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Auxiliary Magazine is an alternative fashion, music, and lifestyle magazine available online for free. APRIL / MAY 2012
APRIL / MAY 2012
praga khan / lords of acid
edgar allan poe
ulorin vex
untamed spring
city dweller / new world scavenger
haunting florals / full spectrum beauty
heartless revival / ghost love
Spring is here and it is untamed, vibrant, bold and soft all at once, florals, pastels, bare skin, daring fashion, and new ideas. Reinvent and revive as the world be-
comes new. The tone of this issue is very positive and it is bursting with forward thinking. In it we have an interview with Bryan Black the techno innovator behind Motor and an interview with techno legend Praga Khan as he prepares for the first Lords of Acid release in eleven years. There is a designer spotlight on up and coming designer Autumn Kietponglert and her brands Heartless Revival and Autumnlin Atelier. We have a new feature on icons of alternative subculture and kicking it off is an insightful look at Edgar Allan Poe. Plus this issue is brimming with fresh fashion and beauty ideas for spring. In the theme of things new and refreshed, we have a few new contributors this issue, including our cover image, of the stunning Ulorin Vex, photographer Allan Amato. As always, thank you for reading and enjoy!
Jennifer Link
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
Music Editor
Mike Kieffer
Associate and Copy Editor
Zach Rose
Associate Fashion Editor
Tasha Farrington aka Pretty Deadly Stylz
email :
issue 21 : april/may 2012
ISSN 1948-9676
No part of this publication may be reproduced in any form or by any means, elec-
tronic or mechanical, without the permission in writting from the publisher, except small excerpts for review purposes. Submitted work, reviews, ads, and photo-
graphs are copyrighted by their respective owners and fall under previous declara-
tion. Copyright Auxiliary Magazine 2012.
Photographs / Illustrations
Allan Amato
Sequoia Emmanuelle
Jennifer Link
Manny S.
Liz Besanson
Daniel Martinez
Catherine Day
Gail Remy Kilker
photographs on 10
Jennifer Link
illustration on 19
James S. Cole
illustration on 33
Nadir Balan
illustration on 34
Jason Masarik
photograph on 36
Ron Douglas
photographs on 37
Jennifer Link
Irregular Choice photos courtesy of Irregular Choice Contributors
Aaron Andrews
Anna DeMeo
Tasha Farrington
Aaron Fleisher
Jessica Jewell
Mike Kieffer
Arden Leigh
Jennifer Link
Elizabeth Masarik
Ariana Paoletti
Zach Rose
Adam Rosina
Vanity Kills
Graphic Design
Logo Design
Melanie Beitel
Layout Design
Jennifer Link
email :
editor’s letter
mission statement
4 morph
10 l aven-dare
the other si de of pastel beauty pi cks
11 detai l s
pi n up spri ng on your cal endar
12 spectrum
18 Ki l l Li st
fi l m revi ew
19 ti me capsul e man to monster
20 motor
23 qui ck pi cks
Mi ni stry, VCMG, Orbi tal
Underhi l l, ESA, and more...
24 musi c revi ews
Gri mes, Stray, John B
Lee Ranal do, and more...
motor : 20
praga khan . l ords of aci d : 26
edgar al l an poe : 34
ul ori n vex : 29
heartl ess revi val . ghost l ove : 38 . 58
26 Praga Khan
on the new Lords of Aci d al bum
29 the Pi nUp
Ul ori n Vex
33 bl ack theorem
34 i con
Edgar Al l an Poe
36 ask arden
advi ce on rel ati onshi p strategi es
37 styl e
haunti ng fl oral s
38 desi gner spotl i ght
Heartl ess Revi val
42 ci ty dwel l er
50 a worl d reborn
58 must
fi nger armor
59 where to buy
Photographer : Al l an Amato
Makeup : J-Chan’s Desi gns
Hai r : J-Chan’s Desi gns
Model : Ul ori n Vex
Fashi ons : Mari anna Harutuni an & J-Chan’s Desi gns
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! email : edi tori al @auxi l i arymagazi
AUXILIARY april/may 2012 april/may 2012 AUXILIARY THIS PAGE
Widow Zip Front Halter Vest.
Lip Service Industrial Vice Technocracy Information Society Crop Jacket and Lip Service Black Steam Shadows in Spain Cap Sleeve Top.april/may 2012 AUXILIARY AUXILIARY april/may 2012 photographer Jennifer Link
fashion stylist Jennifer Link
makeup artist Andrea Losecco
hair stylist Erin Moser
model Agatka
april/may 2012 AUXILIARY AUXILIARY april/may 2012 THIS PAGE
Lip Service Industrial Vice Gangsta Pranksta Jacket with Pleated Back and Lip Service Black Steam Shadows in Spain L/S Top.
H & R London Black Rose Vintage Swing Dress available at Cats Like Us.
april/may 2012 AUXILIARY AUXILIARY april/may 2012 THIS PAGE
Queen of Heartz Celeste Chevron Halter Dress available at Cats Like Us.
Widow Wrinkle Wash Moto Jacket.
by Vanity Kills
1 The road to notoriety is paved with choices. You can either A, remove your shirt, ascend the nearest table and start screaming obscenities. Or B, carry the Bates Bowling Unitard Bag by Too Fast wherever you may roam. www.toofastonline.
com $40
2 Breakouts surrender at the sight of lavender when salicylic acid-infused Nyx Blemish Control Blotting Paper enters the picture. $6
3 When passions lie in pursuit of both booze and beautiful women, it’s best to unite them. Liquid Courage’s Blonde Bombshell Flask simultaneously caters to both desires. $20
4 If you find drag queens and Disney Princesses to be equally relevant to your interests, you simply can’t go on without adding Medusa’s Makeup Glitter in Pegasus to your stash. $7
5 Can’t quite afford to import rocking horse shoes and ultra frilly Baby, The Stars Shine Bright dresses directly from Japan at the present time? A painstakingly ap-
plied coat of China Glaze in Gothic Lolita will hold you over until that pesky income tax refund check surfaces. $7
6 Consider Ulta On-the-Go Fragrance Spray in Fresh Lilac to be a veritable explosion of spring blooms shrunken down to travel-size proportions. www.ulta.
com $7
7 There’s no denying the magnetic pull of the punched up pastel crystals covering Tarina Tarantino’s Jewel Mirrors in Lilac Crush. $25
8 When red feels too retro, pink looks too prissy, and a neutral nude is simply out of the question, try Sleek Pout Paint in Mauve Over and get ready for a constant barrage of compliments from adoring strangers. $7
9 A pearly lavender shadow, much like MT Coffinz Pressed Eyeshadow in Cha-
risma, would make a most excellent accompaniment to the full-skirted and bor-
derline Stepford Wife-esque frothy, lacy, A-line silhouetted frocks that seemingly dominated most of the Spring 2012 runway shows. $10
Attention all haters: rockin’ lilac does not a preppy princess make. Unless we now reside in an alternate universe where preppy princesses set their sights on purses adorned with prints of zombie unicorns vomiting lavender rainbows and fearlessly mauve-lous lips. Meanwhile on Earth, wearing pastels in unexpected ways turns the country club snob archetype on its head as moody violet’s lightened-up alter ego successfully manages to strike the perfect balance between the all too seemingly innocent Easter bunny and a slightly deranged Playboy bunny (the very visage of pinup perfection troubled with a shady past). DETAILS
author & makeup artist Anna DeMeo
photographer Gail Remy Kilker
model Marla Meringue
Instead of going straight for the avant-garde this season, go for something a bit more clean. There are plenty of times to opt for bold and over-the-top but for spring it is good to have a fresh look to opt for at times. This spring’s collections, fashion-wise and in particular cosmetic-wise, have some promising looks for the more bold and diverse. Stripes are in and are perfectly paired with a simple bold red lip and nude eye. It’s perfectly acceptable to take this style up a notch, or five, to make it bolder while still keeping it fresh. Without even considering trends, anything that screams sailor is a good option for warmer months, it is so classic and true to pin up style. The eye is simple. It is defined by a fine cat eye line on the upper lid, by either using a smudge pot or a liquid eyeliner with a fine tipped end, and finished off with a thick coat of mascara on the upper and lower lashes. Thickness of the eyeliner can be determined by your own individual take on this look. Make it your own! But take this advice, do not extend it past the brow. To dress up this simple look, a few different shades in a butter yellow, bronze, or gold can be used on the eyelid. Follow by blending a slightly darker complementary shade in the crease. Lips are essential to this look. Creamy shades of pink or red metallics are exactly what will set this look apart, keeping it from looking drab and boring. For an extra metallic look, rub in a small amount of gold or silver loose eyeshadow or pigment. Make sure to choose a liner that is half a shade darker than the lipstick shade for good definition and a long lasting effect. The skin is kept porcelain for a flawless finish to the look, with a light contour and blush just for a hint of color on the cheeks. Top off with a hat, it will make a statement but allow for simpler hair styling, perfect for the season. In closing, remember that every-
thing is open to your own interpretation, you can always choose alternate color palettes or make alterations to suit your tastes.
april/may 2012 AUXILIARY 1
AUXILIARY april/may 2012 the LOOK : Pin Up Spring On Your Calendar
Teal and Pink Latex Dress by Scarlet Bliss.
april/may 2012 AUXILIARY AUXILIARY april/may 2012 photographer Sequoia Emmanuelle
makeup artist Ashley Joy hair stylist Jeremy Nichols (J Michael)
model Sarah Brewer
april/may 2012 AUXILIARY AUXILIARY april/may 2012 MEDI A
Frankenst ei n
Mary Shel l ey
1818 / Novel
What makes a man a monst er? Though t here i s never a t i me when Frankenst ei n’s “mon-
st er” i s anyt hi ng but a wal ki ng corpse of mi smat ched part s, t hi s al one does not make hi m evi l. Inst ead, t he percept i ons of ot hers and hi s al i enat i on from t hem are t he cause of hi s l oss of i nnocence. Frankenst ei n i s a great exampl e of t he power t hat soci al fact ors can have i n creat i ng monst ers, not onl y i n fict i on but real i t y as wel l.
The Fl y
Davi d Cronenberg
1986 / Fi l m
Brundl efly defini t el y warrant s bei ng i ncl uded amongst t he fict i onal men who have fal l en t o t he dark si de. Very few movi es manage t o creat e a l i keabl e charact er t hat becomes such a vi si on of unsympat het i c monst rosi t y, but The Fl y does j ust t hi s. Even as a geni us, Dr. Set h Brundl e cannot resi st t he gene-spl i ced ni ght mare t hat hi s body i s sl owl y becomi ng. Thi s fil m cl earl y demonst rat es what I bel i eve l i es behi nd many st ori es of t he corrupt i on of man, t he mi nd succumbs t o t he flesh.
Cl amp & Yoshi aki Kawaj i ri
2001 / Ani me Seri es
A t al e of cl assi c “save t he worl d heroi sm” becomes cl ouded when t he prot agoni st, Ka-
mui, becomes l ocked i n bat t l e wi t h hi s chi l d-
hood fri end Fuuma. The fasci nat i ng bi t i s t hat when Fuuma i s i nt roduced he i s a paramount exampl e of a “good guy”, yet an unchange-
abl e fat e dri ves hi m t o commi t ever more hei nous act s t hat go agai nst everyt hi ng he bel i eves i n and causes pai n t o t hose he l oves. X i s a curi ous anomal y i n a medi um t hat fo-
cuses heavi l y on charact ers t hat manage t o ri se above t hei r fat es.
Wol f
Mi ke Ni chol s
1994 / Fi l m
Jack Ni chol son t akes on t he rol e of an Aver-
age Joe (an obvi ous fant asy) who becomes a bl oodt hi rst y and ext remel y vi ri l e werewol f. The st ory argues t hat not al l monst erficat i ons are unpl easant. Before every supernat ural be-
i ng was t urned i nt o eye candy for young gi rl s, Ni chol son made i t cool t o be a hai ry dog-man who feast s on deer and seduces women wi t h not hi ng more t han a l i ft of one of t hose fiend-
i sh brows.
Bat man: Vampi re Doug Moench, Kel l ey Jones, & John Beat t y
2007 / Graphi c Novel
Many i coni c comi c book vi l l ai ns are subj ect s of corrupt i on, Doct or Oct opus, Cat woman, Lex Lut her, and Two-Face, t o name a few, but rarel y does t he hero hi msel f become cor-
rupt ed. In t hi s hypot het i cal Uni verse Bat man i s confront ed wi t h an unbeat abl e enemy and i s forced t o rel y on t he anci ent power of t he vampi re t o overcome hi s ot herworl dl y foes. Whi l e he manages t o save t he ci t y, he hi msel f begi ns t o succumb t o corrupt i on and t hreat-
ens t o become Got ham’s most powerful vi l -
l ai n.
Paradise Lost
John Milton
1667 / Epic Poem
The quintessential example of turning to the dark side. Satan’s pride causes his downfall as his coupe against God’s decision ends in failure and expulsion. Only by corrupting man and dedicating himself to evil can he find new purpose. As a story of the corrupted corrupting, and the human ability to justify our actions, this is a fascinating read for those interested in the power of the religious imagi-
nation and for people who want to better un-
derstand the human condition in general.
A quick rewind to unearth those media artifacts that may have slipped through the cracks of your radar but should not be missed.
There is something about the good going bad that resonates with people. We all want, in some small way, to see the high brought low. This article focuses on cases of champions of the human condition who descend into darkness.
Man to Monster
by Aaron Fleisher
april/may 2012 AUXILIARY MEDI A
Meh. That’s what I have to offer on Bill Wheat-
ley’s Kill List. One long, sad, apathetic “meh”. The internet’s partly to blame on this. Every horror and indie movie outlet performed the written form of fellatio on this flick, and I ate it up (snowballing?). Promotional materials por-
trayed it as a gritty crime tale of blue collar hit men, and the media, unusually secretive on the details in reviews, pointed only to a hard right turn into the occult in the film’s third act as evi-
dence of its horror cred. I had to know what all the damn fuss was about. But now, as the final credits have rolled and the house lights come on, I feel I understand the hype about as much as I did when I started, maybe less. Promised something genre defying, grueling, and brutal, what I got was a somewhat-edgy crime film (mostly sans the post-Tarantino humor), saddled with a domestic drama prologue that strains the viewer’s patience to the breaking point. When the film finally drops pretense and gets to the horror late into its third act, it does indeed shift dramatically... by turning into The Wicker Man. There’s some strong character work from the two leads that come dangerously close to saving this film from mediocrity, but yeah... fucking Wicker Man.
The set-up: Jay (Neil Maskell) is an out-of-work assassin looking to provide for his harpy of a 18
The Angriest Critic sums up Kill List, the hyped up, critically acclaimed half gritty crime tale half occult horror movie, in one word.
wife (MyAnna Burning) and son in the face of mounting debt and the haunting memories of a job gone wrong in Kiev. Enter Jay’s best mate and partner-in-doing-
assassin-type-stuff, Gal (Michael Smiley, a name that sounds like some 90s Spawn villain that likes to eat children, then fuck their faces) brings him a contract with a payday so big he can’t say no. After a meeting with their mysterious client and a contract signed in blood (that’s called some muthafuckin’ foreshadowing!), the pair set out to hunt the three targets comprising the titular list, known as the Priest, the Librarian, and the M.P. The job takes Jay deeper and deeper into righteous psychopathy, as he becomes increasingly unhinged when faced with his depraved quarry, much to Gal’s dismay. As they close in on their final target, they run into... (SPOILER ALERT) a cabal of cultists (inexplicably made up of the client and handful of tertiary characters) performing ritual sacrifice! Cultists, I might add, that are naked and have trees strapped to their faces like that ghost from that one issue of Doom Patrol you didn’t read because you hate Grant Morrison, and thus, freedom. But I digress... Then there’s some kinda knife fight, a final twist poached wholesale from yet another film and... instant classic!
Despite all of the above silliness, Kill List has some strengths that almost earn its unwarranted near-universal acclaim. The tension is thick in the air throughout the piece. It’s one of those films that builds on the viewer’s anxiety throughout effortlessly. Wheatley’s clearly got talent when it comes to crafting a mood, but once he gets you all shaken up and on the edge of your seat, sadly he doesn’t re-
ally know where to take you. Where the film really shines is the acting of Maskell and Smiley, and the convincing friendship between Jay and Gal they bring to life. These two characters could come off as cold-blooded killers (which they are), but the banter (or lack thereof in more serious passages) firmly establishes these two as real human beings through their utterly loyal, if belligerent, brotherly bond. Separately, each actor shines as well. Smiley presents as though he’s the slimy, untrustworthy friend out to drag his decent buddy back into the darkness, but he ends up becoming the closest thing the film has to a heart. Conversely, Maskell first appears as the good-natured (if somewhat lazy and direc-
tionless) family man, but soon takes to task with malevolent gusto. There’s a scene in a restaurant bar fairly early on where Jay verbally abuses a group of Christians (hilarious, by the way) that you first think is just him getting his game face on (“getting into character”, as Jules Winfield would say) in the midst of their job. Several scenes later, it’s clear Jay is easily the more bloodthirsty of the two, and truly disturbed, with only his friendship and his family tethering him just barely to the human race. And now, the bad. Special effects are very hit or miss in Kill List, and that’s an unforgivable crime in a horror flick. Can’t deliver the com-
plete package? Fine. At least serve up some good gore, because nothing pulls me out of a movie faster than a sloppy CGI squib. Else-
where, while the two male leads absolutely de-
liver, the same cannot be said for Ms. Burning as Jay’s wife, Shel. On paper, every last gripe she has with her borderline-deadbeat husband is legitimate, but transmitted through the medium of Burning’s shrieking, all I feel is fond memories of my divorce’s finalization. The only saving grace to her perfor-
mance is when shit hits the fan in the third act, where she proves herself a capable action girl. And finally the ending. Look, I dig homage. I appreciate cooking up a complex gumbo of one’s influences, but this... this is just The Wicker Man. There’s really no better or more sophisticated way to say it. It’s the end of The Wicker Man, robbed of reason or build-up. Wheatley thinks in dropping a few hints throughout (a rune carved here, a blood pact there, a score seemingly lifted from a Children of the Corn sequel throughout), he’s earned his gonzo genre-shift ending. But if it’s not going to add up to anything or provide any answers, it means nothing. You can do it without rhyme or reason, but unless you’re going to at least make it fun, like From Dusk til Dawn did with its mash-up, why bother? And to top it off, we get a second twist... that’s the exact same one from A Serbian Film. Seriously, just replace “dick” with “knife” in that film’s script, and you’ve just crafted Kill List’s “shocker” of an ending. Un-fucking-believable.
I wanted Kill List to be everything I was promised, not only because I selfishly think I deserved it, but because the horror genre needed it. We’re still caught up in maelstrom of remakes and found-footage fuck-it-alls, and by the cloven hooves of Old Nick, it’s really about time we get back to willing our visions of terror into true art, like the maestros of 70s genre cinema did. Has the recent slew of sub-par horror so dulled our tastes that anything that smacks of slightest ambition sends us into a frenzy? Well not I. I won’t sing the praises of mediocrity, and neither should you. Kill List may have a handful of things going for it (many of which work because they were rigorously play-tested by better films), but that doesn’t save it from becoming merely an above average entry in the horror genre. In sum-
mation, meh.
by Adam Rosina
AUXILIARY april/may 2012 This April Motor will release their fourth studio album, Man Made Machine on CLRX. This album sees Motor shifting gears from their familiar distorted techno sound to a more song-oriented style featuring guest vocals from major stars such as
Martin L. Gore of Depeche Mode, Douglas McCarthy of Nitzer Ebb, and Gary Numan. We caught up with Bryan Black in New York ahead of Motor’s gig at the Mayday Festival in Germany to speak about his experiences performing on the world stage and how he stays ahead of the game.
photographer Daniel Martinez
art director & stylist Ariana Paoletti
interview by Ariana Paoletti
I saw recently that you worked on a track with Julien K, “We’re here with you”, did you write the track together?
Bryan Black : I did the drums and the synths and the bassline, I sent it to them and they did the vocals and the rest… they arranged it. So it was a collaboration.
Do you see yourself becoming a shadowy producer behind other acts in the future?
BB : Yes, there’s lots of projects coming my way and I do things once in a while, but I don’t do enough because I’m so busy focusing on my projects… I don’t get to collaborate too much at this point. But I love doing it, it’s fun doing different projects outside of the genre I’m in.
Let’s talk about Motor and what an enormous impact the music has had, how do you feel about being an artist coming from a particular history but now be-
ing known to people who have no idea who DJ Hell is or even what industrial music was about? How do you connect to them?
BB : We kind of used Martin as a tool to do something that’s a little darker, edgier than Depeche Mode... if they can get Martin singing on a Motor song and they’re not freaked out by it they will probably be open to the darker stuff, harder stuff.
You’ve mentioned in other interviews working on the balance between noise and melody, I remember when Vitalic first came out and it was like the harsh-
est thing you had ever heard, now Vitalic is like, chic hotel elevator music! The level of what is aggressive, distorted music is so much crazier, probably pushed along by dubstep and such... do you think you benefit from the fact that kids now are much more accustomed to super extreme sounds?
BB : That’s one of the primary reasons we didn’t stay noisy on this record, as noisy as we have been [in the past], cause it’s not especially unique anymore, it’s almost passé. That was why we thought we could do something different for this record, because everyone is making noise, making heavy distorted techno. Back when we started there was only a handful of us, and it quickly became everything. It’s part of the reason we were attracted to the idea of doing something a little shinier and not so serious and macho.
april/may 2012 AUXILIARY 21
It was great to see you even included some female vocalists, I’m especially im-
pressed to notice Billie Ray Martin on the album’s tracklist! I haven’t thought of her since DJ Hell’s 2005 track “Je Regrette Everything”. Did you always have that track in your mind?
BB : That was the track, when we thought we wanted to balance the record out with a female voice, I thought of that song... I love the stuff she was doing in the 80s and 90s but it was that DJ Hell track that really drew us to working with her.
The story goes that the USB with the Motor album that went to Chris Liebing (label boss of CLR who are releasing the new Motor album), almost went to Lady Gaga! What’s the story there?
BB : I was invited to meet her… she was doing an in-store at Best Buy for her album, and someone invited me to meet her and her manager and I thought I would just put a few songs on a USB. I went out that night to see Chris Liebing play at Cielo in New York… I didn’t make it to Lady Gaga. Instead I was out all night with the CLR guys, who I had been working with on my other project [Black Asteroid] and I somehow managed to give them the USB stick, but I don’t really remember as I didn’t think they’d be even remotely interested in a new Motor al-
bum, cause it was the furthest away from techno we’ve ever been. I guess I gave it to them and the next day they were really ecstatic because they had seen the video and they heard like four or five songs from the album. They didn’t know what to do with it but they were really excited by it.
Do you think that Lady Gaga was interested in having you produce tracks for her?
BB : I don’t know... I mean, I think she probably knows what’s going on in the scene, but I don’t know if she was even familiar with my music. I thought maybe it might be an opportunity to do something but then I thought, �I don’t know if I even want to remix her’, her songs are... I mean the first album was ok but the second one just lost it for me... so I wasn’t really looking for much out of it. She writes her own songs, there’s not much I can do to help Lady Gaga, doing remixes and such…
Marilyn Manson is coming out with a new album; you’ve done remixes for him in the past, have those guys called you up yet?
BB : Nooo... a friend of mine saw him and he liked the Motor remix we did but I never actually met him… I don’t know what he’s up to.
He’s... kind of over the hill.
BB : Yeah he’s burned lots of bridges and I know a lot of people that played in his band would never want to see him again. He’s one of those figures...
You’ve been called the “Deadmau5 of techno”. What do you see a Motor headlining show to be like?
BB : We’ve always had this fantasy of having a big show, but the reality is we can’t do it because of budget, or the demand... But if it happens, we’d love to have a big light show, a syn-
copated light show with neon lights. I liked that Nine Inch Nails tour a few tours back where the neon lights were in sync with the music, just a wall of vertical neon tubes… something like that would be nice. But for now we are doing LED projections and we’re go-
ing to build up the show slowly, get-
ting bigger and bigger.
I can’t wait to see what it grows into! You have history with design yourself, having designed the covers of the first Motor releases. In the last few years you’ve become involved with some very important fashion designers, namely Raf Simons and Rick Owens. Have you ever considered your own fashion project? Some Bryan Black signature sunglasses?
BB : I would love to, I have some ideas and someday would like to do a limited run of something… I’ve been keeping that in the back of my head.
You’ve already done music for the Raf Simons and Rick Owens runway shows in the past, do you see any future collaborations with those artists? Do you keep in touch with them?
BB : I talk to Rick every once in a while, and I’m going to see him soon. I’m hop-
ing we’re going to do more, he wants to do more. He’s with a company that does a lot of his audio, so we’re just trying to find the right avenue to explore something together, because I definitely want to do some more work with him.
That’s really exciting to hear! You just played Klubbers Day in Madrid, Spain, debuting new tracks from the album. How was the show?
BB : I think of the ten songs we did about seven or eight were from the new album. It was 5am and I was really worried if those new songs would work, but [the crowd] really went for it so we found a nice balance. We put in a couple of the old techno tracks with the new songs and we sequenced them, and it works. It still tells a story.
I tried to find some Klubbers Day videos of your set online but had no luck… I guess everybody was too busy having a good time to stop and make a video! As Motor’s popularity grew over the years inevitably you moved away from playing smaller parties. However recently you’ve performed and DJed in Boston as Black Asteroid; do you find that now that you have a solo project you’re able to reenter the underground world? How is it different?
BB : I actually enjoy that, playing to a hundred people in the middle of the night, that’s probably more enjoyable and relaxing than playing a bigger show. I like the opportunity to play records, to DJ at after parties… the side project is kind of a balance I need. I enjoy both large and small shows equally I guess.
Motor has played every major event and festival in the world, you’ve opened up for every top tier electronic act out there on the professional scene, what’s the next tier for you? What are you looking to achieve for Mo-
tor now?
BB : I think we’ve been on the periph-
ery… we haven’t really penetrated into the market at all. We’ve sort of always been a band with a buzz but I don’t think we’ve ever really realized any of our potential to the degree that I think we could. And it seems like fi-
nally now, we’re getting there.
...and we’re all just catching up to you.
BB : Yeah, with the help of Depeche Mode obviously, but sometimes you need a little break like that. It’s nice to finally get the attention that I thought we deserved before. It seems like it’s gonna work this time.
We’re all very excited to see what happens! Thank you Bryan.
AUXILIARY april/may 2012 quick picks
ESA - Themes Of Car nal Empower ment Pt. 1: Lust
rel eased by Tympani k Audi o on 3 March 2012
genre : i ndust ri al rhyt hmi c noi se
The al bum t i t l e al one oozes dark and dramat i c epi c-
ness, hi nt i ng at more of t he same t o come i n t hi s, t he first of a t wo part seri es. I say bri ng i t on! Over-
al l t hemes i n t hi s al bum st ri de forward confident l y, bui l di ng under a dark st orm cl oud t hat generat es a ful l y armed and dangerous package. Thi s i s not j ust i ndust ri al noi se for noi se sake, t hi s i s an i nt el l i gent and cal cul at ed offensi ve i nt o heavy di rt y beat s, i n-
dust ri al grooves, and sl i ght hi nt s of ESA’s met al root s hel pi ng t he sound mai nt ai n a wat ch on t he gri m and operat i c. And for t hose who l i ke t hei r i ndust ri al noi se wi t h a si de of t he esot eri c, t here i s a smal l dose of experi ment at i on l i ke bl ack i ci ng on an amazi ng, bl ood, gore, and sex fil l ed cupcake! 9/10 - HM
VCMG - Ssss
rel eased by Mut e on 13 March 2012
genre : t echno
VCMG i s t he epi c pari ng of Vi nce Cl ark and Mart i n L. Gore (googl e t hem i f you are cl uel ess and you know how t o use a comput er). They j oi ned forces t o creat e a st rai ght up, no fri l l s t echno al bum. OK, maybe i t ’s a l i t t l e bi t more t han t hat, but not much. Ssss i s 60 mi nut es of mast erful l y craft ed t racks t hat wi l l not bore you, nor wi l l t hey wont make you j ump around fuel ed by pure adrenal i n. Al t hough I real l y enj oy t he al bum, I find i t has no i dent i t y, i f one of t hese t racks were pl ayed at t he cl ub i t woul d be hard t o remember who i t was. Whi l e t hi s i sn’t necessari l y a bad t hi ng, I was j ust expect i ng more of an i dent i fi-
abl e “VCMG sound” t o be forged from t wo geezers who have been around t he bl ock. 8/10 - MK
Orbi tal - Wonky
rel eased by ACP Recordi ngs on 3 Apri l 2012
genre : el ect roni c Fi rst al bum si nce 2004, Orbi t al has a l ot t o make up for t o t hei r fans t hat have wai t ed t hi s l ong. Wonky st art s out wi t h a ni ce dreamy t rack t hat somehow reaches i nt o your chest cavi t y and t ouches your heart st i rri ng al l t ypes of gi rl y feel i ngs i nsi de of you, so yeah, Orbi t al st i l l knows how t o wri t e beaut i ful el ect roni c musi c. Throughout t he al bum many di f-
ferent sub-genres are t ouched upon but al ways have t hat cl assi c Orbi t al sound. Every si ngl e bl eep and bl i p i s perfect l y pl aced and repeat l i st ens j ust unrav-
el more l ayers. Orbi t al coul d pl ay t hi s al bum from st art t o fini sh t o a sol d-out st adi um and everyone woul d l eave sayi ng i t was one of t he best ni ght s of t hei r l i ves. 9/10 - MK
Mi ni st ry - Rel apse
rel eased by AFM/13t h Pl anet Records on 27 March 2012
genre : i ndust ri al met al
The four years off seems t o have worked wonders as t he rej uvenat ed Mi ni st ry have freshened up t hei r sound yet are st i l l not compromi si ng on what makes t hem Mi ni st ry. On Rel apse t hey’ve done a good j ob maki ng sure t hat each of t he songs has i t s own i dent i t y, somet hi ng I feel t hey haven’t accompl i shed si nce 1989’s The Mi nd Is A Terri bl e Thi ng To Tast e. Rel apse i s heavy and fast much l i ke t he l ast few al -
bums al t hough i t feel s cl eaner and t he songs don’t seem t o drag on i nt o obl i vi on. Rel apse i s not ful l of knock �em dead hi t s, but i t i s devoi d of crap songs, and t he songs t hat do ki ck ass remi nd us why Mi ni s-
t ry has been a force i n t he musi c scene for so many years. 8/10 - MK
Underhi l l - Si l ent Si ren
rel eased by Ad Noi seam on 19 March 2012
genre : got h, t ri p hop, dubst ep, wi t chst ep
An i mpressi ve col l aborat i on of Dean Rodel l, Bal -
kansky/Cooh, and Current Val ue wi t h vocal s by Mart i na Ast ner and MC Coppa. Thi s al bum has many cooks i n t he ki t chen and t he resul t i s some di fferent flavors of cui si ne; hi p hop, dubst ep, got h, drum & bass, and t ri p hop are mi xed l ovi ngl y i n t he pot. The songs are wel l bl ended, t he beat s are smoot h or cri spy (dependi ng on t he course), and t he vocal s, especi al l y Ast ner ’s, are fresh and al most un-
heard of i n t he l arger worl d of dubst ep. Leave i t t o Ad Noi seam and t hei r t al ent ed rost er t o del i ver more st unni ngl y uni que dubst ep t unes. 8/10 - AA
Lords of Aci d - Deep Chi l l s
rel eased by Met ropol i s Records on 3 Apri l 2012
genre : el ect ro i ndust i al, aci d t echno
Many years have past si nce I was under t he dri nki ng age and t he l ast rel ease of LOA graced t he new re-
l ease shel ve. LOA known for t he over sexual l yri cs and i nvent i ve el ect roni c sat urat ed rock ret urn wi t h Deep Chi l l s and t hey are j ust as pot ent and shocki ng as before. Praga Kahn knows how t o wri t e musi c and you won’t find any armat ure programi ng here, al l t he songs have fresh sounds and a vari et y of t em-
pos and st yl es t hroughout keeps t he al bum uni que from t rack t o t rack. DJ Mea provi des excel l ent vo-
cal s, port rayi ng a confidence behi nd t he subj ect mat-
t er t hat coul d easi l y come off as chi l di sh i s i nst ead bel i evabl e and empoweri ng. If you were a past fan or a vi rgi n t o LOA, check t hi s out. 7/10 - MK
music reviews
april/may 2012 AUXILIARY John B - Light Speed
released by Beta on 6 February 2012
data : 9th album . 13 tracks . 87:08 run time . reviewed by : Aaron Andrews genre : drum & bass, progressive, elec-
I’ve seen John B DJ several times and I’ve always been impressed that he’s unafraid to mix styles in his sets, with many tracks from different genres and perspectives seamlessly being mixed together into something very uniquely his own. His own tracks reflect that mentality and Light Speed is a good example of how diverse and original drum & bass music can be. Since 2001 the Maiden-
head, England native and head of Beta Records has been blending the precise and furious sounds of drum & bass that he made in the late 90s with the style and elements of more atmospheric D&B, new wave, and electro, effectively founding a new genre, “electrostep”. On Light Speed those fingerprints are all over this as he steps up the inclusion of elements from trance and progressive music. The excellent vocal contributions of Kirstie Hawkshaw, Shaz Sparks, and Jillian Ann combine with progressive synth stabs, build ups, and incredible pop hooks to give the songs a luscious and evolving exterior with a thoroughly drum & bass core. The build ups show John B’s adeptness at generating anticipation and the climaxes are huge. Many of these tracks feel like they’re sure to be the dance floor crusher placed carefully into a DJ set to be revealed at just the key moment. I can’t recom-
mend this enough. If you’re already familiar with John B’s work this is another fantastic record. If you’ve never liked drum & bass try this album, there’s so many ways that it differs from the norm you may find just what you’re looking for.
recommended tracks : The Horde, Connected, Red Sky,Vertigo, Shining In the Dark
if you like you may like : BT, LTJ Bukem, AK1200
grade : overall 9 - music 9 - lyrics 8 - recording quality 9
Various Artists - The Minimal Wave Tapes Vol. 2
released by Stones Throw on 28 February 2012
data : 2nd album . 14 tracks . 50:26 run time .
reviewed by : Paul Morin genre : synthpop, post-punk, electroclash
Remember when bands like Laurent, Ding, and Antonym were big? Me neither (mostly because they never were). The Minimal Wave Tapes collect obscure, forgotten gems from the land that time forgot: the late 70s, early 80s post-punk, post-disco world of drum ma-
chines and synths that didn’t want to cooper-
ate. And this collection, like its sister Volume I, is an absolute time capsule of sound. One listen, and you’re back in an arcade playing a game with blocky monkeys and hammers or tying on a pair of roller skates and a headband at the mall. You have to wonder: how many of the artists on this collection got beat up before, during, and after they made the recordings? Sorry. This is the stuff even the nerds were afraid to admit they listened to. Experi-
mental and intentionally “out-there”, you can hear each artist struggle to wrestle something dance-floor friendly out of the machines in front of them (with varying degrees of success) while simultaneously trying to push the definition of modern music. TMWT2 has done its homework. This music is foreign (literally and figura-
tively), dated, and very obscure. Unfortunately, the returns are mixed. Some of the songs are damn good, and you may find yourself trying to do the moonwalk across the floor (the trick is to keep your foot flat and pop your heel at the end, kids). Others wander off into territory that isn’t just dated, it’s boring. Granted, some of these instruments probably only had a “start” and “stop”, but sometimes you have to know when to pull the plug on the damn thing. Works best as a nostalgic reminder of a time and a place, but seek the superior Volume I first if you haven’t done so already.
recommended tracks : Presidente, H.S.T.A., Theme
if you like you may like : Kraftwerk, Ladytron, Devo
grade : overall 6 - music 6 - lyrics 6 - recording quality 5
Motor - Man Made Machine
released by CLR X on 16 April 2012
data : 4th album . 11 tracks . 41:22 run time .
reviewed by : Aaron Andrews
genre : techno, electro
Since 2003 Motor has been making some fan-
tastic and acclaimed techno albums as well as remixing Depeche Mode, Marilyn Manson (his cover of “Personal Jesus”), Sven Vath, Nitzer Ebb, and Gary Numan. Their most re-
cent release, Man Made Machine, is a slight departure from previous albums while still hold-ing onto the soul of Motor’s music. For this album, number four, the duo of Mr. No and Bryan Black cre-ated a more classic vocal song structured album than their previous work that was centered squarely in techno. To help with this more vocal focus they enlisted Martin L. Gore (Depeche Mode), Douglas McCarthy (Nitzer Ebb), Gary Numan, Billie Ray Martin (S’Express, Electribe 101), and Reni Lane. The Martin L. Gore fronted title track is already out as a single and making a big splash with its memorable video and slinky vocals, an often quoted online comment said it sounds like a modern take on “Personal Jesus”. The other songs on the album are equally incredible, as Motor hasn’t lost any of their punch with this musical direction. The grittiness in the synths combines with the alluring vocals to flesh out a seedy darkness in this sonic reality. Motor translate their style very effectively and the songs are still hip deep in techno strut and sexiness, the addition of vocals only increases the swagger and marvelous groove these guys are capable of. This is an album that’s sure to make many people’s best of the year list and an exceptional listen. These tracks are so perfectly suitable to cross from the techno dance floor onto any gothic/industrial club floor. Don’t miss out. recommended tracks : Man Made Machine, Pleasure In Heaven, Control, Be-
tween the Night
if you like you may like : DJ Hell, Felix Da Housecat, Depeche Mode, Deep Dish
grade : overall 9 - music 9 - lyrics 9 - recording quality 9
AUXILIARY april/may 2012 music reviews
Gri mes - Vi si ons
rel eased by Arbut us Records/4AD on 21 February 2012
dat a : 3rd al bum . 14 t racks . 48:04 run t i me . www.gri mesmusi
revi ewed by : Hangedman genre : t rashpop, wi t ch house
There’s somet hi ng about Gri mes, i n my opi n-
i on one of t he freshest art i st s t o come al ong i n a whi l e. Young, vi brant, creat i ve beyond bel i ef, Cl ai re Boucher, wi t h t hree al bums un-
der her bel t si nce 2011, has an i naugural con-
si st ency t o her sound t hat has cri t i cs t al ki ng and l i st eners ravi ng. So what makes Gri mes so magnet i c? Perhaps i t ’s wi nsome sexual i t y t hat manages t o accel erat e provocat i veness by st ayi ng i nnocent? Perhaps i t ’s t he one woman sound machi ne, where she float s on t he power of her own et hereal vocal s whi l e j umpi ng, hoppi ng, and knob t wi st i ng t o gl i t chy t rashy, t hrow-back el ect roni cs? What ever i t i s, Gri mes t hi rd al bum has bot h t he underground and t he mai nst ream payi ng at t ent i on. It forces us t o ask t he quest i ons… Is t hi s t he fut ure of i ndi e pop? Is t he worl d once agai n ready for el ect roni c art i st i c expressi on i n t he pop musi c space t hat ’s pure and undeni abl y uni que? Thi s i s somet hi ng we real l y haven’t seen si nce t he 80s. Wi t h Vi si ons (her t hi rd al bum i n a rapi d-fire seri es of al bums), Gri mes at t acks bot h her st yl e and sound wi t h a fiery confidence, forci ng i t t o be her own t hi ng, savagi ng fami l i ar beat s, recycl i ng ol d pop, and t aki ng el e-
ment s of new t rash and wi t ch house i nt o somet hi ng t hat can’t qui t e be t raced i nt o any part i cul ar genre. Gri mes i s l ess about l yri cal narrat i ve and more about a force of sound, a compl et e package t hat appeal s t o a wi de audi ence i n a comfort abl e non-assumi ng, nonsense way. It ’s t he ki nd of musi c you can put on at a part y and everyone wi l l l i ke i t and l i ke i t a l ot. recommended tracks : Obl i vi on, Ni ght musi c (feat. Maj i cal Cl oudz)
i f you l i ke you may l i ke : Heart s Revol ut i on, Cryst al Cast l es, Sal em, Kat e Bush
grade : overal l 8 - musi c 9 - l yri cs 7 - recordi ng qual i t y 9
St ray - Letti ng Go
rel eased by Al fa Mat ri x on 4 May 2012
dat a : 2nd al bum . 11 t racks . 59:32 run t i me . www.unt er-nul
revi ewed by : Hangedman genre : i ndust ri al, fut urepop, synt hpop
There are t wo t hi ngs I great l y admi re about Eri ca Norri s (née Dunham). One, she’s an i n-
credi bl y engaged and passi onat e art i st whi ch real l y comes across i n her musi c. Two, she has a cl assi cal appreci at i on of musi c t hat i s reflect ed i n her work. Possi bl y bet t er known for her harder Unt er Nul l proj ect, I act ual l y prefer her rel at i vel y new St ray endeavor and have been ant i ci pat i ng Let t i ng Go for a l ong t i me. Fol l owi ng t he progress of t he al bum on her Soundcl oud page, when I l i st en t o t hi s al bum I can al most feel how much personal i t y and soul i s goi ng i nt o t hese songs. Thi s has al ways been t rue of Unt er Nul l, but for some reason I find St ray t ouches me di rect l y and resul t s i n a uni que art i st on fut urepop’s ri si ng st ar. Wi t h t hi s bei ng her second al bum, i n some ways, I feel St ray i s way ahead of i t s t i me and i t ’s my sol emn hope t hat Let t i ng Go rocket s t hi s proj ect i nt o an earl y spot l i ght t hat i nspi res many more rel eases. To me t he hi ghl i ght s of Let t i ng Go are Eri ca’s i ncredi bl y sensual, al most bari t one femal e vocal s and poet i c l yri cs. She manages t o l ace t hem wi t h j ust enough effect t hat t hey sl i de i n and out of t he mel ody beaut i ful l y. I find I coul d l i st en t o her al l day i n a dreamy float i ng musi cal space, perhaps I’ve even devel oped a l i t t l e crush based on t hey way she ut i l i zes vocal s and musi c t oget her t o t ug at t he emot i onal heart st ri ngs. The musi cal phrases range from synt hpop, t o i ndi e gui t ar, t o good ol d fashi oned romant i c fut urepop, al l set agai nst a sl ower paced, bal l ad-l i ke dramat i c narrat i ve t hat ’s perfect i on and not pedest ri an.
recommended tracks : Let Me Go, Lower and Lower, Mi l es From Here
i f you l i ke you may l i ke : mi nd.i, Ai boforcen
grade : overal l 8 - musi c 9 - l yri cs 8 - recordi ng qual i t y 8
Lee Ranal do - Between the Ti mes and the Ti des
rel eased by Mat ador on 20 March 2012
dat a : 9t h al bum . 10 t racks . 47:33 run t i me . www.soni cyout ee
revi ewed by : Paul Mori n genre : al t ernat i ve
Where do you go aft er j ammi ng screwdri v-
ers, di l dos, drumst i cks, nai l s, and God onl y knows what ever el se i nt o, ont o, and over your gui t ars for decades? Who do you have t o i mpress when you’ve pract i cal l y wri t t en and redefined t he book of experi ment al, punk, no wave, avant -rock al t ernat i ve musi c? What do you do when you’ve shown everyone how t o be cool and how t o mai nt ai n art i st i c i nt egri t y whi l e sel l i ng mi l l i ons of records over a l onger peri od of t i me more t han some of t he bi ggest names i n musi cal hi st ory? The l ogi cal answer i s t o wri t e a damn good pop al bum t hat put s everyone el se t o shame. And so, here i t i s. Bet ween t he Ti mes and t he Ti des i s more st rai ght -forward t han anyt hi ng ever t o come out of t he Soni c Yout h camp (as a band or on t hei r vari -
ous sol o out i ngs). It st i l l mai nt ai ns Lee’s si gnat ure gui t ar and vocal del i very, but has al so added t wi st s of al t -count ry and j angl e pop, swi rl i ng somewhere bet ween Wi l co, R.E.M., and, wel l, Soni c Yout h. Thi s act ual l y may be your Dad’s ki nd of musi c, exact l y t he sort of t hi ng Soni c Yout h once unabashedl y (and met hodi cal l y) set out t o di sassembl e and dest roy. You can cal l i t a sel l out, or you can see i t as comi ng ful l ci rcl e, l i ke a punk ki d who went so far down t he road t hat he real i zed t he onl y way t o real l y be punk i s not t o be punk at al l. Defini t i ons asi de, i n t he end t hi s i s a great al t erna-pop record, evoki ng some fine moment s of pop bri l l i ance. The songs are careful l y craft ed, wel l wri t t en, and j ust feel nat ural. Hi ghl y recom-
mended for t he ol der but st i l l sl i ght l y bi t t er and angst -ri dden crowd t hat have been t here, done t hat, and have not hi ng t o prove t o anyone anymore.
recommended tracks : Wai t i ng on a Dream, Angl es
i f you l i ke you may l i ke : Soni c Yout h, Wi l co, Di nosaur Jr.
grade : overal l 8 - musi c 8 - l yri cs 8 - recordi ng qual i t y 9
I’ve been listening to your music since the mid-90s and it’s an honor to be speaking with you today. With 68 releases and 421 appearances as Praga Khan, 33 releases and 120 appearances as Lords of Acid (numbers from Dis-
cogs), your collective catalog is immense. However, it’s been eleven years since you’ve released an album under Lords of Acid and six since you released “Pick-Up Truck”, could you talk for a minute about what’s been keeping you away from production for so long?
Praga Khan : Well, let me thank you, I didn’t know that it was so large. The thing was that I was involved with a lot of creative stuff here in Europe. I did some music for the Royal Ballet, and I have done soundtracks and theater, and a lot of creative stuff with local performers. A lot of tours in theaters with different per-
formers of every genre. It was really creative, and really got into it, but lost my focus on the music… You say that you lost your focus, how did you get your nose “back to the grindstone” and get back to the music?
PK : It’s not that I didn’t like music, but it was like a different music on a different level. It was theaters and movie scores and stuff like that. But then I got a phone call from American management, and they said that, �there was a lot of youngsters that are into Lords of Acid now, would you think about doing a new record al-
bum?’ And I wanted to see it for my own eyes, so I came over and played a couple of songs to see what was happening. And then we booked a tour two years ago, and I was really surprised that so many people came out to see the shows. And was really surprised that there were so many young people that came to see the shows. And that really was when I decided to write some new music. Because I am not a person that can write something on command, it has to come from within… I was touring and had a lot of talks with fans and decided to go back into the studio.
Well I appreciate it personally, being a longtime fan, I started hearing LOA in the mid-1990s and it stuck with me ever since. And I appreciate all the work that you’ve done, and your touring. EDM, as a genre, isn’t as big as it could be, I feel like here in the US we’re a little more pigeonholed into what the masses like, and it’s difficult to find good and artistic music when the mass media plays Bieber all day long.
PK : I enjoyed making this album and interacting with the fans…
That’s what I heard, social media played a huge part in the production of Deep Chills, could you speak to that? PK : Yeah, when I did tour I was talking to the fans and had the idea to interact with the fans in the creation of the album. I asked them what they wanted me to write about, and what was the title for the new songs. I tried to involve them in every way, and it was a great adventure, because it was a cooperation of the fans. So this album is one that was made for the fans, by the fans. That’s the great thing about it all, it was a great interaction between me and the fans in America, which are my core audience. So, it was a lot of fun, it was like working together. I really enjoyed it. Now what’s on the record now, it comes from the fan base… a lot of ideas, and they influenced us in the best possible way. I think that the outlook of the album was made by the fans.
At Auxiliary we see EDM as a constantly evolving art form, many of us are the second generation of “rave kids” who have waded through multiple decades of this genre. All things evolve and with this evolution comes change. It’s been more than a decade since your last release, could you speak about how you and your collaborators have kept up with the evolution of this internationally morphing scene while maintaining the signature Lords of Acid edge?
PK : I am an open minded person when it comes down to music, and I’m very in-
terested in hearing what is happening in music. I am, what do you call… a mellow man… I listen to everything, so when the new talent is coming out on the globe, and I have a chance to listen to it, I listen to it as it deserves, because I also want people to listen to my music as it deserves. On the other hand, I always make my own interpretation of the music. For example, what Korn is doing with Skrillex right now, I would never ever do that, you know? I would never make Lords of Acid dubstep, but I do like the sounds that they use in dubstep, but I don’t copy the music. I don’t want to make the next LOA a dubstep album, but I like the sounds I hear there, but I’m not trying to make a copy of a dubstep record. So, when you listen to the new album, it sounds very “up to date” because a lot of the sounds that we were using back in the 90s, at this moment, they are really popular again, because people like Keisha and Lady Gaga are using the sounds that we used in the 90s. So these sounds sound very modern, but you can not use them the same way that they were used long ago because then it sounds old fashioned. So, you have to take the sounds, and do a “time warp” and use the newest technology and production, and use it in a very very modern way.
I’m glad that you talked about the “time warp”, there’s one thing that I never did live down from that time of my life, and that was not attending a Sextacy Ball. Having said that, I’m wondering if you could regale us with a printable story that could capture some of the debauchery to share with our readers?
PK : Well, those days LOA was really high, yeah? We came from Europe and was the only band that was doing the combination between rock music and techno, so that was very very new, because in those days, you only had techno people, and the rock people, but there was not a band that crossed over between the two styles, and we were the first ones. The youth loved the guitars and dance beats… that’s what made LOA very special. Because we’re from Europe, we played all the raves, you know, and in America were in the rock circuit, and it was really really strange for us because in Europe it was not done like this, it was a dance, and now we were appearing in a rock venue. So for us it was like America was very open minded to the music, and it was something that was really impossible in Europe. When we got there to America, everybody was going crazy about the album [Lust] but in Eu-
rope, LOA was really underground. But In America, when Rick Rueben was com-
ing on board, we had a big record, and there were droves attending everywhere, it was sold out, people were coming to the shows all dressed up, spending hours in front of the mirror before they came to the show, and the most difficult thing was to look better than the audience, because they were all dressed up in makeup and in costume… like a big masquerade… a costume ball. For us, it was strange that we came up on stage and all these people were in costume, but it was not a ball! The thing was that they were singing along with every song, knew everything by hearts. So, the people were always very ready for the concert, so when the concert started, they were like one. The atmosphere was very sexy… we never knew what was going to happen… sometimes we had people jump on stage and have sex on stage, and the sheriffs coming on the bus before the show telling us we could do and not do that, and people were protesting the concert halls. So there was a lot of stuff happening in those days.
I’m sorry to say, but my favorite band ever is My Life with the Thrill Kill Kult and you haven’t said anything about them… I have to ask, what was it like being on stage and working with TKK?
PK : It was great, they were coming from the Wax Trax! label (R.I.P.), and I was a really a big fan of them, and for me it was a really amazing experience just to be with someone from Wax Trax! I really looked up to the band, because they’re really amazing guys… they’re real… they’re rockstars when they’re on stage, and the second it’s over they’re completely different people… they really are rock-
stars. Hanging with them is like one Tarantino movie, something is always going on, they’re really really live guys. Thing is that they’re really nice guys, I love them, I love their records. Legends… living legends, that’s what they are.
I agree. Could you talk a little bit about working with DJ Mea? You’ve always surrounded yourself with sexpots… if you wanted to get her best per-
formance, do you show up with any gifts?
PK: We did most of the tracks remotely. So the difficulty is that I live in Brussels, I had the idea that she could come to Los Angeles and record the vocals with Chris Vrenna from Nine Inch Nails at his studio. And I decided that would be better than to bring her to Belgium and have her in my studio. So eight tracks were re-
corded at my studio and the rest at his studio. She’s a great singer, and has a lot of potential there. When I started to work with her, she was not very comfortable… but the more that the tour was going on, the more comfortable she got. And she is incredible, the best addition to LOA so far. She’s a great performer and has an amazing voice.
april/may 2012 AUXILIARY Praga Khan
of Lords of acid
With the release of the first new Lords of Acid album in over eleven years Deep Chills, Praga Khan has found a way to refresh the sound while staying true to its origins.
interview by beLIEve
When you’re out and about in Belgium, where do you go to party?
PK : Well, you know, I go to discotech… so famous dis-
cotechs where famous DJs are playing. Since I know most of the owners I always get really drunk and high without saying anything…
It’s a horrible, horrible job you have!
PK : Yeah. Most of the time I leave at 2am and I come back home at 10 or 11… because in Belgium, it starts very late here. Most discos open at 11pm, and until 1 or 2am there’s nobody there. So everyone comes very late, but everyone stays until 9 or 10 in the morning. I love it. We have the night owls here.
Absolutely. I was just wondering, is there any song in your catalog that you just hate playing? One that you absolutely refuse to play?
PK : Thing is that there’s a lot of songs, there are songs that you forget about because you don’t listen to your own albums, and you remember the ones that you always play live. Through the years there’s a selection of songs which are the package, “I Sit on Acid”, “Crablouse”, and there’s new albums coming, so you have to replace some of the songs, and the best ones stay in the set. It’s not that I don’t want to play these songs, not that I hate the songs, but there are some tracks that are from the first album which are not suitable for covers, because it’s a different atmo-
sphere. Songs can be amazing in a disco in Europe, but be bad live, so there are some songs that just can’t be played live.
Some shameless fun questions… what is your favorite band or musical artist of all time?
PK : Of all time… you know Calla, from Frankfort? Yeah, Calla is great. I’m on a first name basis with him.
What’s on your phone’s ring tone?
PK : It’s a standard ring tone. There’s a lot of people running around with my song as their ringtone, but when I want to listen to a song, I can listen to it in my studio.
Very true, very true. If you could cover or reinterpret any film score ever, what would that be?
PK : A film score… from a movie? …a question that I cannot answer off the top.
If you had any “wet dream” line up at a show, yourself and any other four performers, who would you want them to be?
PK : Of all time? I like Depeche Mode… Front 242 is one of my favorites, we’ve had shows together, we grew up in the same village. When I was a kid, I went over to his house and he played me X-Ray Spex… and we learned to play together.
So, you and F242 grew up in the same town… had many of the same influ-
ences, and decades later shaped the techno/electronic music scene… that’s amazing!
PK : Yeah, a village with 4,000 people, if you could believe that. Maybe also a big name? David Bowie, because he’s always experimenting a lot, and Peter Gabriel, but back when he was experimenting, doing a lot of experiments. I know the guys that worked with him, and they were running around London recording everything, so many new sounds, and we were working with it… maybe we could get them back on track with something.
Well, maybe reading this interview will light a fire and help get them back on track. They should be having fun, like you are, and continue to touch the people around them. One of the questions that I didn’t ask yet is, do you at-
tempt to educate your new fans through your music?
PK : I hope so, because the thing is dubstep is new… but dubstep started seven years ago… Digital Mystikz, Benga, Loefah, Skream… 2005 and 2006. There’s a lot of drum n bass, and I like the sounds, if you listen to VooDoo-U, it’s all was new to me, the sounds, and the way they made the sounds and the software was all new synths that they are using. For me, it was the newest thing in years, because there’s all of this stupid commer-
cial shit, the same thing that we’ve heard in rock for 25 years, nothing’s changed. But at least Skrillex and these guys, they are doing something with this new material and not copying things from years ago. When I listen to a Kesha and Lady Gaga record, and that’s the same thing we did 20 years ago.
Agreed. It sucks when new musicians just rehash the same stuff, over and over, and nothing changes artis-
tically. Push boundaries, do something new.
PK : Exactly.
Are you political?
PK : No… I’m not really political. I spend most of my days doing nothing except music.
Right on. I’m extremely jealous. Are you religious or spiritual at all?
PK : Well, it depends on what my view is, you know? Sometimes I’m more… It’s not that I’m spiritual. Not really. I know I’m an atheist. I believe in nothing. I only believe things I see, so… umm… but sometimes I see strange things, so?
Do you still believe them the next week?
PK : You never know what happens huh? It’s like when an album is finished… at least it’s out of my system and I survived it?
You survived it? How so? PK : I only focus on music… a lot of booze and a lot of everything.
What’s your favorite booze?
PK: Everything… whatever has a lot of alcohol. When an album’s finished, I’m an alcoholic. It’s when you come off a tour bus, you’re drunk every day. You drink every day and when you get off the bus and then you’re at home, and you want to keep drinking and drinking, but there’s no party anymore. So, it’s a good time to start an album again.
Is there one particular song that you absolutely love playing?
PK : Every song has a different atmosphere… “Crablouse” is one of my favorite. It’s very interactive and melodic. Great synths and vocal lines. It’s got everything. It’s a classic. A lot of subliminal message. And “VooDoo-U” because it’s very aggressive. But my favorite one is “Crablouse”.
Last questions, quick tech question. So, you came from the same village as F242, they exposed you to contemporaries of that time… what kind of synths did you start using? At what point did you get your first synthesizer, and when did things start rolling? What was the hardware that you used to start with?
PK : When we started, it was the C64, heh? Yeah, it was an EMX sampler back in the days. Plus, we started using a 4 track… an ERP and a M10 and M20 from Korg… a sequencer… Maurice, it was truly an honor speaking with you today… you’ve been a great influence on me… you were some of the first EDM I heard and that music has stayed with me all of my days since. I sincerely appreciate your time and your music, thank you very much.
the PinUp
Auxiliary’s playful take on the sexy centerfold pin up. Flip the page, cut out, and tac on your wall!
photographer Allan Amato
makeup artist J-Chan’s Designs & Miho Suzuki
hair stylist J-Chan’s Designs & Miho Suzuki
model Ulorin Vex
Born and raised in Newcastle, England, the now Los Angeles based Ulorin Vex with her firebrand orange hair is a model, artist, and performer. Modeling for over eight years, she has worked with almost every major name in fetish and alternative fashion, with many magazine covers, advertising campaigns, and runway shows under her belt. In addition, she creates artwork under the name Malady Charlotina and has performed with Torture Garden and as a Bloody Crumpet with Emilie Autumn.
april/may 2012 AUXILIARY THIS PAGE
Jewelry by Marianna Harutunian and headpiece by J-Chan’s Designs.
name : Ulorin Vex
birthday : 5th August
birthplace : Newcastle-Upon-Tyne, UK (now based in Los Angeles, USA!)
nickname(s) : Depends who you ask. I’d like to think it’s Technicolour Pigeon Girl but my partner calls me Fox and most of my friends call me The Vex. eye color : Blue
hair color : Fluctuates between bright copper to tangerine to saffron, but always some form of orange!
turn-ons : Individuality and uniqueness, talent, intelligence, compassion.
turn-offs : Arrogance and self-absorption, intolerance.
why do you model? : Initially it started off as a bit of fun and also a way to express a persona that is less shy than my off-camera self. It has also been my full-time job for the past three to four years though.
how did you get into modeling? : I honestly can’t quite remember what made me decide to try modeling. I was at University studying biology and just decided I’d like to try it out. I think I looked at all these beautiful fashion and fetish images online and thought I’d like to be involved in creating something like that of my own. I guess again because I was super shy but I found the idea of creating another persona appealing.
favorite musical artist : I really don’t do “favorites” of anything, but I can give you a selection of stuff that I really like, one no more than the other! Music-wise I love Queen, David Bowie, Muse to name just a few.
favorite movie : The Matrix, Labyrinth, Brazil, Heathers, The Goonies, Akira, The Fifth Element (of course!).
favorite tv show : I haven’t really watched TV for quite a while. I loved Star Trek (DS9), Battlestar Gallactica, Xena, and Firefly when they were showing though.
favorite book : I’m really into the Game of Thrones series right now. I also love LOTR, Harry Potter, His Dark Materials, and most stuff by Iain M Banks.
favorite cocktail : Dark and Stormy
favorite color : Really depends on my mood, but let’s just say orange to make it a simple answer for once!
favorite article of clothing : I can’t choose between my Junker cropped jacket made out of old flags, my Mother of London tweed jacket, or my leopard onsie. My “I am the Kwisatz Haderach” t-shirt is pretty amazing too. favorite fashion designer : Mother of London, Rachel Freire, McQueen, Junker, Jochen Kronier, Emma Bell. And loads more, far too many!
favorite fashion style : Post-apocalyptic road warrior steampunk vs neon 80s madness.
favorite star/icon : David Bowie as Ziggy Stardust and Cyndi Lauper.
favorite outdoor activity : I like to sit on my patio to read books and drink tea, does that count?
favorite indoor activity : I love to draw and paint, that’s LI FESTYLE
AUXILIARY april/may 2012 all I ever do when I’m not doing something photoshoot related!
favorite club/club night/place to go out : I’m still becoming familiar with LA and haven’t really been to many night spots here yet, of the places I have been the Edison bar definitely stands out though. Back when I was still based in Europe it would have to be Torture Garden (London) or Wasteland (Amsterdam) though.
anything you’d like to say to our readers? : If you’re still reading by this point, thanks for showing an interest in my ramblings!
for more visit
april/may 2012 AUXILIARY THIS PAGE
Latex outfit by Westward Bound.
Li st en up, mongrel s! It ’s come t o my at t ent i on as of l at e t hat t here’s been a l ot of l arge t al k i n t he medi a about t he rest ri ct i on, l i mi t at i on, or out ri ght el i mi nat i on of women’s reproduct i ve ri ght s i n t hi s count ry. At l east I t hi nk t hat ’s what ’s been go-
i ng on. Every t i me I hear a republ i can or a fundament al i st Chri st i an j ump i n front of a camera and st art rappi ng on t he subj ect, i t hi t s my eardrums l i ke a hat eful, semi -sent i ent dog whi st l e, wi t h onl y vague sni ppet s of sent ences l i ke, “...manda-
t ory t rans-vagi nal ul t rasound...” and “...rape...i s a gi ft...from God...” reachi ng t he part of my brai n t hat governs hi gher t hought before t he nosebl eeds and bl ackout s st art. That l ast l i t t l e bi t i s court esy of Ri ck “My name i s now synonymous wi t h anal di scharge” Sant orum, who bel i eves t hat vi ct i ms of sexual assaul t and i ncest shoul d not onl y deci de agai nst t ermi nat i ng any pregnanci es t hat resul t from t hei r abuse, but shoul d rel uct ant l y cel ebrat e t he rape-baby i ncubat i ng i nsi de t hem as a hast i l y-wrapped gas-st at i on present from God. On a rel at ed not e, I’d l i ke t o see Sant orum vi ol at ed rect al l y wi t h a rust y shank, t o t hen be t ol d t hat he’s been deni ed reconst ruct i ve surgery and shoul d accept hi s bl oodi ed, rui ned col on as God’s wi l l (because t hat ’s how I GET OFF). But I di gress...
Was I wrong t o t hi nk t hat we mi ght be past al l t hi s? I mean, wi t h t he l ast decade’s wort h of conservat i ve warfare waged on gays, mi nori t i es, non-Chri st i ans, i l l egal i mmi grant s, et c., I guess t hi s shoul d i n no way shock me. But I, l i ke many, for-
got t hat t here’s scores of men out t here t hat have sat angri l y by, whi l e women l eft t he ki t chens, not even dei gni ng t o cower at t he t erri fyi ng freedom t hat l ay out si de! And fuck al l i f t hese knuckl e draggers don’t vot e! Hence t he cal cul at ed, mul t i -front at t ack l aunched by advocacy groups, conservat i ve medi a out l et s and pol i t i ci ans al i ke, t ryi ng t o erode a woman’s ri ght t o govern her own reproduct i ve syst em. The mi sogyny vot e coul d t urn t he t i de i n t he upcomi ng presi dent i al el ec-
t i on (not real l y, but so t he l ogi c goes), so appeasi ng t hem wi t h at t acks on abort i on and cont racept i on i s smart pol i t i cki ng. But t hey fucked wi t h t he wrong bul l t hi s t i me (“cow” woul d be more appropri at e for anal ogy’s sake, but... yi kes). Women account for more t han hal f of any gi ven popul at i on, Ameri ca i ncl uded. And j ust as t he bi got has gnashed hi s t eet h for decades, forced t o dol e out mere crumbs of so-
cal l ed “equal i t y”, women have grown i ncreasi ng i mpat i ent wi t h t he process. And now t hey’re t ryi ng t o st ri p away what women had t o fight t oot h and nai l t o get? Cont rol of t hei r own bodi es. Gent l emen, we have ent ered ENDGAME.
It ’s al ready begun. In response t o t he publ i c out cry and pol i t i cal opposi t i on of gov-
ernment money bei ng used t o pay for bi rt h cont rol, Ohi o st at e senat or Ni na Turner fired back by proposi ng Senat e Bi l l 307, requi ri ng sex t herapy, cardi ac st ress t est, and a whol e host of i nvasi ve exams t o be el i gi bl e for erect i l e dysfunct i on drugs. El sewhere, l awyer Gl ori a Al l fred i s goi ng aft er Rush Li mbaugh for hi s i ncendi ary (read:, l ong, l oud, and ret arded) at t ack on Sandra Fl uke usi ng an obscure 1800s defamat i on l aw agai nst hi m. Wi el di ng a dust y ol d l aw agai nst a di nosaur l i ke Li m-
baugh? I l i ke t he poet ry of i t! But t hi s i s al l mi l d t rol l i ng. A “fri endl y” warni ng, i f Gent l emen, Let ’ s “Broad”-en Our Mi nds
by Adam Rosi na
you wi l l, from women i n power who wi l l not be fucked wi t h. Li ke Lord Humon-
gous before t hem, t hei r message i s cl ear: j ust wal k away.
So i f any of t he above sounds fami l i ar and you find yoursel f count ed among t he many men who are fed up wi t h women t hi nki ng t hey’re peopl es (even t hough you t hi nk i t ’s adorabl e), I won’t t ry appeal i ng t o your sense of decency or moral-
i t y, because I don’t deal i n t he non-exi st ent. But I know what mi ght move you: fear, and t he desi re t o not have your di ck chopped off. Hack away at t he ri ght s of women much l onger, and you’l l no doubt dri ve t hem from t he ci vi l i t y you see now t o a bl i nd, ri ght eous fury. Lapsed femi ni st s wi l l dust off t hei r copi es of t he SCUM Mani fest o and t ake t o t he st reet s, gardeni ng sheers i n hand. Redneck housewi ves wi l l skul k i nt o t hei r bedrooms, el ect ri c carvi ng kni ves at t he ready, and t ake t o t hei r husbands’ members, al l t he whi l e channel i ng t he spi ri t of Lorena Bobbi t! Pi ss �em off enough, and t hey’re gonna t ake your di ck. Si mpl e as t hat. So maybe di al i t back, and l et t he women fol k worry about what t hey’re goi ng t o do wi t h t hei r own damn vagi nas. But i f weari ng your scrot um as a makeshi ft bal l -gag whi l e you’re roast ed al i ve on a spi t (anus-t hrough-mout h, nat ch) whi l e t he newl y l i berat ed women of t he worl d do a vi ct ory dance around you sounds l i ke fun, carry on.
Adam woul d l i ke the women of the worl d to remember when they begi n the mass castrati ons that he was on thei r si de al l al ong. Not because he fears i t. He si mpl y has hi s own pl ans i nvol vi ng a sharp i mpl ement and hi s l oi ns. He’s spared us the detai l s, but he cal l s i t “the Shi nni ng Trapezohedron”. We wi sh hi m the best of l uck!
Adam Rosi na, aka The Angri est Cri t i c, cut s a swat he t hr ough pol i t i cs, pop cul t ure, subcul t ure, and soci et y at l arge wi t h t he sur gi cal pr eci si on one woul d expect of a doubl e- bi t bat t l e- axe f or ged i n t he f i r es of hel l - bor n i nsani t y. Fact or f i ct i on? He doesn’ t even know, so why shoul d you?! Joi n hi m as he makes some j okes al ong t he way and gazes i nt o t he abyss i n Bl ack Theorem.
april/may 2012 AUXILIARY He’ll be back next time for another thrilling installment of Black Theorem!
Edgar Allen Poe is synonymous with the dark and dreary, the tragic and lonely, and above all the mortal self. Poe’s tragic life of madness and misery is almost a perfect storyline to one of his own poems and certainly influences and inspires his work throughout his life. With the growing outcry to keep The Edgar Allan Poe House and Museum in Baltimore, Maryland open and The Raven, a film melding his works with a fictitious account of his final days releasing this spring, it is clear Poe is an icon.
written by Elizabeth Masarik
illustration by Jason Masarik
“Misery is manifold.” These are the dramatic first three words of Edgar Allan Poe’s short story, Berenice, about a man who’s bride-to-be is rotting away from illness. The only unsullied part of her are her teeth, for which he becomes mania-
cally obsessed. Personally I can’t read these lines without thinking of a gauze-clad Lydia from Beetlejuice during her melodramatic suicide letter scene. These words invoke drama and desperation so over the top it borders on camp. This is the tight-
rope on which the goth subculture has arguably balanced on since its beginnings.
Edgar Allan Poe was a genius at creating a foggy mood, a den of despair, a glimpse into the insane. He was able to take the literary trends of his day and pen them into brilliant horrific stories. His readers then as today love the over indulgent anguish and macabre melodrama. That’s why Poe is so embraced by the goth community. He gives us what we want. He takes us on a journey into misery and often times delirium. He allows us as readers to live vicariously through the madmen (and arguably himself) that he has created on the page.
What draws one to a dark subculture? Is it the juxtaposition of the grotesque against beauty? Or vulnerability against strength? Perhaps it is the need to wallow in pity while rejoicing in the benign? These are all aspects found in Poe’s writings and they speak to us on a primal level. Our fascinations with death and beauty are one of the reasons why Edgar Allan Poe is an enduring author and figure.
Countless artists have been influenced by Poe. Numerous songs, operas, movies, and plays have either been affected or have recreated stories from Poe’s tragic and romantic repertoire. Notable performers such as Vincent Price and Roger Cor-
man have shaped their careers by recreating Poe’s characters. His works laid the foundation for the horror genre as we know it. “In the perfumed, moldy halls of horror, he is the doorkeeper, the cartographer, and the resident ghost,” aptly states horror writer John M. Ford.
This spring we will yet again see a movie inspired by the life and writings of Ed-
gar Allan Poe. The Raven, starring John Cusack, is based on a fictitious account of Poe’s last five days. A serial killer is striking Baltimore using elements from numerous Poe stories as his methods of murder. In the trailer we see a pendulum swinging dangerously close to a bound woman as from The Pit and the Pendulum. A live burial takes us straight to The Cask of Amontillado. It seems that audiences and filmmakers alike will never tire of Poe renditions and adaptations.
Although this fantastic end of days account is entertaining, the real circumstances of Poe’s final days are much more intriguing. Poe’s wife Virginia, his first cousin whom he married when she was thirteen and he twenty-seven had died two years prior. His drinking binges, evidently always a problem throughout his life height-
ened. Months before his death, friends and relatives expressed concern over Poe’s seemingly crazed nature. He was suffering from delusions, convinced there were men following him and plotting his murder. He also made up a false story about being thrown in prison for counterfeiting money and while there said he had been visited by a female ghost.
One of the things Poe wanted to achieve in life was to own his own magazine. He even had a name, The Stylus, and was touring on a lecture circuit to gain enough support and money to start his venture. Unfortunately his erratic behavior at lec-
tures, showing up drunk and attempting to pass off poems he wrote at thirteen as new material, did not win him any new fans. After a lecture he boarded a train in Philadelphia bound for New York and disappeared. He was found a week later in Baltimore, lying in a gutter wearing someone else’s clothes. Semi-conscious, drunk, and rather the worse for wear, Poe was taken to a hospital. He was hallucinating, shaking with tremors and periodically crying out the name of “Reynolds”. No one knew what or who “Reynolds” was. He spent the next three days in a fit of violent delirium until finally he found a brief moment of con-
sciousness, muttered, “Lord, help my poor soul,” and died at forty.
Why have so many subcultures been influenced by this great American author? I would argue it is because his human vulnerability is so palpable in the stories on ICON
the page. When reading his works you feel as if you understand the pain the narra-
tor feels. As most all of Poe’s short stories are written in the first person it is hard not to feel that Poe is actually speaking through his narrators. It’s as though you are allowed perhaps, to get a tiny glimpse into his own soul. I think most people who are drawn to things more dark in nature may sometimes feel as an “outsider”, vulnerable or perhaps at times a bit “off”. Poe indulges us in those feelings by taking us on a psychological journey of supernatural manifesta-
tions. He leads us to the precipice of the dark abyss and allows us to slowly peer over the edge before flinging us into the madness head on. His life, a series of never ending tragedies, began with his father abandoning his family shortly after Poe’s birth. His mother, actress Elizabeth Poe, died two years later from consumption, leaving Poe an orphan. Although adopted by a wealthy family and given a classical education, the young adult Poe was forced to leave college after one semester due to gambling debts. He was later dismissed from the Army and disowned by his adoptive father. He was consistently in debt throughout his entire life. In 1845 Edgar Allan Poe’s most famous poem, The Raven, was published to in-
stant success and made Poe a household name. He was paid only $9 for its publica-
tion. During this time his beloved wife Virginia was dying of consumption. It must be noted that The Raven was written while his wife lay bedridden in the adjacent room with only a coat and a large cat on her chest to keep her warm.
Poe’s legacy lives on with us today. Unlike some gothic icons such as Dracula or Frankenstein’s Monster, Edgar Allan Poe was a real person and many of his homes and haunts still stand. Baltimore, Maryland has long held a claim to Poe. Notably because he died there and is buried in Westminster Cemetery. He lived a portion of his life in Baltimore writing numerous stories including MS Found in a Bottle and Berenice. Yet with such a rich history, the city of Baltimore has decided to cut funding to The Edgar Allan Poe House and Museum. Poe and his family lived there between the years of 1831 to 1835. It seems absurd that a city, proud enough of its Poe heritage to name its national football team The Ravens would cut funding to an actual mu-
seum dedicated to preserving his memory. If unable to find alternative funding by the end of the year, the Baltimore Poe House and Museum will close and another one of America’s treasures will be forgotten.
Edward Pettit, Poe scholar and professor at LaSalle University says it best in his plea to help the Poe House of Baltimore, “physical places of history matter.” “The Poe Houses in Philadelphia and Baltimore and New York and Richmond need to be preserved, so we can walk the same floors of a great American author. So may-
be the blood, sweat, and tears of his creative labors may be transferred to us.”
I have to agree. With a major Hollywood movie idolizing Poe being released, why isn’t the city of Baltimore capitalizing on this? It would provide a great opportu-
nity to market the museum and burial site as a destination to every person this film introduces to Edgar Allan Poe. I would also suggest that the Baltimore Poe House and those in New York, Richmond, and Philadelphia should become must-see pil-
grimages for any discerning goth. A grown up Bats Day if you will. Recently the only designated goth club in my city closed down. Most nights the space was empty, with a few lone drinkers at the bar. On closing night though, the place was packed and people were loudly lamenting the clubs closing. Let us not lament the closing of the Baltimore Poe house only after it has happened. Edgar Allan Poe is an important force in our community. We must understand why and fight to keep him there. He is not just a face on a t-shirt or a raven tattoo, he is a great American author and has contributed much to the dark subcultures. To understand Poe is to understand ourselves. We must fight to be the keepers of the subculture and ensure the legacies of our heroes endure. A petition to save the Baltimore Poe house can be found at
Floral prints and motifs can be found in fashions from every era, from the 90s, to 50s, to mid-1800s prairie fashions. This spring they will be popping up everywhere and haunting your every step. Add a touch of melancholy to pastel florals by taking inspiration from Kirsten Dunst’s portrayal of Lux in Sofia Coppola’s esteemed film The Virgin Suicides, and from blogger and social media icon Au-
drey Kitching’s refreshed pastel punk rock princess aesthetic. Mix girlish and womanly aspects to conjure the heartbreak and loneli-
ness that comes as a teenage girl transitions into adulthood. The Haunting Florals style concept will call to mind lazy afternoons lounging barefoot, doodling in your journal, and daydreaming. 1 Hell Bunny Little Boo Dress paired with Betsey Johnson Flower & Heart Illusion Necklace, Betsey Johnson Flower Charm Toggle Bracelet, and Dolly Valentine Vintage Style Millinery Double Pink Velvet Rose Hair Flower. 2 Dolly Valentine Vintage Style Millinery Minty Green Velvet & Organza Mum Hair Flower.
3 Betsey Johnson Flower Teardrop Mismatch Earrings. 4 Dolly Valentine Vintage Style Millinery Multi Tone Velvet & Organza Mum Hair Flower. 5 Irregular Choice Patty Shopper.
6 Hell Bunny Louisa Dress in green.
7 Betsey Johnson Flower & Heart Illusion Necklace.
8 Hell Bunny Sara Key Skirt.
9 Betsey Johnson Flower Charm Toggle Bracelet.
10 Irregular Choice Patty Shoe.
styled and written by Jennifer Link
photographed by Jennifer Link
hair stylist Erin Moser
model Cara Butcher
haunting florals
Q : Do you thi nk the first ti me you have sex wi th a target you shoul d be care-
ful wi th certai n sexual practi ces (bl owjobs, submi ssi ve pl ay) so he doesn’t see you as nothi ng more than sex? And then get “sl utti er” wi th ti me?
In my opi ni on, first -t i me sex i s al l about feel i ng out t he t erri t ory. It ’s about con-
cent rat i ng on t he basi cs and real l y j ust payi ng at t ent i on t o your part ner and what sort of t hi ngs make each ot her feel good. It ’s not t he ri ght t i me t o get i nt o anyt hi ng t oo far out t here, not because of how i t makes you l ook, but because you probabl y haven’t figured t hose t hi ngs out about each ot her yet (unl ess, say, you met i n a ki nky soci al ci rcl e where you’ve al ready t al ked about your rol es and preferences, whi ch i s common among ki nkst ers I know). Your goal for t he first t i me you have sex wi t h someone i s t o get t he l ay of t he l and and deal wi t h t he scary awesome wei rdness t hat i s bei ng compl et el y naked wi t h someone and havi ng hi m physi cal l y i nsi de your body for t he first t i me i n your l i fe. That ’s your sol e mi ssi on. In a way, i f t hat sort of i nt i macy wi t h anot her person doesn’t ki nd of scare t he l i vi ng dayl i ght s out of you i n t he best and most awesome way possi bl e, you’re probabl y not real l y get t i ng t he ful l experi ence.
Whet her he sees you as anyt hi ng more t han a sexual conquest wi l l be deci ded before t he sex happens. If you haven’t wai t ed l ong enough t o seed t he ki nd of l ast i ng i nt erest i n you t hat you need t o fost er i n hi m i n order t o make hi m see you as someone he feel s emot i onal l y connect ed t o, t hen yes, you wi l l l i kel y be seen as l i t t l e more t han a good way t o pass t he t i me. But t he qual i t y of t he sex won’t affect t hat, i t ’l l j ust det ermi ne i n hi s mi nd whet her you were a wort hwhi l e way t o pass t he t i me or not.
As for get t i ng “sl ut t i er” wi t h t i me, I di sl i ke t he way t hi s i s phrased, but I know what you mean. But l et ’s be cl ear here: bei ng sexual l y creat i ve i s not t he same as bei ng sl ut t y. And sex shoul d never be di si ngenuous, as i n, you’re pret endi ng up front t hat you’re some ki nd of sweet vi rgi nal good gi rl so as not t o be j udged as “easy” and t hen over t i me you morph i nt o a superfreak so you can sust ai n some guy’s i nt erest, i t ’s l i ke, who are you t ryi ng t o be? Yes, chances are, your sex wi l l go from bei ng si mpl i st i c at first t o bei ng more advent urous as your rel at i onshi p goes on, but i t wi l l be because t he t wo of you wi l l be del vi ng furt her and furt her i nt o each ot her ’s fant asi es and experi ment i ng wi t h each ot her ’s curi osi t i es as you become more and more physi cal l y and emot i onal l y i nt i mat e, not because you’re worri ed about how some dude i s goi ng t o percei ve you based on t he ways you act wi t h hi m whi l e you’re i n bed.
Thi s i s i mport ant. You can’t go i nt o sex feel i ng l i ke your desi res are shameful, or t oo sexual, or pai nt you i n t he wrong l i ght, t hey are YOUR desi res, and as l ong as t hey’re l egal and consensual, t hey’re t ot al l y l egi t i mat e. At t he same t i me, you al so can’t go i nt o sex t hi nki ng, “I’m gonna show t hi s guy every move i n t he book, won’t he be i mpressed!” because t hen i t ’s about you showi ng off, whi ch i nevi t abl y di sconnect s you from your part ner, when i t ’s maki ng t hat i ni t i al, honest, achi ngl y vul nerabl e connect i on wi t h someone t hat i s ki nd of t he whol e poi nt of havi ng sex wi t h t hem i n t he first pl ace.
Let ’s put i t t hi s way. If you choose t o gi ve a bl owj ob t he first t i me you have sex wi t h someone, i t shoul dn’t be based on how i t makes you l ook i n hi s eyes, i t shoul d be because when you’re wi t h hi m, you feel i nspi red t o t ast e hi m and t o gi ve and recei ve t hat ki nd of pl easure. If you choose t o engage i n some submi ssi ve pl ay wi t h hi m, i t shoul d be because you feel submi ssi ve t o hi m i n t hat moment, because he i nspi res you t o gi ve hi m agency over your body and your act i ons.
If you’re worri ed about how somet hi ng you do i n bed makes you l ook t o your part ner, you’re ei t her doi ng sex wrong, or you’re doi ng i t wi t h t he wrong person.
how much shoul d you hol d back sexual l y wi t h a new part ner t he f i rst t i me?
Ask Arden
how should you make contact after the first encounter?
Q : I met the most awesome guy at a night out yesterday. He was a friend of a friend and (I’d like to think) we totally hit it off. We seemed so similar. The only thing is that we didn’t exchange numbers or Facebooks, which strikes me as an indicator that perhaps he wasn’t as interested as I had thought. What are some good indicators that he was interested in this first encounter? And if he was, how should I go about making contact?
You never know, he could be at home right now thinking the same thing (“Dammit why didn’t I get her number!!”). You probably did hit it off, if that’s your instinct, but unfortunately it’s easy to hit it off for one night and then let things blur (i.e., allow interest to fade out over time, there by losing momentum and making it awk-
ward for contact in the future to retain any of the same enthusiasm). One night is normally not nearly enough time to set your hooks. So in the future, always make sure to bridge forward. In the meantime, how CAN you go about making contact? Can you look him up on Facebook? Do you have any mutual friends? Don’t feel bad about going out of your way a bit to find him, and if you do find him, just shoot him a quick casual note along the lines of, “Hey, we met the other night, it was super cool chatting with you and I’d love to hang again sometime.”
If he didn’t get your number or Facebook on purpose, it could have nothing to do with you or what you did. It could be that he has a girlfriend, or he’s chicken shit, or he’s questioning his sexual orientation, or a million other factors that are outside your control, so don’t beat yourself up just because he didn’t number close you. That could be all about his lack of game, not his lack of interest in you. But in the future, well, we have seduction because we want to be able to control the variables that are actually under our control, so next time, make yourself responsible for the bridge. Unfortunately people don’t just seduce themselves, so take it upon yourself to find a means of contact and an excuse to see one another again. This is about taking charge of as many external factors as possible. Next time, don’t let a guy submit your questions to :
AUXILIARY april/may 2012 36
get away with not exchanging contact info just because he’s nervous or forgetful, be responsible for that suggestion yourself.
Aut umn Ki et pongl ert ’s evocat i ve desi gns combi ne darkness, t ext ure, l i nes, and movement. Based out of Phi l adel phi a, she’s part of a col l ect i ve of desi gners forgi ng a new fashi on scene. She’s t he creat i ve di rect or of t he Heart l ess Revi val brand and t he desi gner of Aut umnl i n At el i er. Zi ppi ng down runways and graci ng t he pages of edi t ori al s, her creat i ons are awe-i nspi ri ng. Her work has been showcased at New York’s Fash-
i on Week and has earned i nt ernat i onal rapport t urni ng heads wi t h her i nt ernat i onal publ i ci t y.
Heart l ess Revi val ’s aest het i c i s edgy, dark Tokyo st reet at t i t ude col l i di ng wi t h refined, ari st ocrat i c Vi ct ori an fashi ons. Her most recent col l ect i on, “Sacred and Profane” mai nt ai ns a broodi ng l ook whi l e st i l l i nt egrat-
i ng l i ght er mat eri al s and more underst at ed, soft er col ors. They’re et hereal and carry t he model s down t he cat wal k wi t h a mesmeri zi ng grace and flui di t y.
What ’s t he buzz al l about? Where East meet s West, where ni ght mares meet dreams, her desi gns are as uni que as t hey are envi abl e. Auxi l i ary had t he pri vi l ege of get t i ng a mi nut e of Aut umn’s t i me t o pi ck t he brai n of a prodi gal creat i ve.
When di d you know that you wanted to desi gn? Is i t a passi on you al ways knew you had i nsi de you?
Aut umn Ki et pongl ert : I’ve al ways been a very creat i ve and art i st i c person, even when I was very young. For my undergraduat e degree I at t ended The Uni versi t y of t he Art s, maj ori ng i n fibers, I l earned t ext i l e/
scul pt ural t echni ques. But i t wasn’t unt i l I st udi ed abroad i n It al y t hat I real i zed I want ed t o st udy fashi on. Bei ng i n Europe surrounded by bot h anci ent archi t ect ure and t he most avant -garde fashi on st yl es was very i nspi rat i onal t o me. Everyt hi ng from maj or It al i an l abel s t o t he t ri ckl e down st reet market fashi on made me real i ze t hat fashi on was what I want ed t o do. What i s the creati ve process l i ke for you? What do you do to get i n the space to craft such exqui si te work? AK : The creat i ve process i s very organi c for me. My first phase i s col l ect i on, where I gat her uni que i mages, obj ect s, and fabri cs t hat i nspi re me. The second phase i s experi ment al creat i on, where I t ake t he fabri cs I’ve col l ect ed and creat e new surfaces usi ng met hods such as pl eat i ng, deconst ruct i on, and geomet ri c const ruc-
t i on. The t hi rd phase i s si l houet t e, where I drape and desi gn t he si l houet t e. I have an overal l aest het i c or feel t o t he col l ect i on t hat I am worki ng t owards, but i t oft en i sn’t evi dent t o ot hers how i t ’s goi ng t o come t oget her unt i l i t s compl et i on. Duri ng t hi s creat i on process, I wi l l oft en l i st en t o t he same song on repeat t o keep mysel f i n a focused ment al space, because t he creat i on of each l ook i s so compl ex.
Heartl ess Revi val does a fantasti c job mel di ng dark Vi ctori an styl es wi th the extravagant qui rki ness you menti on bei ng i nspi red by Harajuku fashi on. What gave you the i dea to marry the two l ooks?
AK : Heart l ess Revi val was concei ved duri ng FIT’s “Dark Gl amour” Exhi bi t i on and “Subcul t ure and St yl e” Symposi um whi ch t ook pl ace on Fri day t he 13t h and Val ent i nes Day 2009. Thi s symposi um was a beaut i ful convergence of got hi c st yl e, from t he hi gh fashi on of Al exander McQueen, t o t he got hi c/haraj uku st yl es of H.Naot o. Got hi c as defined i n t hi s exhi bi t i on seemed t o be t hat whi ch possessed a haunt i ng dark beaut y, and conveyed a sense of bei ng caught bet ween t wo worl ds. Thi s i s a sent i ment t hat I can rel at e t o bot h i n my everyday exi st ence and my st yl e as a desi gner and t hi s i s t he i dea whi ch ul t i mat el y founded Heart l ess Revi val.
Have you spent a l ot of ti me i n Japan? What’s you’re favori te trend ri ght now i n Tokyo?
AK : I’ve spent a short amount of t i me i n Japan, but have al ways done a l ot of vi sual research on Tokyo/
Haraj uku st yl es. My favori t e t rend i s combi ni ng hi gh fashi on l abel s wi t h DIY fashi on and vi nt age t o creat e uni que one-of-a-ki nd l ooks.
We know you’re based i n Phi l adel phi a, i s there a thri vi ng fashi on scene i n the ci ty? Do you pul l any i nspi rati on from your urban surroundi ngs? AK : In Phi l adel phi a ri ght now t here i s an emergi ng fashi on scene, we have a l ot of great desi gn school s i n t he area and a l ot of amazi ng t al ent. I’m part of t wo maj or desi gn scenes i n t he ci t y ri ght now, t he first i s Ol d Ci t y Di st ri ct whi ch has great i ndependent desi gner bout i ques and art gal l eri es. And I’m al so a part of t he Phi l adel phi a Fashi on Incubat or at Macy’s Cent er Ci t y, whi ch hel ps support young desi gners who wi sh t o grow t hei r busi nesses i n Phi l adel phi a by provi di ng st udi o space and ment orshi p. So my st ore, whi ch i s a desi gner co-op (US U.S.) i s l ocat ed i n Ol d Ci t y and my st udi o i s l ocat ed i n t he Phi l adel phi a Fashi on Incubat or. I l ove the desi gns i n your recent col l ecti on, “Sacred and Profane”. Are there any materi al s you chose to work wi th i n these pi eces that was di fferent from previ ous col l ecti ons?
AK : Yes, I used a great sequi n kni t, modal kni t j ersey, heavy wei ght Thai si l k, and embossed l eat her t hat Heartless Revival
i ntervi ew by Jessi ca Jewel l
photographer Li z Besanson
makeup arti st Dei dre Grant
hai r styl i st Mackenzi e Hughes
model s Anastasi a Eremenko, Veroni ca Dawn, and Morghan Dever
Fashi ons by Heart l ess Revi val and Aut umnl i n At el i er.
AUXI LI ARY apri l/may 2012 I bought in Bangkok. I also used hand pleated satin-faced organza, open black interlaced knit wool, and vinyl coated denim.
Did you meet any challenges while creating “Sacred and Profane”? What did you do to overcome these obstacles? AK : We actually had very strict time and budgetary constrictions for the creation of this collection, but I wanted to stay true to the beauty and aesthetic vision I had for the collection despite any difficulties.
Do you have a fashion icon? If so, who? I have always loved Lady Gaga as a style icon, but right now I also am a fan of Nicki Minaj. I really love music artists with very edgy out-there style.
How would you compare your other line, Autumn Atelier to Heartless Revival to our readers?
AK : Heartless Revival is our ready-
to-wear label with an edgy couture aesthetic at affordable price-point; most items are $45-450 and accesso-
ries are $15-125. Heartless Revival is also a collective of designers, which I am the creative director of, Sophi �Soul’ Reaptress (clothing and acces-
sories), Norie Ayukawa of Hyde’s Vice (clothing, jewelry and accessories), Porcelain (print design and headpiec-
es), �Wyn’ Nguyen (accessories), and �Twee’ Nguyen (merchandising).
Autumnlin Atelier is our exclusive haute couture label that is available by private appointment. Dresses are one-of-a-kind and made of the finest materials, dresses start at $1,500.
I love the silver sculpted shoulder piece photographed for this feature. What was your inspiration for that piece? AK : The shoulder piece is actually constructed out of YKK zipper and my inspiration was a warrior, but a more dream-like spiritual warrior. This piece is actually unisex and can be worn by a man or a woman.
Your pieces are flowing and have such nice movement to them. What do you want to provoke in people when they see one of your designs off the rack and on the runway?
AK : I want to convey the feeling I have when I dream, the idea of both stillness and fluid motion existing at the same time.
I’m amazed at the work and care you put in your pieces. Your gowns are hand pleated! How long does it take you to create each piece?
AK : Designs from the Autumnlin Atelier line can take approximately a month to create.
What kind of leathers do you use in the Autumn Atelier line?
AK : I use eel leather, chicken leather, and embossed/metallic/patent leather in previous collections. All of my leathers are from Bangkok, Thailand. The upcoming collection will feature some new leather additions! Where can our readers find your pieces? Are you carried by any bou-
AK : Heartless Revival/Autumnlin Atelier is currently carried at in our store in Old City Philadelphia, US U.S., 323 Arch Street, Philadelphia, PA 19106. Autumnlin Atelier Zipper work is available at Kaleidoscope Boutique, 151 North 3rd Street, Philadelphia, PA 19106. Heartless Revival is also avail-
able at EA Effect, 1050 North America Street, Philadelphia, PA. Heartless Re-
vival/Autumnlin Atelier is available online at
heartless-revival. We will also be fea-
tured in pop-up boutiques in Philadel-
phia and at Drexel University (where I received my MS in Fashion Design).
What next steps do you want to take with Autumn Atelier? Heartless Re-
AK : I would really love to show the labels in LA and internationally, we are really looking to be an internation-
al brand name in the near future. I’m looking to do more music video work and dress more musicians/rockstars.
Is there any exciting news you can share with our readers?
AK : We will be participating in fash-
ion shows this summer and debuting our next collection as part of the Phil-
adelphia Collection this Fall. Please friend us on Facebook to get info on upcoming events for our label.
Any parting pearls of wisdom?
AK : Design is something that has always been in my heart, I would encourage people to always seek out beauty and rarity and travel. Travel a lot. Design has added a dimension to my existence better that I could have ever imagined, it really truly makes my life an adventure everyday.
april/may 2012 AUXILIARY FASHI ON
april/may 2012 AUXILIARY AUXILIARY april/may 2012 OPPOSITE PAGE
Jewelry by Marianna Harutunian and skirt by Delise Ana.
Dress by Delise Ana and jewelry by Marianna Harutunian.
photographer Manny S.
fashion stylists Antonio Esteban and Sheree Carella
makeup artist Inessa Shak
hair stylist Cesar Bazan
model Lacy Soto
april/may 2012 AUXILIARY AUXILIARY april/may 2012 THIS PAGE
Black Moth top paired with Arturo Rios hat and jewelry by Marianna Harutunian.
Leahpatra Knitwear Drop Stitch Dress and jewelry by Marianna Harutunian.
april/may 2012 AUXILIARY AUXILIARY april/may 2012 THIS PAGE UPPER
Jewelry by Marianna Harutunian and skirt by Delise Ana.
Dress by Adolfo Sanchez and jewelry by Marianna Harutunian.
Jewelry by Marianna Harutunian and skirt by Delise Ana.
april/may 2012 AUXILIARY AUXILIARY april/may 2012 BOTH PAGES
Jewelry by Marianna Harutunian and skirt by Delise Ana.
april/may 2012 AUXILIARY AUXILIARY april/may 2012 THIS PAGE
Studded leather vest with fur collar and synthetic fur cuff fingerless gloves both by Miss Be paired with beaded lace and chain choker by Forever 21, black crystal belly chain by VII Victory, and lace up wooden platform boot by Via Spiga.
photographer Sequoia Emmanuelle
production designer Alicia Drake
fashion stylist Ja’Niya Walker
makeup artist Shelley Rucker, Sabrina Rucker, and Layna Roberts
hair stylist James Griffiths
models Chanon Finley, Alexandra Mathews, Pua Perry, and Angelina Vital
Leather holster vest, lace panel parachute dress, and leather and grommet collar with hood all by Miss Be paired with silk and chain tie black gloves by Steam Trunk, leather and brass multi-strand necklace by Designer, geometric print cut-out earrings by Tawapa, and suede lace up platform boots by Steven.
Asymmetrical stripe tube sweater and beaded front snap lace mini skirt both by Miss Be paired with two-tone chain necklace with feather pendant by VII Victory, gold charm ring by VII Victory, and suede lace up platform boots by Steven.
Studded leather vest with fur collar and synthetic fur cuff fingerless gloves both by Miss Be paired with beaded lace and chain choker by Forever 21 and black crystal belly chain by VII Victory.
Studded leather vest, halter-zip hoodie, and parachute pant all by Miss Be paired with lace up wooden platform boot by Via Spiga.
Front lace wrap sweater and ruffle mini skirt both by Miss Be paired with chain earring by VII Victory, wrap up lace boot cover by Miss Be, and vintage creme boots.
april/may 2012 AUXILIARY AUXILIARY april/may 2012 THIS PAGE UPPER
Long tube dress by Miss Be paired with Athena skeletal harness by VII Victory and lace up wooden platform boot by Via Spiga.
On left, corset waist tank top, ruffle mini skirt, and leather studded garter all by Miss Be paired with bianca brass body harness by VII Victory and vintage creme boots. On right, lace ruffle dress and studded leather holster skirt both by Miss Be paired with VII Victory perfect pearl collar.
Front zip halter tank top and mini lace trim shorts both by Miss Be paired with synthetic fur trim hat by Sprit Hoods and vintage creme boots.
april/may 2012 AUXILIARY AUXILIARY april/may 2012 THIS PAGE
On left, calfskin front snap skirt worn as a dress, leather ruffle vest, and wrap up lace boot cover all by Miss Be paired with leather and multi-chain cuff by VII Victory, world bead charm bracelet by VII Victory, and vintage creme boots. On right, asymmetrical stripe tube sweater and beaded front snap lace mini skirt both by Miss Be paired with two-
tone chain necklace with feather pendant by VII Victory, gold charm ring by VII Victory, and suede lace up platform boots by Steven.
Link halter top, fur collar with front snap, and ruffle mini skirt all by Miss Be paired with silk and chain tie by Steam Trunk, spiked leather gloves available at Hot Topic, black crystal cuff by VII Victory, black crystal rosary with feather pendant by VII Victory worn as a bracelet, and suede lace up platform boots by Steven.
april/may 2012 AUXILIARY AUXILIARY april/may 2012 FASHI ON
author Jennifer Link
photographer Catherine Day
model KatyMcGee
Finger armor, inspired by medieval gantlets, has a long tradition in goth fashion. Unconventional rings that encase the finger, span multiple fingers, connect to the wrist, or have an element of extreme fashion over function have been a growing trend. Mesh these together and you get a must have accessory that is equal parts dark and sophisticated, fierce and elegant, classic and fresh. These finger claws by Ghostlove Jewelry with the intense claw focal piece contrasted by the Victorian style antiqued silver lace filigree plate create the perfect combination to arm yourself with this season.
Ghostlove Jewelry antiqued sterling silver Creature Claws from The Armory collection available in multiple sizes for each finger.
Finger Armor
Ghostlove Jewelry Creature Claws
AUXILIARY april/may 2012 where to buy
Dolly Valentine
Forever 21
Ghost Love Jewelry
H & R London
Heartless Revival
Hell Bunny
Hot Topic
Irregular Choice
J-Chan’s Designs
Leahpatra Knitwear
Lip Service
Marianna Harutunian
Medusa’s Makeup
Miss Be
Nyx Cosmetics
Queen of Heartz
Sleek Makeup
Sprit Hoods
Steam Trunk
Adolfo Sanchez
Arturo Rios
Autumnlin Atelier
Betsey Johnson
Cats Like Us
China Glaze
Delise Ana
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april/may 2012 AUXILIARY Tawapa
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Via Spiga
Westward Bound
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