftsmanship on the whole is leaps and bounds better than anything I could get reproduced in acrylic these days, there’s this hidden charm to wearing vintage. To avoid vintage pieces from designs past is the exact opposite of what the entire fashion industry is all about. To wear vintage is to celebrate fashion. That is the exact reason as to why the resurgence of wear-
ing vintage has flourished. You can make the best of what each decade has to offer and make it work now.
It’s amazing how vintage can both go with or against current trends. Just by resur-
recting something from your mom’s or grandma’s closets, you get this chance to write a new chapter for the story that garment has already lived through. Now, of course, there are some guidelines. Costuming, or wearing head-to-toe from the same decade, might make you seem like you stepped out of a time machine and would get confused by the sight of an iPod. Yes, it’s awesome and cool that you have a closet full of deliciously beautiful pieces from the past, but the focus here is to take the old a step further and give it new life. Think of it as resurrection. I’m a personal fan of contrasts and juxtaposition when it comes to wearing vintage. Examples include playing up proportion and wearing an oversized football car-
digan from years past with perfectly tailored, timeless button-down you-love-to-
wear-so-much boyfriend shorts, and Гјber-modern wooden platform wedges with socks. Socks help the modernity factor for some reason. Pull out that full A-line skirt from 1964 with a worn-in tee and rebellious cropped denim vest. Tailored, baggy worn-in classic off-the-cuff dusty Midwestern united with geometric and new, cropped with long and elegant. I think you get the idea.
For spring, my personal focus has been to bring together a sense of freedom with bounded, almost restrictive pieces like super tailored blazers or maybe even cor-
sets! It’s to keep in mind that we are one season closer to summer, but we have just come out of winter, still bound to garments to keep us from falling ill from the elements. I’m on the lookout for bellbottoms to wear with a brand spankin’ new black sheer button-down with a bandeau underneath. Badass bandanas will stick out from my back pockets as I don polyester men’s disco shirts, and heels with my mom’s original 80s Donna Karan trousers will be worn cropped with Converse and an air of nonchalance as I sip lemonade from a jar. To say the least, my lust for spring is endless, and I intend to celebrate vintage as I celebrate the coming sun.
by Claire Geist
A combo New Yorker/Buffalonian from birth, Claire Geist grew up bouncing from her home in New York City to her grandparents’ house once a year in Buffalo until her family moved to Buffalo for good when she was 13. While spending her high school years in Buffalo, she started her fashion/photo blog called Faboo ( when she was 16 in an attempt to relate back to her roots in NYC and her love for fashion implanted in her by her mother. Since starting Faboo, she has worked with Reed Krakoff for the 2010 Holiday campaign for Coach along with working with other brands such as PacSun, Ralph Lauren, and Warby Parker. She has also been featured in magazines from Seventeen to Teen Vogue and NYLON Japan. She is currently a first-year student at The New School in New York City.
photographer : Guang Xu
AUXILIARY april/may 2011 The ideas and viewpoints of our readers published to voice an alternative perspective on current day society, topics, and events.
Midori Flower
april/may 2011 AUXILIARY Identity AESTHETIC
creati ve di rector and author Pretty Deadl y St yl z
photographer Tom Ma
fashi on styl i st Pretty Deadl y Styl z
makeup arti st Asha Hel l er
hai r styl i st Li nda Radan
model s Dasha Stri l ana & Rama Lucksi art o
AUXILIARY april/may 2011 april/may 2011 AUXILIARY THIS PAGE
Stylist’s own vintage Russian tank goggles with embellishment by ClockworkZero paired with Flared Out blue feather necklace and Maven black metal chain necklace both by Felt Your Heart Beat and Blue Bullet Punch necklace by ClockworkZero.
Feathered in Brass necklace by Moonlight for Violet, Flared Out necklace by Felt Your Heart Beat, ClockworkZero charms, and stylist’s own tartan headband in hair with Bribed in Brazed Brass necklace by Felt Your Heart Beat on shoulder, Striking earrings by Felt Your Heart Beat, and jumpsuit by H&M.
Not every warrior wears the same outfit. The Identity Warrior combines Celtic, tribal, and military inspirations to cre-
ate a new brand of warrior: a personal identity fighter. Military uniforms are designed to unite groups, create con-
formity, and strip away individuality. Use some irony and combine combat elements to construct a new, unique uni-
form that reclaims your sense of self. Don’t be afraid to step out of the tribes, and be unique.
For this look enlist the help of military surplus stores, vintage clothing outlets, or designers for an even more unique approach. Salute the beauty of earthen material, mix metals and bone, leather, feathers and beads. Don’t forget your military insignias. Use shades of olive, grey, navy, amber, red, or tan. Play with gold, coppers, and brass. Adornment is essential; use headgear, caps, tartan, and amulets to help you complete the look. Deconstruct the accessories and wardrobe, keep them unbalanced to play up individuality. Be inspired by many groups and bring them together to create a look with its own identity. For her, hair is slicked back and sculpted with accent braids to provide variation in texture. For him, it’s styled short and smooth, yet with a hint of resistance. Apply makeup and body paint onto areas of exposed skin in ways that could pay homage to warrior tattooing or battle paints. The face is clean and fresh.
Not only are you celebrating yourself, but the art that can be found in cultural approaches to com-
bat from around the world. As an identity war-
rior you dress outside of society’s intent for the uniform. Keep some tribal elements but explore new ways to layer, fit, and wear your own identity not just with your clothes, but on your skin.
AUXILIARY april/may 2011 april/may 2011 AUXILIARY THIS PAGE
Stylist’s own collar, stylist’s own military inspired jacket, Feathered in Brass necklace by Moonlight for Violet, and Jaw Bone necklace by ClockworkZero paired with Knit Hoops in Gold earrings by Moonlight for Violet, stylist’s own vintage dress wedge cap, and Canadian Mementos 006 pin by Moonlight for Violet.
Deconstructed stylist’s own vintage military shirt with red tartan fabric and Steampunk Russian Medals pin by ClockworkZero under vintage military bar pin paired with Hack It necklace by Felt Your Heart Beat, Jasper Cube in Gold necklace by Moonlight for Violet, and Bone & Wood Tribal Bracelet by ClockworkZero. Stylist’s own vintage wedge cap with Russian Propeller Pin by ClockworkZero.
Tetsuo: The Iron Man was, and in many ways still is, the extreme film proving ground. When explor-
ing the labyrinthine world of underground cinema, you either stumble upon this flick or have it forced upon you by an all-too-eager (and likely somewhat sadistic) friend, and how you react to it determines whether you continue down the rabbit hole or retreat back to the safety of mainstream cinema. Shinya Tsukamoto’s 1989 feature-length debut (“feature length” is generous; it clocks in just over an hour) was pure weaponized cinema; a violent speed-freak take on cyberpunk built upon a foun-
dation of existentialist and psychosexual themes. Also, it had a drill penis. Tsukamoto made a name for himself with Tetsuo, and built a career that par-
alleled that of David Cronenberg (his closest west-
ern analogue), making films that slowly moved away from the fantastic and into the realm of the psychological (Tokyo Fist, Bullet Ballet, A Snake of June), while maintaining his focus on the vis-
ceral. Tsukamoto returned to the world of Tetsuo in 1992 with the release of Tetsuo II: Body Hammer, an ambitious follow up that, while a good film in its own right, didn’t have nearly the same impact as its predecessor. Which brings us to 2011, and the North American release of Tetsuo: The Bullet Man, the third film in the series and Tsukamoto’s first English-language film, designed to reintroduce the Tetsuo concept to the international film world. Does it succeed in matching the artistic triumph of the original? Not exactly...
by Adam Rosina
The third film in Tsukamoto’s series started by the staple underground horror masterpiece, Tetsuo: The Iron Man. Shot in digital HD with a soundtrack by Trent Reznor, will it compare?
Bullet Man centers on Anthony (played by Eric Bossick), a milquetoast salaryman (like the protagonists of the previous two films) whose son is tragically run down by a car before his eyes (not since The Toxic Avenger has a character been so ut-
terly fucking committed to crushing a child with a car). Anthony internalizes his pain, while his wife Yuriko (Akiko Mono) begs him to seek out the killer and exact revenge. Circumstances carefully engineered by the nameless adversary that mur-
dered his son (Tsukamoto himself, again playing the antagonist as is Tetsuo tradi-
tion) cause Anthony to transform into a living cybernetic weapon fueled by rage, giving him the means to retribution. As he fights to protect his wife and avenge his child, Anthony uncovers the details of his past and an explanation of his cur-
rent predicament, all tied into his father’s (Stephen Sarrazin) involvement in the mysterious “Tetsuo Project”, as “The Guy” (as Tsukamoto’s character is referred to in the credits) pushes him ever closer to his apocalyptic destiny.
The decision to shoot in English works in some places (Bossick and Sarrazin), but falls flat in others (Mono and Tsukamoto himself). Much of this is due to the Japanese actors having learned their lines phonetically, and also Tsukamoto, who is not fluent in English, directing in a language not his native tongue. Strangely, the worst offender is an apparently English-speaking SWAT team member, whose delivery is downright painful (but thankfully brief). Also, Tsukamoto taints Boss-
ick’s otherwise fine vocal performance by running all his lines post-transformation through a vocoder, which does not initially grate, but by the end reminds one of Frank Welker’s Megatron more than anything else. Tsukamoto is suitably sinister in his performance, but this is undone somewhat by the challenge of trying to figure out what in fuck’s name he’s saying.
The plot starts off promising, but as the film pro-
gresses, it becomes apparent that Tsukamoto has decided to latch onto one of Body Hammer’s greatest weaknesses (the elaboration of the pro-
cess of creation and intended goals of the Tetsuos) and explore it to an even greater degree. A good chunk of time is devoted to Anthony uncovering the past of the “Tetsuo Project” and his parents’ unscrupulous involvement in it. The first film of-
fered almost no clues as to the origin and nature of the techno-organic mutation, nor did it need to. It was presented in a matter-of- fact way, similar to Gregor Samsa’s predicament in The Metamor-
phosis. Also, the transformation was a metaphori-
cal vehicle for Tsukamoto to make a point about the impending Ballardian collision of technology and man’s caged violent sexual desires. Giving the Tetsuo beast a definitive explanation, as well as excising ALL sexuality (for Tsukamoto, this is an incredibly chaste film) turns the film into a much more conventional monster movie than the two that came before it.
The film is by no means a complete loss, fairing much better in the technical department. The de-
cision to shoot in crisp digital HD works remark-
ably well and paints a picture of a bleak and sterile Tokyo, with a heavy use of blue filter (similar to how Gore Verbinski’s Ringu remake was shot, not to mention Tsukamoto’s own A Snake of June), giving the color photography a B&W feel, a clear callback to the original. The (mostly practical) effects work well, assisted by careful lighting and editing, as well as extremely subtle CG. The encounter between Anthony and a SWAT team is an incredibly tense and claustrophobic set piece that puts the special effects and Tsukamoto’s trademark nausea-inducing handheld camera work to effective use, as does the cli-
max with the fully-transformed Anthony. And it wouldn’t be a Tetsuo film without Chu Ishikawa’s superb industrial/noise score. His punishing arrangements make Trent Reznor’s musical contribution to the end credits look positively wimpy by comparison. Tetsuo: The Bullet Man, on its own, is not a bad film. Not a great one, mind you, but it’s by no means an outright clusterfuck. The original Tetsuo is a masterpiece of experimental film, and that’s a tough act to follow. Even still, Shinya Tsukamoto did not peak with Tetsuo and fizzle shortly thereafter. Outside of a few missteps, he has built a solid directorial career, crafting consistently challenging and intriguing films. It’s a shame that Tsukamoto has decided at this juncture in his career to re-
tread old ground in a more tame and straightforward manner that seems to pander to a more mainstream audience. The trouble is, even when stripped of its more complex and disturbing elements, the Tetsuo series is still far too bizarre to achieve widespread success in the west (the extremely limited release probably isn’t going to help matters either). Likely, Bullet Man will only serve to alienate his existing fanbase. If you’re not familiar with the Tetsuo series, or Tsukamoto’s work in general, Bullet Man might work to dip your toe in the water before progressing to the more hardcore fare of Iron Man (which is your drunken dad throwing you out of the boat to teach you to swim), but for longtime fans, it doesn’t have much to offer. TETSUO
AUXILIARY april/may 2011 MEDI A
Bl ood Meri di an
Cormac McCart hy
1985 / Fi l m
A book hai l ed as one of t he great est Engl i sh l anguage novel s of t he 20t h Cent ury, t he first t rul y post -modern West ern epi c, and t he personal mast erpi ece of Cormac McCart hy, Bl ood Meri di an i s a must -read t ake on t he West ern l i t erary genre and t he bi rt hpl ace of one of t he great est of vi l l ai ns of t he wri t t en page, Judge Hol den. McCart hy hi msel f coul d not even ecl i pse Hol den’s t erri fyi ng presence wi t h hi s l at er creat i on of No Count ry For Ol d Men’s ni ght mari shl y casual Ant on Chi gurh.
Yoj i mbo
Aki ra Kurosawa
1961 / Fi l m
Toshi ro Mi fune and Aki ra Kurosawa were a l egendary pai ri ng i n t he hi st ory of fil m, much l i ke Werner Herzog and Kl aus Ki nski. Thei r 1961 fil m, Yoj i mbo rei nt erpret s t he basi c t e-
net s of t he West ern fil ms of John Ford, and present s t hem as a Japanese peri od pi ece about ri val gangs i n a feudal vi l l age. Yoj i mbo i t sel f was l at er rei nt erpret ed by Sergi o Leone i nt o hi s l egendary spaghet t i West ern A Fi st f ul of Dol l ars.
Gart h Enni s
1995 / Graphi c Novel
One of t he most i nt erest i ng t akes on Ameri -
can cul t ure, rel i gi on, and t he cowboy et hi c was present ed t o t he worl d i n t he mi d 90’s by an Iri shman named Gart h Enni s. Cut t i ng ri ght t o t he core of t he t rut hs and fal l aci es of t he Ameri can dream and t hei r ul t i mat e redeemabi l i t y i s a maj or t heme wrapped i n a frame narrat i ve t hat t el l s t he t al e of Jesse Cust er, a smal l Texas preacher who i nheri t s t he power of t he word of God and set s out t o get some answers from t he absent ee dei t y.
The Advent ures of Bri sco Count y Juni or
1993 / Tel evi si on
The t went y-seven epi sodes t hat make up The Advent ures of Bri sco Count y Juni or compi l e one of t he great est sci -fi/West ern epi cs i n t el e-
vi si on hi st ory. One of t he l ast great effort s of Bruce Campbel l before he began t o fade i nt o a peri od of sel f-parody and overt camp t hat he di d not redeem hi msel f from unt i l j oi ni ng t hat cast of Burn Not i ce. Oft en overl ooked, t he seri es easi l y st ands i t s ground agai nst t he ot her gi ant s of t he sci -fi/West ern genre; Fi refly and t he 1965 t el evi si on versi on of The Wi l d Wi l d West.
The Gunsl i nger
St ephen Ki ng
1982 / Book
The first, and best, book i n Ki ng’s Dark Tower seri es, t hi s ot herworl dl y West ern may i ndeed be Ki ng’s t rue mast erpi ece. An un-
comfort abl e adapt at i on of West ern t rappi ngs mi xed wi t h revi si oni st hi st ory and di mensi on hoppi ng advent ure. Rol and Deschai n i s one of t he archet ypal charact ers of Ki ng’s canon t hat has st ruck a chord wi t h readers t o such a degree as t o t ake on a l i fe of hi s own i n t hei r mi nds.
Kung Fu
Tel evi si on
Thi s earl y 70s Davi d Carradi ne vehi cl e may mi x i n a good dose of east ern t hemes, but i t st i l l st ands as one of t he great West ern t el e-
vi si on seri es of al l t i mes. The wanderi ngs and advent ures of Kwai Chang Cai ne once agai n brought mart i al art s t o t he forefront of Ameri can pop cul t ure and creat ed a craze for t he East ern/West ern t hat st i l l l i ves on t oday i n fil ms l i ke Suki yaki West ern Dj ango and The Good, The Bad, The Wei rd.
A qui ck r ewi nd t o unear t h t hose medi a ar t i f act s t hat may have sl i pped t hr ough t he cr acks of your r adar but shoul d be checked out.
Thi s i ssue i s a West ern roundup as we gear up for t he hot weat her and road t ri ps of t he summer. Dust y ni ght t i me roads and t he archet ype of t he rel uct ant and pract i cal ant i -hero are scenes t o set yoursel f for.
by Luke Coppi ng
apri l/may 2011 AUXI LI ARY 11
THE TRASHION SHOW There’s a beautiful current of self-love in the air. The new trend is to insist; “All women are beautiful,” and I wouldn’t have it any other way. But if you’re the right kind of person (and, dear reader, I hope you are) you will ask, “But what about the monsters? Are they pretty too?” Artist Achraf Amiri answers that question in a re-
sounding, “Yes!”
Distorted and skeletal, the women of Amiri’s work are monstrous, but he assures, painted entirely with love, “imaginative creatures to represent the emotions I have to give.” And for all his blood and gore, there’s plenty of lighthearted humor, with many of his drawings accompanied by riotously silly captions. It is easy to see why Amiri calls himself, “the hidden child of The Addams Family.”
by Rena Finkel
the art of Achraf Amiri
“ Fashion with a big
capital F. ”
LEFT untitled, BELOW “Kiss My Black”, and RIGHT “Ingeniu”
AUXILIARY april/may 2011 MEDI A
A native Belgian, he began drawing as a hobby, focusing on technique to develop his style. He has only recently been garnering fame. He began posting his artwork online in late 2009, but he has certainly exploded in the blogosphere. The fashion industry is slowly incorporating its very young heirs who have until recently been exiled to personal blogs, Etsy, and self-promotion. Amiri, born in 1988, is certainly of that extremely young crowd and certainly deserves to be incorporated into the world which inspires many of his most popular works ,“Fashion with a big capital F,” he calls it. He cites the late McQueen and fellow Belgian Martin Margiela as his favorite designers, but provides satirical, sometimes caustic insights into the household names of fashion on a regular basis that he calls, “trashion.” Amiri’s The Big Trashion Book, a free e-book, includes creepy send-ups of celebrity per-
sonalities and downright weird interpretations of iconic haute couture designs.
Still, Amiri claims his interests don’t really lie in fashion particularly. He is at-
tracted to “the bizarre and the truth.” One of his most poignant series, four prickly, colorful re-imaginings of fairy tales called Choose Your Own Adventure, show-
cases a hectic modern style transcending to a plane of beauty through harsh, pain-
ful confrontation. Adventurous it definitely is. Alice, Cinderella, Little Red, and Snow White’s witch are all given the modern monster treatment, looking anxious, disturbed, and lovely on their laconic backgrounds. To Amiri, these fairy tales are timeless, “adaptable in every period,” yet they accost us from the page with very urgent messages of urbane allure.
Much of his more classic fashion and bust portraits belie a timelessness that is inherent in artists of skill. He says he is devoted, first and foremost, to, “discipline and progress,” in his work. His effortless forms and perfectly chaotic lines put his money where his mouth is. Behind his theatrical flair and perceptive social commentary, there is a mastery of the trade and a well-trained hand. Luckily for us, he put those to use making his devilish portfolio of hypnotized, fairy-like, and monstrous, but ultimately celebratory figures, full of a defiantly trendy self-worth and self-love.
Achraf Amiri’s full body of work is available at and
“ [I think of myself as] the hidden child of The Addams Family. ”
LEFT “Empire”, BELOW Make Me Down series “Dior”, “Yves Saint Laurent”, “Givenchy”, and “Chanel”, RIGHT CLOCKWISE Choose Your Own Adventure series “Alice in Wonderland”, “Snow White”, “Pink Hood” and “Cinderella” AUXILIARY april/may 2011 14
It would be all too simple to brand Charlie Sheen crazy. Or, alternately, to presume he’s an unfortunate victim of substance abuse. I’ve been carefully examining the evidence as it’s come to light over the past couple of weeks, and I’ve come to an entirely different conclusion. You don’t even need to read between the lines to see the terrifying truth for yourself. Just look at some of his recent statements... “...I’ve spent, I think, I don’t know, the last decade effortlessly and magically converting your tin cans into gold...” “You’re dealing with a Vatican assassin. Sorry. I’m a high priest Vatican assassin warlock.” “I have a 10,000-year-old brain...”
So what can we glean from all this? One, he’s an alchemist of considerable skill, and has been able to transmute lesser metals into gold for some time. Two, he has occult connections to the Catholic church, and was trained by them in the art of assassination, so we can safely assume that the game Assassin’s Creed and the big screen adaptation of Hitman are loosely based on his exploits. I suspect he also has links to the Rosicrucians and long-dormant cells of the Hashishin, but don’t yet have enough evidence to substantiate those claims. Three, his consciousness has existed for at least 10,000 years, 10 times the average Martian lifespan. Also, he might be Starscream. Add to all this his cavorting with “goddesses”, and only one conclusion can be reached: Charlie Sheen is the most accomplished chaos magician of our time.
And it should come as no surprise. Anyone who can bounce back from Hot Shots: Part Deux and become the highest-paid actor in television must be possessed of extraordinary magickal properties. And if you commanded the immense, reality-
warping powers that Sheen does, wouldn’t you be as brash and audacious as this “rockstar from Mars” is being right now (sure, I.N.S. regularly ships people back to Mexico by the truck full, but this guy outright admits he’s here illegally from another planet and we don’t even talk about deporting him? Fucking ineffectual bureaucracy...)? But for all his power, his demands are simple: he wants three million dollars per episode for Two and a Half Men. And I know what you’re thinking, “Three million dollars is what he personally owes each and every fuck-
ing person ever unlucky enough to have ever seen five seconds of Two and a Half Men!” And were this a just world, you’d be correct. But god is dead, yet Sheen lives, and he hungers.
Let us not incur his wrath. Appease him, and buy us time while we mount an ef-
fective offensive (UPDATE: As of 3/7/11, Sheen has been officially fired from the show. The fools, if only they knew what they’ve done...). I can only hope that the world’s greatest minds have already banded together in secret, and are planning their assault. And if not, GET ON THAT SHIT! Get over to CERN, fire up the atom smasher and open a black hole that empties in his body cavity, then throw a nuke through it! Wake up Hitler’s preserved brain (I know you have it!) and ask him where he hid the real Spear of Longinus! Make Alan Moore shake his weird little sock-puppet-snake-god-thingy at him! For fuck’s sake, Sheen has become so ubiquitous on the television and the internet, he practically is the media! He says he’s made of drugs, and I believe him! What if he figures out how to distill and distribute it?!
I must calm myself. I will continue my investigative report into his origins, and hopefully I will divine some weakness, some chink in his incredibly crazy armor. I shall report back when I’ve learned more.
I should not have tempted fate. Like Icarus before me, I flew too close to the sun, and now, wings melted, I plummet back to earth. Though Icarus found only death, and my fate will have not such a comforting finality nor certain nature. What comes next, I cannot describe with the detail it deserves, for the human brain is ill equipped to grasp some unspeakable truths, and language even less suited to articulate them. Over the course of my investigation into Charlie Sheen, I stumbled upon some terrible truth. I know not what which of the facts surrounding his storied history alerted him to my investigation, but while consulting a loaned copy of the Cultes des Goules for clues to his origin, he reached out to me. Not in the flesh, as though the matter that constitutes him could be called flesh. No, it was in my mind’s eye that he paid his visit, and warned against future intrusions into his past, his nature, and his goals. He told me that if I truly wanted to understand what he is, he would open my mind to his for but a moment and let me see him as he actually was. I thought him but a mere sorcerer; a servitor at worst! Not... this. I cannot describe what he showed me, and if I could, I would not. No living creature should be forced to ponder the horrors I’ve witnessed, for I am now a broken man, and will remain one for the rest of my days, however few they may be. The colors! Scores of malignant shades, each more sinister than the last! Now I finally know what that kid in the Popsicle commercial was screaming at his fucking dog about...
No! I’ve said far too much already.
Content he had driven any and all curiosity from me, he resumed the form he is most commonly known for. Then, he showed me his junk. That was weird for the both of us. I don’t know why he did that. He probably doesn’t know himself, but shit got really awkward. I mean, if you’re proud of it, great. Good for you. No need to bring me into the equation. Anywho, he then transformed into an F-18, and took his leave. I came back to my body, a steady trickle of black blood dripping from my nostril.
My shotgun is beside me always, though I know it will do no good against him. Charlie Sheen : Sorcerer Supreme?
by Adam Rosina
Adam Rosina, aka The Angriest Critic, cuts a swathe through politics, pop culture, subculture, and society at large with the surgical precision one would expect of a double-bit battle-axe forged in the fires of hell-born insanity. Fact or fiction? He doesn’t even know, so why should you?! Join him as he makes some jokes along the way and gazes into the abyss in Black Theorem.
He’ll be back next issue with a brand new installment of Black Theorem!
He can’t be harmed by convent i onal weaponry. Not anymore. As predi ct ed, he has found t he means t o mass produce t he drug he cl ai ms t o be composed ent i rel y of, and i t s addi ct s, who I cal l “chuck-heads” (yes, I t hi nk i t s very funny, t oo), ravage t he st reet s, and my 12-gauge sl ugs make qui ck work of t hem. I don’t know i f t hi s epi demi c has reached t he rest of t he count ry, but i f you remember t he l ast t en mi n-
ut es of In t he Mout h of Madness, t hen yeah, i t ’s ki nda l i ke t hat here. He hunt s me now. He wi l l come when he has not more pl easure t o draw from my ever-growi ng fear. He hi des bet ween t he angl es of my room, showi ng hi msel f for a second t o hei ght en my anxi et y, t hen ret reat s t o t he di mensi onal space beyond, t o wat ch me quake i n t error. But he has not robbed me of al l my wi t s, and I have t aken great pai ns t o shi el d a corner of my mi nd from hi m. When he t ore open my mi nd so t hat I coul d gaze upon hi s unnat ural shape, t he psychi c connect i on we shared for t hat moment al l owed me t o peer i nt o hi m, and I di scovered what he fears. It i s i n t hi s corner of my mi nd t hat I hi de t he hopeful t rut h: There i s anot her “real i t y devi ant ” t hat coul d possi bl y ri val hi s power, and as l uck woul d have i t, I know t he “man” personal l y. However, hi s moral i t y, i f i t coul d be cal l ed such, i s as al i en t o us as Sheen’s, and hi s power, shoul d hi s ambi t i on be great enough and hi s i nsani t y cont i nue t o grow unchecked, coul d anni hi l at e t hi s worl d as swi ft l y and horri fical l y, i f not more so, t han Charl i e Sheen hi msel f. But as Dame Judi Dench once sai d, “In normal t i mes, evi l woul d be fought wi t h good. But i n t i mes l i ke t hese, wel l, i t shoul d be fought by anot her ki nd of evi l.” But my t i me i s short. I onl y hope t hat my message reached hi m, and t hat he i s wi l l i ng t o...
Adam di sappeared short l y aft er penni ng of t he above passage. In addi t i on t o t he wri t i ng, al l t hat was found was a phot o of Auxi l i ary Magazi ne associ at e edi t or Luke Coppi ng, wi t h t he words “THERE IS ANOTHER” scrawl ed on i t. Adam has not been seen si nce, and i s presumed dead. AUXI LI ARY apri l/may 2011 BLACK THEOREM
Ask Arden
Q : Hi Arden, I’ve been dating my boyfriend for four months before having to leave for a trip of two months. At present, we’ve only been apart a week, and he says he doesn’t feel like he’s in a relationship. What could this mean?
A : What does it mean? Strictly theoretically, it kind of means nothing. Everyone’s in a relationship of some kind, even if they’re not exclusive, or not calling each other boyfriend and girlfriend, or whatever -- in the broad sense of the word, there is a relationship between two people. The parameters, semantics, and ideologies will differ for each one, of course, but that’s to be expected.
It is hard for me to know what your boyfriend meant without hearing the context of the conversation. If you’re the one who’s skipped town, he may just be whining that he misses you, that he doesn’t feel like he has a girlfriend because you’re not around to make him feel good. In that case you can help him feel better by staying in close touch, telling him about your day, sending photos, and being there to listen to him when he needs to talk. From what you’ve written to me so far, this would be my guess, if he didn’t care about you and want to be with you, he probably would have skipped out by this point. So my educated guess so far is that he’s just whin-
ing that he doesn’t feel he’s getting enough attention.
I think your best solution here is to ask him what he means and what he’d like you to do about how he feels. You’d be amazed how far that goes. People so rarely take the opportunity to ask and state directly what they want, and they miss out on chances to fulfill each other’s needs as a result. Next time you have this discussion, if he says the same thing, ask him, “What exactly do you mean by that?” and let him explain. Ask him, “In an ideal world, what would you like me to do that would make you feel good about the situation? What’s your ideal outcome?” People are floored when you ask them that question. They’re so used to their partner getting defensive in an argument that when they hear them instead ask what they want as a solution they sometimes won’t even have an answer. Sometimes they just say they wanted you to know how they felt. Often they offer a solution that’s remark-
ably easy, that simply acknowledges to them that you care about them. And often just the act of asking is enough to communicate that you do. People are generally conflicted. It is rare for anyone to ever feel completely black or white about a situ-
ation, especially in relationships. When in doubt about what your partner means, ask them, and give them room to talk without judgment. Sometimes just having the conversation itself will end up solving the issue.
what defines being “in a relationship”?
when in a relationship is it okay to flirt?
Q : Does it have to mean anything to our relationship if my boyfriend or I enjoy flirting with people and getting their attention and advances? Are we unfaithful?
A : As long as you’re both okay with it and on the same page, I think that that can actually be a very healthy way of being in a relationship. Here’s a question to ask: Are you both happy? If you can both answer yes, then it really matters very little about the rest of society’s rules and boxes and how they may want to define what you both should and should not do.
Despite the fact that I sometimes crave the spurious security of promises as much as the next person, I’m no longer much of a rules/boxes girl because I’ve seen how much they don’t work. Look at the divorce rate. No matter how much you try to box someone into a relationship with you, that relationship is still only as good as what’s actually in the box. When you try to control your partner’s (or your own) behavior with a bunch of rules, suddenly the relationship starts to feel confining, a burden rather than a joy. Human beings are inherently contrary and we tend to balk at being told no, lured all the more by what we are told we can’t have. Take away the forbidden nature, however, and you also remove a bit of the allure.
The common and troublesome trap with maintaining any of these degrees of free-
dom in a relationship, however, is that it can be tempting at times to use the in-
herent lack of rules as a justification for behavior that ends up hurting the other person. Just because a relationship allows you the room to act on some of your impulses doesn’t always mean that you should. What you need to do is to bal-
ance both of your desires for freedom with the care and prioritization of each other’s feelings. It’s a delicate balance between genuinely giving a shit how your partner feels while also not allowing them to feel that their emotions entitle them to dictate your behavior. It’s unfair as well as ineffective for one partner to say, “This hurts me, therefore you must stop doing it,” but at the same time there is something wrong if one partner says, “This hurts me,” and the other continues to do it anyway. When I’m with someone, I genuinely want them to be happy, for multiple reasons: because I care about them, because I know that it’s best for the relationship, and because I take pride in being a good partner. So unless something is monumentally important to me, I’m not going to go through with a given course of action if I know it’s going to upset the person I’m with. But balanced with that is a responsibility to make sure that I’m happy as well, and I expect the person I’m in a relationship with to extend to me the same courtesy, to genuinely give a shit about how what he’s doing is making me feel. I don’t expect that I have a right to dictate his actions, but without willingness on his part to step up to the plate and take responsibility for how his actions are making me feel, I see little utility in being loved.
While this may be a reductive way of thinking about what can potentially be enor-
mously complex situations, generally the two factors I look at in these scenarios are… one, how important to me is whatever action I want to take, and two, how is my partner going to feel about it. If there’s something that I feel extremely pas-
sionate about being able to do and it’s going to mildly annoy my partner, well, he’ll deal. If I’m lightly considering a passing whim and I find out it’s something that’s going to deeply hurt him, then I refrain out of my respect for the wellness of our relationship. These scenarios are both no-brainers; the tricky part comes in when the level of my desire and the level of his potential upset (or vice versa) are equivalent. What do you do then? I don’t know. But at least you have a framework within which to look at it. Beyond that, it’s a big grey area full of messy and un-
predictable emotions that you’re going to have to navigate anyway, regardless of what promises you’ve made each other, and maintaining that flexibility, openness, and communication at least acknowledges and allows for that unpredictability. Having a lot of rules is like pretending you can control the unexpected; ultimately it’s just folly.
Auxiliary Magazine Presents
photographer Le Mew
makeup arti st Amel i a Di nmore
model Amel i a Di nmore
set desi gn Armando Esqui vel
l i ghti ng tech Armando Esqui vel
speci al thanks to Raquel Garci a
april/may 2011 AUXILIARY in Artifice Clothing
submit your questions to :
Bringing together her experience in neuro-linguistic programming, psychology, pick-up artistry, and the fetish industry, Arden Leigh, today’s freshest voice on women’s dating and relation-
ship strategies, answers your questions. AUXILIARY april/may 2011 With a number of magazine covers already under her belt, the California based Amelia Nightmare recently arrived into the world of modeling from working as a hair stylist and makeup artist. Amelia uses her talents to contribute to the styling of the photographs she models for resulting in a multi-faceted, yet strikingly bold aesthetic with a polish that makes her style stand out.
name : Amelia Dinmore
nickname : Tilly
birthday : January 12, 1987
birthplace : Seoul, Korea
eye color : brown
hair color : rainbow
turn-ons : Sexy chests and arms. [smiles]
turn-offs : Bad hygiene.
why do you model? : It’s a great way to express my artistic mind with colors and concepts.
how did you get into modeling? : I do hair and makeup and I wanted to build my portfolio, but then I discovered it’s a great way to generate business by putting my own face out there.
favorite musical artist : There are so many… but if I had to choose one it would be the Dypsomaniaxe!
favorite movie : Step Brothers or Hot Rod
PVC top in pearl pink, Clear Vinyl and Lace Underbust Corset in pale pink, Basic Underwear in pale pink lace, and matching pale pink lace bunny ears all by Artifice Clothing.
Shrug, Pleated Point Corset Belt, ruffled Formal Underwear, neck corset, and matching bunny ears all in pink PVC by Artifice Clothing.
favorite tv show : Family Guy or Dexter
favorite book : The Giver
favorite cocktail : Skinny bitch!
favorite color : Pink… teal… yellow…
favorite tattoo : My lace heart on my chest.
favorite article of clothing : My bra and panties… it’s what’s underneath that counts.
favorite fashion designer : Artifice Clothing
favorite fashion style : Vintage, fetish, avant-garde.
favorite star/icon : Audrey Hepburn and Lady Gaga
favorite outdoor activity : Longboarding
favorite indoor activity : Gettin down.
favorite club/club night/place to go out : I love dive bars that sometimes smell like pee.
anything you’d like to say to our readers? : Everyone please come to me to get your hair and makeup done!
Check out
AUXILIARY april/may 2011 april/may 2011 AUXILIARY AMELIA NIGHTMARE
AUXILIARY april/may 2011 A seasoned rock veteran, from Shotgun Messiah to KMFDM / MDFMK to Marilyn Manson, Tim Skold is back to his solo work with a new album, Anomie, due out on Metropolis Records in May.
interview by Rena Finkel
Ti m Skol d i s not hi ng i f not a seasoned vet eran of t he cont emporary rock worl d. Born i n Sweden, he began as a foundi ng member of met al band Shot gun Mes-
si ah i n 1988. He rel eased hi s first sol o al bum, Skol d, i n 1996. He has spent t he subsequent years recordi ng, composi ng, performi ng, and produci ng wi t h t he rock el i t e; KMFDM, OhGr, and Mari l yn Manson, among ot hers. Thi s May he rel eases hi s second sol o al bum as SKOLD t i t l ed Anomi e. Mr. Skol d spoke wi t h us on hi s ext ensi ve experi ence as musi ci an and a busi nessman i n t he recordi ng i ndust ry. Li ke hi s new al bum, he’s ful l of wry, al most rueful wi sdom, bol dl y gi vi ng us a good l ook at one of t he key figures i n t he scene.
From Sweden to LA, how have the pl aces you’ve seen and l i ved i n i nspi red you? Do you have a favori te pl ace that you’ve l i ved or vi si ted? Ti m Skol d : Wel l, I’ve been around t he bl ock a few t i mes. Si nce I came t o t he US i n �88, I’ve t oured around t he US seven t i mes. I t hi nk t here’s somet hi ng i nspi ra-
t i onal about goi ng t o many pl aces. In t ouri ng you don’t spend t i me i n any pl ace t oo l ong. I haven’t l i ved anywhere besi des LA. I l i ved i n Seat t l e for a year and a hal f. I di dn’t l i ke t hat, i t was good, i n t hat t here wasn’t any di st ract i on. I don’t t hi nk I get i nspi red from where I’m l i vi ng, i t ’s a pl ace i n my head, a safe pl ace. In-
spi rat i on i s a pl ace i n your soul, i n your heart. Travel i ng around t he gl obe has been i nspi rat i onal, i t can be real l y cool, but i t can al so be real l y pai nful. Somet i mes, you have t i me t o get around and expl ore, but a l ot of t he pl aces you’re shel t ered by securi t y. I snuck out t he back door i n a hot el i n Bogot a i n Col ombi a t o be al one, and everyone t hought I was crazy t o go wi t hout securi t y. I j ust want ed t o be al one and get some coffee. As a magazi ne that covers a l ot of fashi on, i f you don’t mi nd a few fashi on questi ons… When you l ook back on your career, what was the bi ggest styl e mi stake you ever made?
TS : See, t here’s gl ory i n mi st akes, t hough. At t he t i me you go, �What t he hel l am I weari ng?’ and ot her t i mes you l ook back say, �What t he hel l was t hat on my face?’ Mi st akes come wi t h t he t erri t ory i f you’re pushi ng t he envel ope. There’s a pl et hora. Pi nk and yel l ow fishnet st ocki ngs got me out of Sweden so how can I bi t ch about t hat? Somet i mes mi st akes serve a purpose. You mi ght need a few mi st akes. There were a few set s of eyel ashes I coul d have l i ved wi t hout. [l aughs] The makeup st uff I di d wi t h Manson was real l y cool. I t ook great pri de i n doi ng t hat mysel f, I di dn’t use a st yl i st. I cri nge when I see peopl e weari ng st uff t hey’ve been t ol d t o wear. You can t el l i f t he band i s i nt o i t and somet i mes you can see how uncomfort abl e and cl uel ess t hey are.
Is there anythi ng you wi sh had l asted l onger or endured? TS : [l aughs] I wi sh eyel i ner woul d st ay on l onger. I know what you [mean] t hough. Li fe i s a j ourney not a dest i nat i on, not hi ng l ast s forever. Wi t h Manson speci fical l y, t hat was seven years where we were doi ng real l y good st uff. In rock and rol l t hat ’s a l i fet i me. So no, t here’s not hi ng I wi sh had l ast ed l onger. There are t hi ngs t hat I wi sh had gone by fast er, but I won’t name names. Have you found any parti cul ar desi gner or company to be the most i nspi ri ng or i nspi red? TS : Not hi ng real l y speci fic. I want t o consi der mysel f a but t erfly i n a garden of fashi on. [l aughs] I worked wi t h Jeffrey Sebel i a before he di d t hat TV show [Proj ect Runway]. He di d a l eat her ski rt wi t h a shoul der st rap for me. He was cool t o work wi t h. He worked wi t h my speci ficat i on, whi ch i s performi ng musi c on st age. You run i nt o a l ot of probl ems on st age. You have t o run around fixi ng t hi ngs. A l ot of desi gners don’t worry about t he mechani cs of cl ot hi ng as much as t he aest het i cs.
If �i ndustri al ’ di dn’t di e wi th the 90s, as some woul d have us bel i eve, where di d that scene go and where i s i t goi ng? TS : I have a probl em wi t h t ermi nol ogy. I mean, we’re humans. We need t o com-
muni cat e. If we di dn’t have a word for red, how coul d I say, �That ’s red.’? But what ’s i ndust ri al? Indust ri al [as a word] was aft er t he fact, even i n t he 90s, even i n t he 80s. I wasn’t t here when i t happened. What we t hese days cal l i ndust ri al i s al most wi despread. I hear st uff on t he radi o, l i ke Lady Gaga, t hat woul d qual i fy as i ndust ri al. Genre t ermi nol ogy i s use ful for t he musi c i ndust ry t o brand t hi ngs and t el l peopl e what t hey’re l i st eni ng t o, but t here’s no musi c i ndust ry anymore. It woul d be useful t o have t erms so I woul dn’t have t o wade t hrough 2,000 Myspace pages. Is Combi chri st i ndust ri al? There’s proof i n t he puddi ng.
In your eyes, how i s the musi c i ndustry di fferent?
TS : It ’s changed dramat i cal l y wi t h fil e shari ng. I di d a sol o record for RCA so l ong ago, I got t o meet t he �new medi a’ guy. He was so exci t ed because I was t he onl y art i st on RCA t hat knew what t he i nt ernet was. There were a l ot of good t hi ngs about t hat model t hat worked real l y wel l. I don’t get much great new st uff. I get a l ot more new musi c, but t here’s no qual i t y cont rol depart ment. There was a funct i onal i t y t o t he ol d A&R guy. Somet i mes t hey si gned awful shi t, but I ki nda mi ss t hem.
How has your own l i fe affected the themes you expl ore i n your musi c or have you found the reverse to be true? TS : Those l i nes st art ed bl urri ng l ong ago. I am what I do and I do what I am. I’m sure I exorci se demons t hat way, but I don’t want t o anal yze t hat t oo much. Creat i vi t y’s al most sacred. If I t ry t o break i t down and anal yze i t I mi ght l ose i t. There’s a pi ece on t hi s record t hat ’s gruesome. I don’t want t o l i st en t o i t now. It wasn’t physi cal, i t was al l ment al and very deep, dark st uff. I don’t t hi nk of names and dat es [when wri t i ng], not hi ng speci fic, I’m j ust t ryi ng t o convey t hat st at e of emot i on. I don’t want t o perform cert ai n pi eces, I cut t hem out of t he set. It ’s ki nda perverse t o do i t. When you st art wri t i ng a song, you get t hi s real l y uncom-
fort abl e gut feel i ng. You know i t ’s goi ng t o be amazi ng, but i t ’s not goi ng t o be pl easant. Part of maki ng musi c i s l ayi ng on t he floor t ryi ng t o breat he.
How has the Skol d project changed si nce you began i t i n 1996? TS : There was a l ong hi at us. And t hen t here was a bi t of a fal se st art, i t ki nda l eaked. It was ugl y st uff. I made t en copi es of t he st uff and I shoul d have wa-
t ermarked i t. I wi l l never know who l eaked t hat demo. It rui ned t he commerci al val ue. I’m happy peopl e l i ked i t, but I coul dn’t rel ease i t. I’ve been maki ng a l ot of musi c si nce t hen and I know I’m bet t er at what I do, si nce i t comes easi er. It sounds bet t er t o me, but whet her t hat t ransl at es t o t he l i st ener… I was real l y l ucky [previ ousl y] wi t h RCA. They l et me do what ever I want ed, whi ch was unheard of and uncal l ed for. I coul d put t he drum set on t op of t he grand pi ano and t he mi -
crophone i nsi de t he pi ano and i f t hat sounded awful and I rui ned t he pi ano, I coul d j ust pay for t hat. I had a maj or l abel fundi ng. Technol ogy has changed si nce t hen. I al so di d t hi s wi t hout anyone el se, wi t hout col l aborat i ons, whi ch makes t hi ngs easi er. But i t al so makes t hi ngs harder. You have t o check on di fferent t hi ngs, make sure t he recordi ng i s goi ng ri ght. I wear a l ot of di fferent hat s. I have argu-
ment s wi t h mysel f, fire mysel f, pl ead wi t h mysel f t o come back t o work.
You’ve worked and toured wi th some of the bi ggest acts i n goth/i ndustri al si nce your first sol o works, namel y KMFDM and Mari l yn Manson. How were those experi ences, especi al l y i n compari son to goi ng sol o? TS : I’m doi ng t hi s compl et el y by mysel f on t he creat i ve si de. When you col l abo-
rat e you are at t ached t o t he musi c, but you have t o l et i t go and l et ot her peopl e SKOLD
photographer Saryn Chri st i na
makeup arti st Eri ka Di ehl / Gl amour Lush
hai r styl i st Jeanna Ki er
model Ti m Skol d
apri l/may 2011 AUXI LI ARY 25
work on it. This time I’m completely attached. [The previous solo work] was so long ago and I’m intending to do it again, but it’s not really again. It’s completely different. Even if I tried, I couldn’t go back. Being with those guys it was a mo-
ment in time, you find people you get along with, you have a lot in common with. I was lucky, I found these people and they were looking for people. It’s very dif-
ferent, but at the same time, when the lights go down and the intro rolls, it’s pretty primal. It’s a rock show.
In addition to composing and performing, you’ve been a producer for a num-
ber of other artists. How has producing music changed your perspective on the industry and your own music? TS : The producer is just some asshole who doesn’t know anything; he has no idea what he’s doing. He walks in front of people and tells them what to do. A lot of production is done like that, and should be done like that. When you’re creating music you have no idea where things are going. A producer tries to nudge things in a direction. It’s more or less mind games. You try to stimulate the process, tricking people into being creative. I have inside knowledge and I wish I didn’t. I go see a movie in the theater and I’m paying attention to the score and I forget the movie. I don’t suggest producing for anyone else, keep it pure and simple and innocent. Some of the technical aspects are fun, because I’m interested in it, but at the same time that’s not what you should be concerned with. I find myself spending hours making these insane setups for one tiny little blip. I listen to the song later and I like it, because I remember the setup, but to the listener it doesn’t matter. It’s like that concrete dome in Thailand. There’s 80 feet of concrete and they say the Buddha’s hair is in there, but you can never verify it. It should be like that, keep the mystery.
What was the most challenging aspect of creating your new record, Anomie? What was the most rewarding? TS : A lot of the things worth having seldom come easy. Sometimes you stumble on great stuff, like it was beamed into your head, but other times you work for it. Really, the reward is the effort and vice versa
Do you plan to tour with the new album?
TS : I don’t want to talk about it too much because I don’t want to jinx it. Things you’re excited about inevitably don’t happen, so I’m trying to bite my lip. I want to have a band and be on the road around fall, and that’s all I’m going to say. I’ve toured on levels that hardly anyone tours on anymore except maybe Lady Gaga, and I’ve toured on the very low end. There are pros and cons to both. I have ideas about what I want to do and what I don’t. I’m not going into this like a kid. I want to make the most of what I have.
Getting away from that, how are you spending your time now that you’ve finished with the album? What are your preferred downtime activities? TS : I’m a compulsive person. I don’t separate my creative working self from any other day of the week. It all kind of blends. But I’m really lucky because I love my job. Building guns, specifically AK-47-type rifles. The AK-47 is a bit of an icon itself. As a permanent resident alien I’m actually entitled to the rights of the Constitution and the second amendment, so I enjoy building AK-47s. They’re fine rifles. They have really technical specs. California has some legal things [about] building them so I have to make some modifications. I’ve never been into cars or any of those guy things. I’ve been doing rock and roll pretty constantly, maybe building guitars, but this is kinda fun. A lot of people don’t like guns, advocate against gun rights, but I really like them on a mechanical, machinery level. On a different note, what do you make of the internationally contagious revo-
lution sweeping the world right now?
TS : I actually considered building an Egyptian AK-47, but I couldn’t find the kit. After they stopped making them in Russia, they started making them in Africa. I don’t [know], it ties into what I was saying before; nothing lasts forever. It’s tricky. You can get caught up in a moment and think this is forever, but very few things are. The political state, the world, is in constant flux. It’s hard for me to be excited about what’s happening in Libya and about Obama putting his foot in his mouth, but I don’t want to say anything else. I have a responsibility to the music, not to sway it one way or another. As a youth I was a member of a few political parties both on the far left and the far right. I would go to meetings for the purpose of starting shit. In the middle of debates I would throw wrenches in the gears, sow seeds, just to turn it into a big argument. I don’t really take sides on anything, but I’m a fantastic devil’s advocate. That was my first real hobby. It sounds like I’m proud of it, but it’s really unconstructive. You end up going constantly against the grain, and backward. Still, it’s important to be in turmoil.
What’s the next stage for you, artistically?
TS : I don’t think I’ve arrived, it’s a constant journey, struggle. I keep having ideas. I have a secret box full of unfinished ideas, specifically songs. I can’t pick up a guitar without having a new idea. It’s almost like a curse, because you can’t start anything if you can’t finish anything. I’ve worked with people who can’t be creative on the spot. It’s a curse though, I can’t stop. I’m trying to be more logistic about finishing and creating things, but once I have the creative burst I want to go on to the next thing So yeah, I foresee this to go on. It just won’t fucking end.
apri l/may 2011 AUXI LI ARY “ Pi nk and yel l ow f i shnet st ocki ngs got me out of Sweden. ”
Robin Guthrie & Harold Budd - Bordeaux
released by Darla Records on 2 February 2011
genre : ambient
Cocteau Twins guitarist Robin Guthrie and classi-
cally trained pianist/composer Harold Budd have been making ambient magic together since the early 80s. Their latest effort is no departure from their earlier efforts, ranking somewhere between music to put your kids to sleep to and music to listen to after the kids are finally asleep (wink wink, nudge nudge). Ambient music, as such, always runs the risk of be-
coming too sugary, falling into dangerous new age territory filed next to Yanni, Zamfir, and Sounds of Distant Thunder. Fortunately, both musicians create enough to work with that on repeated listens it re-
veals a subtle depth and intelligence. 6/10 - PM
quick picks
Mirrors - Lights and Offerings
released by Skint on 28 February 2011
genre : retro, new wave, dark wave
Mirrors have apparently studied a little too closely at the school of Erasure, OMD, and Depeche Mode. Over-the-top melodramatic vocals bleed out of tracks which pulse with early 80s keyboard magic. You would swear you could see the singer clutching his heart with one hand and placing the back of his other hand against his forehead as he looks hope-
lessly at the stars while he’s singing. The good news is, while it borders on almost parody at points, the songs are well written and the layering of sounds is downright beautiful at times. So if you like that sort of thing, run – don’t walk – to seek out this album. Highly recommended for those hoping to relive an 80s prom night. 6/10 - PM
Matthew Dear - Slowdance EP
released by Ghostly International on 5 April 2011
genre : techno
Slowdance is a remix EP of several songs from Dear’s 2010 masterpiece Black City. As remixes go, it’s a pretty standard affair, with the same songs repeated in slightly different reworkings, giving various DJs a hand in the sonic kitchen. Highlights include the Kraftwerk-meets-8-bit-Nintendo reworking of “You Put a Smell on Me” by Nicolas Jaar and the same song done as an electro-funk baby-maker a la Prince by Breakbot (both, incidentally, are already available on 12” single). But the real gem here is the dreamy, Eno-inspired bonus track “Innh Dahh.” Clocking in at just under 4 minutes, it closes the suite on a beau-
tiful, spaced-out note. 7/10 - PM
The Deat h Set - Mi chel Poi ccard
rel eased by Count er Records on 15 March 2011
genre : punk el ect roni ca
The Deat h Set are abrasi ve and l oud, ful l of energy and part y-l i ke at t i t ude. Fast, qui ck songs wi t h cat chy mel odi es and addi ct i ve l yri cs power t hi s al bum. In bet ween t hei r debut al bum Worl dwi de and t hi s re-
l ease, foundi ng member Beau Vel asco was found dead. The Deat h Set used t hi s t ragedy t o t hei r ben-
efit, al bei t i ndi rect l y, as t hey were j ust wri t i ng songs based on t hei r emot i ons or t o memori al i ze t hei r fal l en comrade. Yeah, t he j uveni l e songs l i ke “Too Much Fun For Regret s” are a ri ot, but i t ’s goi ng t o be t he emot i ve songs l i ke “It ’s Anot her Day” t hat real l y make t hi s record memorabl e. 9/10 - MK
Ghost & Wri ter - Shi pwrecks
rel eased by Met ropol i s Records on 8 March 2011
genre : fut urepop
Al ong came a man named Wri t er (Frank Spi nat h of Seabound) who cont act ed a man named Ghost (Jean-Marc Lederman of The Weat hermen) t o col -
l aborat e on a musi cal proj ect. Thi s musi cal proj ect woul d wri t e ei ght songs t hat were more l i ke ei ght short st ori es, ful l of advent ure and t urmoi l, conj ur-
i ng up st ri ki ng i magery. There was a harmoni ous mi x of l yri cs and el ect roni c rhyt hms. Short l y aft er t hese songs were compl et e a cal l i ng was put out t o ei ght fri ends t o ret el l t hese t al es wi t h t hei r own t wi st s. Wondrous resul t s were ret uned and Ghost & Wri t er compi l ed t hi s i nt o a ni ce l i t t l e package cal l ed Shi pwrecks and offered i t up for t he worl d t o enj oy. 9/10 - MK
Caust i c - The Gol den Vagi na of Fame And Profit
rel eased on 12 Apri l 2011
genre : i ndust ri al
Caust i c mast ermi nd and rabbl e-rouser i n chi ef, Mat t Fanal e i s j oi ned by fri ends such as Ned Ki rby (St romkern), Unwoman, Bi t ch Bri gade and Fader-
head on t hi s, hi s first Met ropol i s rel ease. Caust i c’s new mat eri al i s t he smart est and best wri t t en pack-
age for Fanal e’s t ongue-i n-cheek l yri cs and ongo-
i ng defiance of genre convent i on, yet he put s t he i ndi vi dual i sm and subversi on back i nt o a genre t hat st art ed out ri ch i n bot h. The songs are floor pound-
i ng, ent ert ai ni ng and above al l, fun! You’l l l ove i t or hat e i t. 7/10 - AA
AUXI LI ARY apri l/may 2011 “ Part of maki ng musi c i s l ayi ng on t he f l oor t ryi ng t o breat he. ”
music reviews
Ni col as Jaar - Space i s Onl y Noi se
rel eased by Ci rcus Company on 1 March 2011
dat a : 1st al bum . 14 t racks . 46:25 run t i me . col asj
revi ewed by : Paul Mori n genre : experi ment al el ect roni c, IDM
Thi s al bum i s fucked up, l i t eral l y and figura-
t i vel y, and keeps t he l i st ener guessi ng around every t urn. And i t t urns a l ot. It ’s a mi x of vari ous st yl es, t aki ng el ement s of dub-st ep, t ri p-hop, mi ni mal i st & ambi ent t echno, IDM, found sounds, spoken word, and everyt hi ng el se, t hrowi ng t hem i nt o an el ect roni c bl end-
er, t hen cranki ng t hem out of a sampl er. Chi l -
dren screami ng and l aughi ng, a conversat i on i n French, spl i ced and skewed sax sol os, organs, and vocal s, cups danci ng on a floor, drai npi pes, and so on. “Musi c” may not even be t he best t erm for t hi s al bum; “art proj ect ”, “sound col l age” or “experi ment al ” al l work bet t er, but t here are moment s where t he al bum breaks from i t s own st range t ext ures i nt o l uci d song st ruct ure, sol i d beat s, a hook, and you may find your head st art s noddi ng unconsci ousl y t o t he rhyt hm. “Too Many Ki ds Fi ndi ng Rai n i n t he Dust,” for exampl e, bears a si mi l ari t y t o t he uneasi ness and paranoi a i n t he verses of Ni ck Cave’s “Red Ri ght Hand,” and provi des a sol i d rhyt hmi c and mel odi c foot i ng for t he l i st ener t o hol d on t o. Of course, as soon as you get comfort abl e wi t h a cert ai n sound or feel, i t changes and moves i n a new di rect i on. Schi zophreni c, unset t l i ng, and mel anchol y, but occasi onal l y j azzy or funky enough t o remai n dance-floor fri endl y and posi t i ve, t he al bum i s a worl d of cont radi ct i ons and curi osi t i es t hat wi l l make t he l i st ener t urn hi s/her head si de-
ways on every l i st en and woul d work wel l agai nst t he backdrop of a fil m noi r. The end resul t i s pecul i ar and chal l engi ng, but overal l an i nt erest i ng t ri p t hrough t i me and space.
recommended tracks : Too Many Ki ds Fi ndi ng Rai n i n t he Dust, Keep Me There
i f you l i ke you may l i ke : Aphex Twi n, The Resi dent s, Add N t o (X)
grade : overal l 9 - musi c 9 - l yri cs 9 - recordi ng qual i t y 10
Cut Copy - Zonoscope
rel eased by Modul ar Font ana on 8 February 2011
dat a : 3rd ful l l engt h al bum . 11 t racks . 61:23 run t i me . www.cut
revi ewed by : Steve Pri nsen aka DJ Darkwave
genre : el ect roni ca, synt hpop
Cut Copy i s a band t hat ri des t he ret ro new wave movement as i f t hey were born on a Moog surfboard. Thei r first t wo al bums are bri l l i ant t akes on t he fut ure of t he past. The best t hi ng about t hose al bums, however, was t hat t hey merel y hi nt ed at t hi s ret ro homage wi t hout smacki ng you over t he head wi t h i t. They si mpl y t ook a modern approach t o a cl assi c i di om. Zonoscope i s di fferent. At t i mes i t comes across as a bl at ant at t empt t o mel d t he modern el ect roni ca move-
ment t o t he cl assi c 80s sound. The first t rack and si ngl e, “Need You Now”, i s cl as-
si c Cut Copy. It ’s got a great vi be, a mel l ow dri vi ng rhyt hm, and t hose soft si l ky vocal s t hat make t he l adi es feel warm i nsi de. From t here t hi ngs get wei rd. I’ve been l i st eni ng t o musi c for a l ong t i me and I’ve been i nfluenced by a wi de vari et y of st yl es and art i st s. That experi ence was put t o t he t est t hroughout t he rest of t hi s al bum as I found mysel f count i ng t he obvi ous i nfluences embedded i n each song. Here’s t he short l i st of bands t hat popped out at me, Fun Boy Three, Gang of Four, The Shamen, Chi na Cri si s, Underworl d, and even t he harmoni c mel odi es of The Beach Boys made an appearance. In some cases i t seemed so obvi ous t hat i t had t o be i nt ent i onal, i n ot hers I had t o l i st en several t i mes t o confirm my i ni t i al feel i ng. Thi s i s not al l t oget her a bad t hi ng. The songs are wel l craft ed and ent ert ai ni ng. But, are t hey al l t hat ori gi nal? To t hese ol d ears I woul d have t o say no, but i f you are unencumbered by nost al gi a from t he past I suspect you wi l l l i ke t hi s al bum.
recommended tracks : Need You Now, Sun God
i f you l i ke you may l i ke : Mi dni ght Juggernaut s, The Preset s
grade : overal l 6 - musi c 7 - l yri cs 5 - recordi ng qual i t y 7
I AMX - Vol ati l e Ti mes
rel eased by BMG Ri ght s Management on 18 March 2011
dat a : 4t h al bum . 11 t racks . 49:57 run t i me . www.i revi ewed by : Aaron Andrews genre : el ect ro, synt hpop, al t ernat i ve
IAMX i s t he ongoi ng sol o proj ect of former Sneaker Pi mps and co-founder Chri s Cor-
ner who has bui l t an i dent i t y for t he IAMX proj ect borrowi ng as heavi l y from cabaret t heat er as from el ect roni c musi c. Corner has l ong si nce fled from hi s nat i ve Engl and and now l i ves and creat es i n Berl i n, Germany i n a former DDR wat er pl ant t urned art and st u-
di o space. The new IAMX i dent i t y has seen Corner t ake on more and more of a sol o ment al i t y as t he al bums have progressed wi t h Corner wri t i ng more mat eri al hi msel f and performi ng more i n t he spot l i ght. Vol at i l e Ti mes i s t he fourt h rel ease as IAMX and i t s ori gi ns and root s are credi t ed t o mat eri al t hat Chri s wrot e and t hen buri ed i n a cl oset t o move past. Thi s mat eri al has been revi si t ed and t he bi t s and pi eces have been fini shed. The bi rt h and l i neage of t hese songs may have everyt hi ng t o do wi t h what feel s l i ke t he sl owest and most l ow key IAMX rel ease yet. You get t he i mpressi on t hat revi si t i ng t hi s mat eri al i s more l i ke pi cki ng a scab t han i t i s a cat hart i c rel ease. Despi t e i t s sl ower paci ng, Vol at i l e Ti mes cont i nues t o exhi bi t some of t he great t hi ngs about IAMX. The first i s t he personal l y i nt i macy t hat Corner ’s words seem t o hol d as each song real l y feel s l i ke a l i t t l e pi ece of hi m. There i s al so very sol i d wri t i ng t hroughout wi t h a vari et y of wel l -wri t t en musi cal concept s l i ke t he gypsy/cabaret “Bernadet t e” and t he more al t -rock or synt hpop of t he promot i onal l eader “Ghost s of Ut opi a.” I’m al so i mpressed agai n by t he passi on and effort t hat Corner put s i nt o hi s vocal performances, especi al l y heari ng hi m bel t out hi s di st ast e i n “Musi c Peopl e” and hi s soari ng chorus of “Ghost s of Ut opi a.” Vol at i l e Ti mes i s a fine al bum and has a l ot of meri t. I j ust find i t di sap-
poi nt i ng t hat not one of t hese songs wi t h IAMX’s st unni ngl y good wri t i ng and smart l yri cs have not been dressed up i n a dancefloor ki l l i ng shel l, l i ke past si ngl es “Ki ss and Swal l ow” or “The Al t ernat i ve”. Those of you who l ove t he sl ower paced i n your musi c and adore sl i nki ng around wi t h t he si nger as he expl ores hi s darker feel i ng, t hi s i s a sure t hi ng. Thi s may be a sl ow grower si nce l ooki ng back at my revi ew for t he previ ous al bum, Ki ngdom of Wel come Addi ct i on, I see I gave i t a 7 and I woul d t el l you t oday t hat i t ’s surel y an 8. Maybe over t he comi ng mont hs I’l l find t hat t hi s t oo has managed t o move way up i n my opi ni on. recommended tracks : Ghost s of Ut opi a, Vol at i l e Ti mes, Musi c Peopl e, Com-
manded By Voi ces
i f you l i ke you may l i ke : Sneaker Pi mps, Pl acebo, Depeche Mode
grade : overal l 7 - musi c 7 - l yri cs 8 - recordi ng qual i t y 9
apri l/may 2011 AUXI LI ARY 31
musi c revi ews
Col d Cave - Cheri sh the Li ght Years
rel eased by Mat ador on 5 Apri l 2011
dat a : 2nd al bum . 9 t racks . www.col
revi ewed by : Paul Mori n
genre : ret ro, dark wave, new wave Deni zens of darkened dance-floors i n bl ack l i pst i ck st i l l t ryi ng t o recreat e t he heyday of t he 80s el ect roni c scene, rej oi ce! Your mes-
si ah has arri ved. Bendi ng t he sounds of The Cure, Erasure, New Order and ot her cl assi cs i nt o a ki nd of great est hi t s package, Col d Cave may be l acki ng i n ori gi nal i t y but have hi t t he nai l on t he head i n t erms of recreat i ng a sound so many have been wai t i ng decades for someone t o do. Whereas l at e 70s ret reads l i ke Int erpol or The Rapt ure focused more on t he st ut t eri ng rhyt hms and j agged post -punk of Wi re and Joy Di vi si on, Col d Cave have opt ed for t he l at er, more pol i shed, dance-floor and radi o-fri endl y, drenched-i n-synt h sounds of t he New Romant i cs. In ot her words, i t ’s more “Whi sper t o a Scream” and l ess “At Home He’s a Touri st.” As such, t hi s al bum i s al so a l ot more sl i ck, pol i shed and produced t han t hei r l ast al bum, whi ch wi l l no doubt al i enat e fans who were enj oy-
i ng some sort of underground phenomenon. Furt her, t he band i s not subt l e i n t hei r l i beral appropri at i ons of t he past (read: out ri ght t heft of sound/st yl e). Whet her t hi s i s vi ewed as payi ng homage t o t he past or st eal i ng from i t wi l l be up t o t he l i st ener (or t he l awsui t s) t o deci de. “Al chemy Around You,” for exampl e, not onl y t akes New Order ’s growl i ng bass gui t ar as l ead gui t ar aest het i c t o a T, but al so t hrows i n some real l y annoyi ng use of ki ck horns a l a Oi ngo Boi ngo. Somehow t he absur-
di t y and annoyi ng nat ure of t he horns i s congruent wi t h t he whol e capt ure-t he-80s feel, because despi t e t he romant i c bent gi ven t o t he scene t hese days, t here were an awful l ot of mi sst eps made by even t he best bands back t hen. Al l of t hose argu-
ment s asi de, t he songs t hemsel ves are very good exampl es of t he genre, and st and al ongsi de t he cl assi cs. Li st en at your own ri sk.
recommended tracks : The Great Pan i s Dead, Paci ng Around t he Church
i f you l i ke you may l i ke : New Order, The Cure, Depeche Mode
grade : overal l 7 - musi c 7 - l yri cs 7 - recordi ng qual i t y 10
Papercuts - Fadi ng Parade
rel eased by Sub Pop on 1 March 2011
dat a : 4t h al bum . 10 t racks . 37:42 run t i me . i st s/papercut s
revi ewed by : Paul Mori n genre : i ndi e, dream-pop
There i s no way around i t. Li st en t o t hi s re-
cord and t ry t o descri be i t, and you’re goi ng t o end up t al ki ng about a sound t hat happened hal f a cent ury ago, and t he end resul t i s go-
i ng t o sound l i ke t he l ast t i me your dad got i nt o hi s “secret ” st ash of mari j uana and ol d vi nyl, rel i vi ng hi s yout h and t el l i ng everyone about what musi c used t o be l i ke j ust before he passed out i n front of t he st ereo (oh, l i ke i t doesn’t happen i n your fami l y t oo). Soundi ng l i ke a cross bet ween a l eft over recordi ng from a 60s Phi l Spect or Chri st mas Al bum and a demo Ni co made at t he hei ght of The Vel vet Underground, Papercut s ut i l i ze a vari et y of vi nt age i nst rument s and recordi ng t echni ques t o fool t he l i st ener i nt o t hi nki ng t hey are t aki ng a genui ne t ri p down psych-pop l ane, but i nst ead of bei ng made by hi ppi es, i t ’s bei ng made (l i t eral l y) by t hei r hi pst er ki ds -- somet hi ng whi ch i s goi ng t o i mmedi at el y at t ract or repel vari ous crowds. Jason Quever ’s vocal s rarel y regi st er above a whi sper, and as such t he occasi onal l y bri l -
l i ant l yri cs he pens are oft en buri ed or obscured beneat h flut t eri ng gui t ar l i nes and t he rock-st eady rhyt hm sect i on, whi ch gi ves t he effect of t ryi ng t o grasp on t o somet hi ng as i t sl i ps out of your hands. The songs move i n and out of emo-
t i onal st at es, from downt rodden reflect i ons on l i fe t o daydreams about l ove, but t he ent i re al bum has a cont i nui t y t hat i s wrapped i n bi t t ersweet nost al gi c haze as i t moves from song t o song. It i sn’t part i cul arl y t echni cal, i n fact, i t ’s downri ght si mpl e, but t hat ’s what ’s great about t hi s al bum. It ’s qui et, pat i ent, and rest rai ned (t o t he poi nt of al most becomi ng background musi c at t i mes), but i f you happen t o be payi ng at t ent i on at any gi ven moment, i t ’s heart breaki ngl y beaut i ful st uff t hat gi ves i t s parent s a run for t he money.
recommended tracks : Do You Real l y Wanna Know, Chi l l s, What Are t he Waves
i f you l i ke you may l i ke : The Vel vet Underground, Beach House
grade : overal l 8 - musi c 8 - l yri cs 8 - recordi ng qual i t y 10
Mi nerve - Pl ease
rel eased by Gravi t at or / Echozone on 22 Oct ober 2010
dat a : 3rd ful l l engt h al bum . 12 t racks . 56:55 run t i me . www.mi
revi ewed by : Steve Pri nsen aka DJ Darkwave genre : synt hpop, EBM l i t e
Mi nerve’s newest al bum, Pl ease, i s t hei r t hi rd ful l -l engt h rel ease fol l owi ng 2004’s Breat hi ng Avenue and Sensefict i on from 2006. Al t hough rel eased i n Europe i n t he fal l of 2010, t he new mat eri al i s j ust st art i ng t o make headway here i n t he US. Thi s al bum real l y caught my at t ent i on from t he first l i s-
t en. I have t o admi t I had not heard much of t he band before Hol d Me Ti ght pri cked my ears whi l e surfing t he audi o webs, but once I heard i t I knew I’d real l y been mi ssi ng somet hi ng. The songs here are most l y st rai ght up pop-synt h. These real l y feel l i ke good pop songs t hat j ust happen t o feat ure synt hs, as opposed t o a l ot of musi c i n t hi s vei n t hat t ri es t o i mpress you wi t h flashy sounds and ni ft y gear. Mi nerve doesn’t go t hat rout e and Pl ease i s bet t er for i t. Yes, t he al bum shares t hat sound set, but i t i s t he medi um, not t he message. Thi s feel s l i ke a subt l e shi ft i n t he genre t hat I’ve yet t o ful l y qual i fy, but i n a sense t hi s seems l i ke one of t he first post EBM synt hpop al bums t o emerge. Thi s i s synt hpop i nfluenced by EBM i nst ead of t he ot her way around. I t hi nk i t does a pret t y good j ob of fusi ng t hose t wo worl ds t o creat e ei t her a hard synt hpop sound or EBM l i t e i f you prefer. It ’s not perfect. Upon repeat ed l i st ens i t can st art t o sound a bi t generi c and i t ’s not goi ng t o change t he worl d wi t h i t s message. But i f you j ust want somet hi ng good t o l i st en t o I recommend t ryi ng i t on t o see i f i t fit s you, I’l l defini t el y be checki ng out t hei r ol der st uff as wel l.
recommended tracks : Every Day, Don’t Ask My Why, Hol d Me Ti ght i f you l i ke you may l i ke : De/Vi si on, Iri s, Code 64
grade : overal l 8 - musi c 8 - l yri cs 7 - recordi ng qual i t y 7
AUXI LI ARY apri l/may 2011 what’d i mi ss?
Matt Fanale of Caustic reveals how he sins.
interview by Mike Kieffer
You put out a call for remixes for an upcoming album, your archen-
emy sends in the bomb of all tracks, how do you handle this?
Well, if the Jonas Brothers want to remix one of my tracks I’d probably release it. Their fans will buy freakin’ anything from them. Just kidding. We all skin pop together and use the same dominatrix (they’re realllly into violent ballplay, which I find creepy). However, I consider my real archenemy [to be] bad oral hygiene, and I don’t even think it has a decent copy of Cubase anyway.
If human was on the menu, would you eat it and who do you think would taste the best?
This is one of those situations where you just do it for the story. If I had my dru-
thers, or even half my druthers, I’d eat Bryan Erickson from Velvet Acid Christ. Since he’s a raw vegan he’s probably the healthiest, most organic meat out there in the scene. If I’m going to break massive societal taboos it might as well taste good, right? Is he going to take that as a compliment or want to kick my ass for that one? Oh well.
What three bands would you be your top picks to go on tour with, with the main purpose of being able to crash the stage and perform with them every night?
A, Pop Will Eat Itself, circa �94. Over the years these guys have become my idols and I honestly can’t think many bands that would be more fun to party with and play with than them. That and I never got to see them live, so this would make up for it. B, The Gothsicles. I already am technically part of the band live, but I rarely have as much uninhibited fun as I do with the two of them... hence why they play with me live, too. C, The Dwarves. Because they’re the fucking Dwarves.
You start getting emails, phone calls, Facebook messages, etc., for a bottle of your sensual man musk, would you give it to those who requested it, and what would you ask for in exchange?
I’d have to direct them to Jasyn from God Module. He’s been buying it off me wholesale for years and stockpiling it. That guy’s a visionary. I think he also drinks it.
Out of nowhere the major media outlets start dubbing Caustic as the quintessential musical project of this decade. What would your reaction be?
Pretty much, �Great, now I’ll have to finally start paying child support to all those underage Tijuana whores.’
What’s the longest period of time you’ve gone without showering? Did people notice?
Regular or golden showers? Doesn’t matter, I guess, since the answer’s the same, three days, and no.
The music gods bestow upon you the responsibility of purging out overplayed music, where do you start?
I would start and end with one band: The Eagles. And Ke$ha. Okay, and Kings of Leon. Because they remind me of The Eagles. Then The Eagles AGAIN. God I hate that shit.
photographer Luke Coppi ng
fashi on styl i st Jenni f er Li nk
makeup arti st Andrea Cl ai re Losecco
model Manchester
assi stant Jason Stoos
l ocati on producer Mari o Lorenzo
speci al thanks Si l verthorne Mansi on
Baby blue latex front snap closure bra, black with gold trim latex lace up back pencil skirt, and black with gold flowers latex choker all by BabyLove’s Latex paired with United Nude Lo Res pump in Pale Blue.
Matt Fanale is the man behind the American industrial band Caustic. After much success from 2006’s Unicorns, Kittens, and Shit, 2007’s Booze Up And Riot, and 2009’s This is Jizzcore, Caustic signed with Metropolis Records for their upcoming 2011 release, The Golden Vagina of Fame and Profit. Known for pushing buttons and having fun, the scene should be thankful that a passionate spirit still exists.
AUXILIARY april/may 2011 BabyLove’s Latex, just one of five Renee Masoomian lines of head designer Renee Masoomian and business coordinator Dean Troxell, turns up the fashion on a traditionally fetish material and throws in a vintage twist. Add a little latex to your wardrobe or stock up your existing collection
with BabyLove’s Latex’s versatile separates that are as fun and cheeky as the collection’s tagline; “When skirts were tight and women were loose.”
i nt er vi ew by Jenni f er Li nk
What i s the ori gi n of the name “BabyLove’s Latex”?
Dean Troxel l : I have pret t y much al ways cal l ed Renee �BabyLove’. When we were t hi nki ng of a name for a new l at ex l i ne, I hal f-j oki ngl y proposed t he name t o Renee as a possi bi l i t y and she l i ked i t, so i t st uck. Devel opi ng t he l i ne was t he final addi t i on t o our st abl e, whi ch consi st s of five di st i nct l i nes.
Renee Masoomi an : The apost rophe i n �BabyLove’s Lat ex’ i s desi gnat i on of own-
ershi p.
How does the aestheti c, brandi ng, and target customer di ffer wi th Baby-
Love’s Latex from your other l i nes?
DT : There are five l i nes under t he company l abel, Renee Masoomi an. The l ast t wo are l at ex l i nes, but Mat t er + Form somet i mes uses re-used bi cycl e i nner-t ubes. The first t wo t end t o use more t radi t i onal fabri cs t han not. Renee Masoomi an, hi gher-
end si gnat ure l i ne whi ch ut i l i zes cl assi c t radi t i onal cut s and avant -garde el ement s. Ci rcui t Bent, cl ub and st reet wear. Mat t er + Form, bags and accessori es l i ne made from re-used bi cycl e i nner-t ubes. BabyLove’s Lat ex, l at ex basi cs and more i nt ri-
cat e st ock pi eces. Sol i l oquy, ornat e st ock and cust om l at ex pi eces.
As a l atex desi gner you seem to l end more towards fashi on than feti sh. How do you see your rel ati onshi p to the l atex feti sh communi ty?
RM : Some of t he peopl e i n t he fet i sh communi t y l i ke t o wear fashi on-based l at ex. Aft er a person owns al l of t he basi c purel y fet i sh cl ot hi ng i s where I t end t o come i n t o hel p peopl e expand and bui l d upon t hei r al ready exi st i ng wardrobes wi t h somet hi ng more fashi on ori ent ed. Al t hough we do provi de some of t hese basi cs, we do not make fet i sh apparel such as cat sui t s.
Do you feel l atex’s categori zati on as a materi al pri mari l y for feti sh cl othi ng i s somethi ng you work to break down? Or are you i ndi fferent?
RM : Yes, I have al ways [had] t he goal of removi ng t he l i mi t at i ons of havi ng l at ex kept i n one soci al corner or scene. As far as my personal st yl e, I mi x fabri c and l at ex and t ry t o i ncorporat e i t i n out fit s for any t ype of occasi on, bri ngi ng l at ex out of t he mere fet i sh worl d.
DT : I have been weari ng t he Mat t er + Form rubber suspenders. I oft en wear con-
vent i onal suspenders, and t he Mat t er + Form suspenders mi xed wi t h cot t on shi rt s are a ni ce spi n and do not l ook out of pl ace i n everyday wear at al l.
Do you find that your personal styl e tastes are reflected i n your desi gns? Whi ch l i ne reflects your personal tastes the most?
RM : Yes, my personal st yl e i s defini t el y reflect ed i n my desi gns. I t hi nk t here i s a l i t t l e bi t of me i n every si ngl e l i ne. My personal favori t es ri ght now are t he new Renee Masoomi an col l ect i on (t hat shal l be debut i ng i n May) and BabyLove’s Lat ex because of al l t he ruffles.
What types of garments are you i nterested i n ri ght now whether tryi ng to i ncorporate them i nto your personal styl e or your col l ecti ons?
RM : I have al ways l oved and col l ect ed vi nt age and ant i que cl ot hi ng and st i l l do t o t hi s day. Ri ght now I have been purchasi ng more Vi ct ori an cl ot hi ng as I l ove al l of t he det ai l work t hat goes i nt o i t. Vi ct ori an and vi nt age el ement s are i ncorporat ed i nt o Sol i l oquy, BabyLove’s Lat ex, and Renee Masoomi an l i nes. In your eyes, what are the must have spri ng and summer garments?
RM : Sheer si l k shi rt s (bought used) and hi gh wai st ed hot pant s wi t h st ocki ngs. I j ust got bought t hi s pai r of 1950s at hl et i cs bri efs t hat I am obsessed wi t h and weari ng al l t he t i me.
DT : A person wi t h good fashi on sense knows how t o i ncorporat e vari ous el ement s t hat seemi ngl y do not mi x and make i t l ook cohesi ve. Off t he t op of my head, Renee, and our fri end Johanna Const ant i ne have an excel l ent knack for such.
Now that the weather i s turni ng warmer, where wi l l we find you duri ng your downti me?
RM : Goi ng out t o cl ubs (Vandam, Bl oody Mary, Dances of Vi ce, St i mul at e) and pi cni cs. I t end t o be i n t he st udi o most of t he day. I occasi onal l y go t hri ft i ng.
DT : Ri di ng my bi cycl e about, goi ng on pi cni cs, at t endi ng musi c shows, goi ng danci ng. I am most amped about t he fol l owi ng event s: Phi l l y, Col l apsi ng New Peopl e and Last of t he Mi grat i on, New York, Dances of Vi ce, Wi erd, and Shanghai Mermai d.
Where do you find your i nspi rati on? What do you l ook to, to keep your cre-
ati ve jui ces flowi ng?
RM : I t end t o l ook t o t he past. I l i ke vi nt age and ant i que cl ot hi ng, l i ke I men-
t i oned [before]. I have a sl i ght l y darker aest het i c i n general.
What obstacl e are you most proud of overcomi ng i n devel opi ng your desi gn company?
RM : Doi ng everyt hi ng on our own. We don’t have any l arge backers or have some of t he ot her advant ages afforded t o ot her compani es.
DT : Just seei ng i t t hrough i n general. Everyt hi ng i s real l y st art i ng t o pi ck up and we are appreci at i ve of such.
What do you consi der your greatest achi evement thus far?
RM : I am not sure what my great est achi evement s are but I feel most accom-
pl i shed when a random st ranger comes up t o me and compl i ment s my work. Ot her t han t hat, London fashi on shows such as t he ones at Tort ure Garden.
DT : I am most proud of t he NYC Chocol at e show t hat we do wi t h Lot us Cake St udi o. It i s a chari t y event for t he Susan M. Gowan Foundat i on, whi ch i s a great organi zat i on i n many ways. Al t hough, t hey do support t est i ng on ani mal s so i t woul d be ni ce i f t hey were t o cut t hei r t i es wi t h such a sci ent i fical l y unsound prac-
t i ce. The show consi st s of desi gners pai ri ng up wi t h chocol at i ers t o make out fit s t hat i ncorporat e chocol at e i n t hei r desi gn.
DT : Ot her t han t hat, I am t he one mai nl y responsi bl e for our fashi on shows. We t end t o put on more i nvol ved and t heat ri cal fashi on shows as opposed t o normal runway shows. Our recent shows i n Dal l as (Dal l as Fet i sh Bal l, whom Court ney Cox Crave organi zed and di d an amazi ng j ob!) and l ast year ’s Li bert i ne Bal l i n Phi l l y are ones t hat I am part i cul arl y t hri l l ed about as t he choreography was more i nt ri cat e t han what we have done i n t he past. We are l ooki ng forward t o put t i ng on phenomenal shows t hi s year at New York Fashi on Week, i n Phi l adel phi a duri ng Phi l l y’s fashi on week, and at t he Mont real Fet i sh Weekend.
RM : Oh and we are al so proud of our new web st ore whi ch final l y l aunches somet i me when t hi s i ssue i s out. A l ot more i t ems wi l l be added t hroughout t he mont h.
Renee, do you enjoy the busi ness and promoti onal aspects of havi ng your own desi gn company? Or do you prefer to l eave that to your partners i n cri me?
RM : I do wel l t al ki ng one-on-one wi t h cust omers i n person, but I when I have t o t al k on t he phone or use emai l I l eave i t up t o everybody el se.
DT : In t he case of t he company, I am more or l ess t he opposi t e of Renee, so i t works out wel l.
What are your short and l ong-term goal s for BabyLove’s Latex and your other col l ecti ons?
RM : Short t erm i s get t i ng more publ i ci t y and becomi ng bet t er known for al l of our five l i nes under t he Renee Masoomi an company.
DT : Short t erm, becomi ng st abl e wi t h fal l/wi nt er and spri ng/summer col l ect i on rel eases. A l ong-t erm goal i s bei ng abl e t o edge our way i nt o some of t he mai n-
st ream fashi on market.
Your accessori es l i ne Matter + Form uses found materi al s, what are your thoughts on the i mportance of usi ng recycl ed materi al s, produci ng goods l o-
cal l y, and other soci al l y and envi ronmental l y consci ousness practi ces?
RM : We are bi g proponent s on produci ng t hi ngs l ocal l y. If we ever get t hi ngs manufact ured out of house, we wi l l keep t he manufact uri ng l ocal, as we bel i eve i n l ocal sust ai nabl e economy.
DT : It i s di fficul t for a l ot of mi d-si ze t o l arge compani es t hough, as t he economy i s set up i n such a way where one i s severel y puni shed financi al l y i f t hey are mak-
i ng busi ness deci si ons based on t he consi derat i on of t he envi ronment, peopl e, and ani mal s and not on profit al one. The worl d i s qui t e i n a sordi d st at e, t o say t he l east. What ever we can do t o make l ess of an unheal t hy envi ronment al i mpact as we can, we shal l. Despi t e t he worl d’s dest ruct i ve probl ems, we manage t o keep our heads up bei ng busy i n creat i ve ways and ent ert ai ni ng oursel ves when not worki ng. We are st i l l frol i cki ng about... even i n a worl d hel l -bent on rui n.
Baby bl ue l at ex front snap cl osure bra wi t h mat chi ng underwear and bl ack l at ex wrap al l by BabyLove’s Lat ex pai red wi t h Uni t ed Nude Mono Jane i n Mi nt Green.
Bl ack l at ex ri bbed t op, bl ack wi t h t ransparent bl ack ruffle t ri m l at ex penci l ski rt, t ransparent bl ack l at ex cut off gl oves, purpl e l at ex ruffle choker, and bl ack wi t h purpl e l at ex flowers t eardrop hat al l by BabyLove’s Lat ex pai red wi t h Uni t ed Nude Lo Res pump i n Pal e Bl ue.
Pink and black latex babydoll dress, black with pink flowers latex choker, pink with black ruffle trim latex cut off gloves paired with Escada frames available at Elmwood Specs and model’s own three strap patent heals.
A dandy is a person who has the mind set of one who, “elevates aesthetics to a living religion.” The dandy pays special atten-
tion to their dress, speech, and leisure activities. These fobs often act with an aristocratic attitude, though they may have only come from a middle class family. The same could be said about their female counterpart who are called dandyzette or dandyess. These women were not confined by normal gender roles and would overdress in elaborate clothing, at times with masculine overtones. The absur-
dities of the dandyzettes in the 18th and 19th centuries could be argued as a myth, yet whatever name you gave them they were women who existed to revere their physical appearance and self in the highest regard. The style of the dandyzette lives on in the modern form of tailored waistcoats, high collared blous-
es, frock coats, and militaristic fashions. 1 Chevalier D’Eon Vest and Mon Chou Bloomers both by Gloomth, Mad Scientist Spats by Straight Razor Slasher, and Black Taffeta Mini Top Hat by Carpe Noctem.
2 Mon Coeur Brooch and Pendant by Nouveau Motley.
3 Mucha Money Clip by Nouveau Motley.
4 Absinthe Liquor Label Necklace by Nouveau Motley.
5 Amanda shoes by Fluevog in gray, green, and yellow.
6 Amanda shoes by Fluevog in black and gray.
styl ed and wri tten by Meagan Hendri ckson
photographed by Jenni f er Li nk
model Kerry Quai l e
fine & dandy
AUXILIARY april/may 2011 Lumiere
photographer Saryn Chri sti na
makeup arti st Eri ka Di ehl / Gl amour Lush
hai r styl i st Jeanna Ki er
model s Heat her Carr & Sarah Mari e Hi l ker
AUXILIARY april/may 2011 april/may 2011 AUXILIARY THIS PAGE
Nude Pearl Dress and Black Pearl Dress both by Anna Morph.
Noir Cocktail Dress by Anna Morph paired with Noblesse headband by Glamour Lush.
AUXILIARY april/may 2011 april/may 2011 AUXILIARY THIS PAGE
Nude Pearl Dress by Anna Morph paired with Haute Vogue headband by Glamour Lush.
AUXILIARY april/may 2011 april/may 2011 AUXILIARY THIS PAGE
Black Pearl Dress by Anna Morph paired with Haute Mode headband by Glamour Lush.
AUXILIARY april/may 2011 april/may 2011 AUXILIARY THIS PAGE
Noir Lace Dress by Anna Morph paired with Grandeur headband by Glamour Lush.
AUXILIARY april/may 2011 april/may 2011 AUXILIARY THIS PAGE
Lierre Dress with dripping chiffon sleeves by Rose Mortem paired with the Sweetest Poison Lace Choker by Raven Eve Jewelry.
Demonia Gown by Kambriel with Lucerna Art Nouveau Jet Crystal Headdress and Byzantine Armour Rings by Raven Eve Jewelry.
Ghostly apparitions in billows of mesh and lace.
photographer Zach Rose
fashi on styl i st Meagan Hendri ckson
makeup arti st Stephani e Si gnorel l i
hai r styl i st Bryan Gunsel l
model Sarah Wi ntl e
AUXILIARY april/may 2011 april/may 2011 AUXILIARY THIS PAGE
Helenie Dress with floral lace draped skirt and Imperialis Gloves by Rose Mortem paired with Sweet Poison Lace Choker by Raven Eve Jewelry.
Shadowen Gown in semi-sheer georgette by Kambriel paired with Rennaissance Maiden Headchain, My Lady Loves Lace Choker with cameo detail, and Byzantine Armour Rings by Raven Eve Jewelry.
AUXILIARY april/may 2011 april/may 2011 AUXILIARY THIS PAGE
Demonia Gown by Kambriel with Lucerna Art Nouveau Jet Crystal Headdress and Byzantine Armour Rings by Raven Eve Jewelry.
Helenie Dress with floral lace draped skirt and Imperialis Gloves by Rose Mortem paired with Sweet Poison Lace Choker by Raven Eve Jewelry.
Elmwood Specs
Felt Your Heart Beat
Glamour Lush
Lime Crime
Moonlight for Violet
Nouveau Motley
Obsessive Compulsive Cosmetics
Raven Eve
Revamp Productions
Rose Mortem
Sally Hansen
Straight Razor Slasher
United Nude
Warby Parker
where to buy
Anna Morph
Artifice Clothing
BabyLove’s Latex
Carpe Noctem
Coffin Kitsch
author Mol l y Hoel tke & Meagan Hendri ckson
photographer Jenni f er Li nk
fashi on styl i st Mol l y Hoel tke
makeup arti st Amy Duncan
hai r styl i st Eri n Moser
model Amy Duncan
Spring is in the air and the vintage inspired charm of the Nedwin frame by Warby Parker evokes a feeling of bygone eras. The chic modern green frames will pair nicely with bold colored animal prints to soft demure pastel pinks. Warby Parker’s collection offers an alternative to bland eyewear while keeping conscious of cost, yet never underestimating their quality. Your vision is important, so try a fashion forward eyeglass company that cares about you and your eyes.
AUXILIARY april/may 2011 THIS PAGE
Leopard Pillbox Hat by Coffin Kitsch and pink ruffled blouse by Dimri paired with stylist’s own vintage pearls, ring, and pearl and crystal cluster earrings.
Warby Parker is partnered with renowned non-profits, such as, to help people in need. For every pair of glasses purchased from Warby Parker, a pair is delivered to someone to help with the gift of vision. Find out more at www.warby.
Warby Parker Nedwin frames in Summer Green
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