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Auxiliary Magazine is an alternative fashion, music, and lifestyle magazine available online for free. JUNE / JULY 2012 auxiliarymagazine.com
JUNE / JULY 2012
bitchin’ kitchen
kent kaliber / vincent price
phil western / nadia g
jay gordon / orgy
liisa ladouceur
summer siren
collective chaos / raji aujla
swimsuits / sunglasses
trash and vaudeville
contributors
This is a big issue packed with some very exciting features and interviews. We have an interview with Nadia G of the stylized and humorous cooking TV show Bitchin’ Kitchen. We have an exclusive interview and photoshoot with Jay Gordon of Orgy, about the revival of the band and his plans for the future. We have a very insightful interview with a musician Phil Western of Download who is all too often behind the scenes and is stepping out for his moment in the spotlight. Kent Kal-
iber best known for his appearance on The Amazing Race and running full steam since then is our PinUp. Collective Chaos is our featured designer with a fresh and environmentally responsible approach to latex fashion. And like always the issue is brimming with fashion and beauty ideas for the season, sunglasses, swimsuits, summer styles galore. To top this all off Kent Kaliber is hosting a release party for this issue in LA at Bar Sinister with Jay Gordon DJing, our very own Arden Leigh performing, and it is promising to be an event not to miss, with many of our, ever growing in numbers, west coast contributors in attendance. A very exciting issue indeed. As always, thank you for reading and enjoy!
Sincerely,
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.
Staff
Editor in Chief
Jennifer Link
Fashion Editor
Tasha Farrington aka Pretty Deadly Stylz
Music Editor
Mike Kieffer
Copy Editor
Zach Rose
www.auxiliarymagazine.com
email : info@auxiliarymagazine.com
issue 22 : june/july 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.
Corrections for the April/May 2012 Issue
MT Coffinz Pressed Eyeshadow is Bad Influence not Charisma on page 10
Photographs / Illustrations
Photographers
Saryn Christina www.sarynchristina.com
Adam Zivo www.zivo.ca
Zach Rose www.zachrosephotography.com
Steve Prue www.teamrockstarimages.com
Adam Campbell
Nate “Igor” Smith drivenbyboredom.com
Collective Chaos Photography www.modelmayhem.com/cdi Ron Douglas www.mediafall.com
Phil Sutherland www.revprint.com
Steve Alkok www.stevealkok.com
Jennifer Link www.jennifer-link.com
illustration on 5
Gary Pullin www.ghoulishgary.com
photographs on 12
Jennifer Link www.jennifer-link.com
illustration on 21
Mike Maglio www.soapintheeye.com
illustration on 28
Jason Masarik www.monsterlabtattoos.com
photograph on 32
Ron Douglas www.mediafall.com
photographs on 43
Jennifer Link www.jennifer-link.com
United Nude photos courtesy of Unided Nude
Contributors
Aaron Andrews
Tasha Farrington
Ashley Godwin
Hangedman
Mike Kieffer
Liisa Ladouceur
Arden Leigh
Jennifer Link
Elizabeth Masarik
Paul Morin
Zach Rose
Adam Rosina
Acey Slade
Vanity Kills
Graphic Design
Logo Design
Melanie Beitel
Layout Design
Jennifer Link
Nicholas Costrino
Advertising
email : advertise@auxiliarymagazine.com
editor’s letter
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mission statement
Let us know what you think! Share with us your thoughts on the issue, current events, or whatever is on your mind! email : editorial@auxiliarymagazine.com
june/july 2012 AUXILIARY editorial
5 why i s goth a 4-l etter word?
by Li i sa Ladouceur author of Encycl opedi a Gothi ca
beauty
6 pol ari ze
styl i sh shades for summer
12 summer nai l pol i sh col or wheel
media
13 The Avengers
the angri est cri ti c’s fi l m revi ew
music
14 Phi l Western
of Downl oad and Pl ateau on hi s l atest sol o proj ect rel ease
18 qui ck pi cks
Cel l dwel l er, BT, :Wumpscut:, Ni ki & The Dove, and more… 19 musi c revi ews
Grendel, Cdataki l l, Sui ci de Insi de, The Hundred i n the Hands, and more…
bi tchi n’ ki tchen . nadi a g : 25
j ay gordon . orgy : 22
phi l western . vi ncent pri ce . l i i sa l adouceur : 14 . 28 . 5
kent kal i ber . col l ecti ve chaos . trash and vaudevi l l e : 33 . 28 . 30
swi msui ts . sungl asses . raj i auj l a : 44 . 6 . 64
lifestyle
21 bl ack theorem
22 Jay Gordon
on the revi val of Orgy, touri ng, and DJi ng
25 Nadi a G
on Bi tchi n’ Ki tchen and Cooki ng for Troubl e
28 i con / Vi ncent Pri ce
30 bri ck & mortar / Trash and Vaudevi l l e
32 ask arden
advi ce on rel ati onshi p strategi es
33 the Pi nUp
Kent Kal i ber
fashion
37 |FAT| Toronto Arts & Fashi on Week
runway fashi ons from Arti fi ce, Starkers, House of Eti quette, Dystropol i s, and more…
40 desi gner spotl i ght
Col l ecti ve Chaos
43 styl e / bl ack sun
44 pool si de
swi msui ts to fi t every styl e
54 di ssensi on
fashi ons for dreary, l ess sunny summer days
64 must / draped dress shi rt
65 where to buy
4
contents
Photographer : Saryn Chri sti na
Makeup : Eri ka Di ehl
Hai r : Lauren Rynders
Model : Lacy Soto
My name is Liisa. And I am a goth. The funny thing about saying that aloud is that it actually makes me less goth. For real goths, you see, are insistent that they are anything but. I’ve never considered “goth” to be a bad word. It seems a perfectly decent way to describe someone who dresses mostly in black, finds graveyards a suitable place for a first date, and listens to a lot of Bauhaus and Siouxsie Sioux. It has grand associations with flying buttresses of Gothic architecture and creepy old house stories of Gothic literature. It’s easy to spell. And yet, refusing to use the G-word to describe oneself has now become one of the distinguishing characteristics of being goth. Why?
Rejection of the term appears to have trickled down from the top. The founding “Gothfathers” of the music genre have been trying to shake themselves of it for three decades now. Andrew Eldritch of The Sisters of Mercy infamously vetoed opening acts he deemed too gothy. Robert Smith told an interviewer in 2006, “It’s so pitiful when �goth’ is still tagged on to The Cure.” Peter Murphy seems to be coming around, saying last year that he finds it a compliment, but also claiming that Bauhaus were not gothic. He continued to explain that, “Gothic culture devel-
oped partly inspired by what Bauhaus and groups like Joy Division and Siouxsie were doing. But that happened a long time ago. The gothic label has evolved; today it includes musical phenomena that do not seem to me to be at all gothic.”
Indeed. I’ve had an opportunity to ask Steven Severin, founding member of Sioux-
ie and the Banshees, why so many pioneering goth bands hate being called goth. He echoed Murphy’s sentiments. “Have you seen the bands who call themselves goth on MySpace?” he asked. “I don’t mind the term �gothic’. Joy Division were gothic. But not �goth’. I have nothing to do with that.”
Both men have a point: if you’re into the kind of original postpunk that came out of late-70s England, you might find little in common with the kind of EBM beats that have dominated clubs in the 21st century. If you have delved deep into the study of Romantic poets and masters of horror, will you find much to excite you in the realm of modern goth metal’s melodramatic clichés? Still, while the emer-
gence of new and different musical styles under the same umbrella may explain some dissatisfaction with the word’s inability to define all things to all people (es-
pecially those with a generation gap, or two, between them) is that reason enough to truly hate it?
For that I believe you can blame Marilyn Manson. Ever since the shock rocker made it big on the Billboard charts in the mid-1990s, attracting a legion of “spooky kids” and the Hot Topic stores to outfit them in his look, the term goth has become associated in the mainstream mindset almost exclusively with the Hollywood starlet-courting, radio-friendly star. And especially after 1999’s Columbine high school massacre, when the teen killers were (mistakenly) identified as Manson fans by the media, this was most definitely not a connection most goths wanted. Even today, he is still a controversial figure. I was recently part of an online dis-
cussion on whether Manson is goth or not in which one participant proclaimed passionately that he killed the beauty of the scene. Really? Because I think it’s still gloriously beautiful.
by Liisa Ladouceur
EDI TORI AL
Liisa Ladouceur, writer, poet, regular contributor to Rue Morgue magazine, and author of the recently published Encyclopedia Gothica, a guide to Gothdom, from absinthe to zombies, discusses goth from what it means in popular culture and modern media to what it means to her personally.
illustration : Gary Pullin
5
The ideas and viewpoints of our readers and contributors published to voice an alternative perspective on current day society, topics, and events.
why is
In the world of subcultures, this is all to be expected. Misfits who’ve built their identifies on rejecting dominant culture are often offended when masses of new-
comers come to stake a claim on it, especially for commercial gain. Sociologists and other scholars have written much about this kind of co-opting. (I recommend Paul Hodkinson’s book Goth: Identity, Style and Subculture, for more on this.) Myself, I can recall the first time I realized not everyone who dressed like me thought like me. And when you can no longer identify the members of your tribe by appearance alone, you need new tools to keep the insiders in and the outsid-
ers out, to defend one’s authenticity. And for goths, I believe the weapon became language.
The original concept for my book Encyclopedia Gothica was a dictionary of goth slang. I’ve been fascinated by the development of insider in-jokes (I shit bats! Ha!) and wanted to trace the origins of terms like Übergoth and Babybat. Because I think it says a lot about the goth community that we have our own unique lan-
guage. And a lot more that most of it revolves around the obsession over what is goth… or not. The fact that the word “poseur” does not suffice for us, we need things like Mallgoth and Doom Cookie to fully express our disapproval. That there has been such an evolution of the culture, so many new factions in the fold, that El-
derGoth and TradGoth have emerged so the first generation can distinguish them-
selves from the Cybergoths and the Steampunks. And if there is an air of “Gother Than Thou” in some of these terms, others (CorpGoth comes to mind) are rather practical for communicating with likeminded dark souls. Still, I find it odd how many goths dismiss all of it outright. You don’t see heavy metal fans claiming they are not headbangers because Lady Gaga likes Iron Maiden or Judas Priest appears on American Idol. They remain proud.
Since my book was published, I’ve been asked a lot what kind of goth I am. And I’ve decided that while I may lean more towards some aspects of the scene than others, I’m in no hurry to adopt a specific tag. I’m perfectly satisfied to use the trusty old G-word, even if others I admire don’t. I am proud to say I am goth for life. (And death. Of course.) As for those who refuse, may I suggest thou dost protest too much?
june/july 2012 AUXILIARY a 4-letter word?
goth
AUXILIARY june/july 2012 photographer Saryn Christina
makeup artist Erika Diehl
hair stylist Lauren Rynders
model Lacy Soto
AUXILIARY june/july 2012 june/july 2012 AUXILIARY THIS PAGE
Aleister in Violet Tortoise with Purple Haze Gradient by Oliver Peoples.
polarize
AUXILIARY june/july 2012 june/july 2012 AUXILIARY THIS PAGE
Talya in Ivory Shell with Spice Brown Gradient by Oliver Peoples.
THIS PAGE
Corie in Red Havana/Rose Gradient with Copper Gradient Polar by Oliver Peoples.
AUXILIARY june/july 2012 june/july 2012 AUXILIARY THIS PAGE
Corie in Coral with Spice Brown Gradient by Oliver Peoples.
THIS PAGE
Mande in Citrine/Buff with Green Gradient Polar by Oliver Peoples.
AUXILIARY ONLINE CONTENT See more images from this editorial by searching “Polarize” on www.auxiliarymagazine.com.
by Vanity Kills
BEAUTY
12
Nothing serves up vintage 40s glamour faster than a half-moon manicure created with two coats of a tried and true red varnish. And OCC Nail Lacquer in NSFW fits the bill. * Let red-orange, hands down the fieriest color on the wheel, indulge your inner hellcat. If anyone asks, say that the devil and Illamasqua Nail Varnish in Alarm made you do it. * Can’t dye your hair Leeloo-orange thanks to your Buzz Killington day job? Consider Manic Panic Electric Lava-tinted toes to be the next best thing. * If the 100° weather paired with the familiarly obnoxious jingle of the ice cream truck doesn’t get you jonesing for a Creamsicle, polishing your digits with a yellow-orange hue (like nails inc. Nail Polish in Westbourne Grove), sure will. * Primary yellow skinny jeans? Oh hell no. Get that denim disaster back to Forever 21, STAT. Primary yellow pedicure? Yes, please. For a good time with the latter, hit up OCC Nail Lacquer in Traffic. * Fluorescent yellow-green (such as China Glaze in Celtic Sun) worked wonders for high-
lighting your physics notes in college, and it will work wonders for your summer manicure as well. * The grass is always greener on YOUR side of the fence when you rock Illamasqua Nail Varnish in Smash. * Let a cool Caribbean blue-green hue like Essie Turquoise & Caicos lend a breezy island chill to your hands and feet on days so sweltering you swear the sun is about to go supernova. * What complements a pinup sailor-girl inspired ensemble better than perfectly primary blue fingertips (and a 90-foot yacht perhaps)? Not a damn thing, that’s what. Sa-
lute the mast in Essie’s Aruba Blue. * Some will call blue-violet shades like Julep Nail Vernis in Taylor “blurple”. We like to call them “Get-On-My-Nails-
Now”. * Spooky staple violet like butter LONDON in HRH instantly goths up any pair of open-toed shoes. Even bland-tastic beige braided rope espadrilles. * For times you crave something slightly vampier than retro reds without automati-
cally defaulting to “been-there-done-that-GOTH-the-T-shirt” basic black, reach for opulent shades of red-violet (such as Orly Grave Mistake).
If the internet isn’t lying to me (and it might be), Chinese nobility circa 3,000 BC would concoct potions composed of egg whites, gelatin, beeswax, gum Arabic, and assorted flower petals in which they allegedly soaked their hands for several hours at a time. The goal of this arduous task was to produce a stain on the nail bed in varying shades of red and black to signify social standing. Luckily, today it’s as simple as, base coat, two coats of colored varnish, top coat. Not to mention the advantage of having an entire color wheel’s worth of product to work with. Just add nails.
Summer Nail Polish Color Wheel
MEDI A
To be fair, what follows is just a tad bit too glow-
ing of an endorsement to fit within my own nar-
row definition of what an objective film review is. So perhaps it’s best to think of it as more of a congratulations to the filmmakers, a piece of free advertising, or a “blowjob made of words”. I leave such assessments to the reader. Now, onward and EXCELSIOR!!!
So you may have heard about this little indie flick called The Avengers. No? Well, a few years back, Iron Man dropped, giving us all year long shit-eat-
ing grins, reminding us how handsome and charm-
ing Robert Downey Jr. is, and teaching us that alco-
holism is an endearing personality quirk (the exact opposite lesson I’ve been teaching my friends and loved ones by way of my body and broken dreams over the last decade). After the credits rolled, di-
rector John Favreau threw the fanboys a bone in the form of Samuel Jackson portraying (“Ultimate” continuity) Nick Fury, who spoke three magic, game changing words, The Avengers Initiative. The geeks went apeshit as planned, but when the film became a runaway success, so did the rest of the world, and what started as a wink to the fans became the genesis of the Marvel Cinematic Uni-
verse. Over the next few years, more films were released, detailing the origins of Thor, Captain 13
The Angriest Critic isn’t always angry, sometimes he is as happy as a kid in a candy store, or a kid watching a film full of superheros.
America, and the Hulk, each interlacing with one another in one of the most ambi-
tious attempts in cinematic world-building ever seen. All this was leading up to a massive crossover event, a phenomena familiar to comic fans but utterly alien to filmgoers (not “utterly Alien”, however, but the less said about AvP, the better). But who would helm this beast? Who could deliver the insane bombast expected of a half-dozen super-beings knocking the shit out of each other onscreen without letting it devolve into a loud, idiotic Bay-esque tumor inducer?? Enter Joss “Buffy, Angel, Firefly, and every other thing you’ve ever fucking loved” Whedon. With Whedon supervising the delivery, the baby that became The Avengers was born, and came to teach us a new lesson, that month straight we smiled after Iron Man wasn’t even remotely goddamn long enough.
Not gonna lie, the set-up’s a bit thin and a tad familiar, but it’s just there to get the ball rolling. SHIELD director Fury (again portrayed by the word “fuck” made manifest and sentient) has gained possession of the Tesseract (the cube-shaped macguffin of a cosmic persuasion from Captain America: The First Avenger) and is attempting to harness its power for, oh, let’s say “good”. Having never been exposed to any amount of cautionary sci-fi (seriously, read a book, nigga), he’s caught by surprise when things go awry and it becomes a dimensional backdoor allowing Loki (Tom Hiddelston), Thor’s half-mad brother, to enter our world with his sights set on raising an army and enslaving humanity for funsies (as chaos gods are wont to do). This forces Fury to proceed with the aforementioned “Avengers Initiative” and go about recruiting Captain America/Steve Rogers (Chris Evans), Iron Man/Tony Stark (like you don’t know who), and The Hulk/Dr. Bruce Ban-
ner (Mark Ruffalo, replacing Edward Norton) to form the core of his team, with Natasha Romanoff/Black Widow (Scarlett Johansson) and Clint Barton/Hawkeye (Jeremy Renner) providing support. It’s not long before Thor/also Thor (Chris Hemsworth) comes into the fold as well, and with all the pieces in play, shit gets blown up real good, in the best way possible. So with the above description in mind, you must be wondering how this thing doesn’t collapse in on itself from under the weight of tired clichés? I got nothing but random guesses at best. It works, and marvelously (PUN!!!) so, in spite of the formula. Perhaps, the formula exists because it works, and we’re so used to lesser filmmakers abusing tried and true storytelling devices, we forgot that it can be done right. The direction is certainly a boon. Not to make another Michael Bay comparison, but Whedon shoots his action with all the “wow” factor of Transformers, but with focus and under-
standing of composition and 98% less shaking of the fucking camera. The final action sequence is where all previous Marvel films generally fell to pieces, but Whedon turns it into this film’s ulti-
mate triumph! Still, flashy action does not alone an instant action classic make. Maybe it’s the dia-
logue, supplied almost entirely by Whedon after his “scorch the earth” re-write of the script’s first draft. It’s all witty and predictably full to the gills with “Buffy-speak”, but some snappy banter by it-
self would just be smoke and mirrors to obfuscate a film’s hollowness.
So what else we got? The performances? There’s a lot to like there. Downey Jr. does his dashing Tony Stark thing again, but it’s dialed down enough to not outshine his co-stars and bring the character back down to earth where he’s relatable again (an amusing turn for a film loaded with gods, aliens, and all types of ill shit). New kid Ruffalo really brings his A-game, and gives us the DEFINA-
TIVE Bruce Banner. Endearingly nebbish (with a bit of wit) through the first 2/3 of the film, Ruffalo is a good Banner, but when he comes back into play in the third act and delivers the line, “Wanna know my secret? I’m always angry.”, before transforming into the Hulk, he’s won you over as a great Banner, the only Banner. And then he punches an alien warship in half, which is also neat. And the bro-
mantic chemistry between Downey and Ruffalo? All the better! Cue the slash fics, bespectacled fat women of the world! And then you’ve got Sam Jackson, bringing the cool factor, but also introducing some moral ambiguity to this bright, black/
white world and selling it well. Hell, even Scarlett Johansson injects some depth into a character that was introduced in Iron Man 2 ostensibly for the “TITS Fac-
tor”. And if I have to explain to you how/why Clark Gregg is an absolute fountain of badassery and heart as Agent Phil Coulson, then you best eat a gun, because I’m sick of sharing all my air with you. And heart, is what gets my vote for what really lies in this film’s success. The filmmakers, the cast, everyone involved really seemed to believe that what the world needed was some good old fashioned heroism. Hell, Clark Gregg straight up spells this out to Captain America early in the film, and I couldn’t agree more. We need a little hope, every now and again, and even a perpetual cynic like me can’t help but embrace a film that drags me into a world where people rise above their flaws, fight the good fight, save the day while making it feel utterly genuine, and, above all, FUN. I’d envy the children who get to enjoy this with all the won-
der and awe of youth if it didn’t revert each and every viewer to their level. This movie is “hanging out with 200 puppies while firing a M61 Vulcan into a mountain of bubble wrap” fun, and ya know what? That smiling I mentioned earlier? Still fucking doing it. The Avengers
by Adam Rosina
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Phil Western is an electronic musician whose work seems to transcend genres. Perhaps best known as one half of Download with Skinny Puppy’s Cevin Key, he has founded and contributed to various other projects working alongside some of the leading musicians in the genre. With his latest release, the compilation Laborandum a collection of materials from his various project and his solo project as Phil Western, he continues to forge ahead with his own career.
photographer Adam Campbell
interview by Hangedman
Auxiliary Magazine’s Hangedman managed to catch Phil Western for a conversa-
tion remotely while Western was working at a venue in Vancouver. As one of the founding fathers of Subconscious Communications and one half of Skinny Puppy related projects Download and Plateau, Phil Western talks about his history, his approach to music, and his obvious passion as an audiophile himself. Having worked in electronic music all of his life, Western has also ventured into solo work, transcending the work he does with his partner Cevin Key and the various other musicians and artists he has worked with. His latest compilation Laboran-
dum due for release soon by Rustblade in Europe, is a carefully crafted selection of related work from across the Phil Western spectrum. Western shares with us his creative method, his foundation as a musician, and even hints that there’s more of Phil Western the solo artist to come on the horizon. It goes without saying you have a number of projects that you have founded, collaborated on, touched, etc., then there’s your solo career. Can we get a debriefing of all things Phil Western?
Phil Western : That has changed a little bit over the years, just because my motiva-
tion to do solo work was kind of born out of frustration initially. (I don’t know how to put this without offending someone), I don’t know if you’ve heard about the Floatpoint and Off and Gone records? They came out before I ever worked with Cevin Key, so I had got it in my head that I was going to do electronic music either as a collaborative situation with Dan [Handrabur] who I was working with at the time, or by myself. Then Dwayne [Goettel] and I created this label, Sub-
conscious Records, to release a 12 inch single and then Download was created and I was brought into that fold and I was doing that for a couple of years. We were making music [as Download] and we started to get a little bit of a following, but to me it seemed like that following was entirely the result of the fact that Skinny Puppy were such a huge band.
Would you say you were sort of living in the shadow of Skinny Puppy?
PW : I was young if you know what I mean? I was young and probably pretty insecure and I guess I felt like I wasn’t representing me. It was definitely more ego based dissatisfaction and so I thought by 1996 I was like, �fuck it’, I’m go-
ing to release my own record. Some things had preceded that, like Dwayne had died and I kind of went through a lot of personal upheaval that led to me leaving town and going to India for almost a year. When I got back I felt quite creatively inspired. And I thought, okay, let’s make this record and I sort of had big dreams for this record [The Escapist] and I made the record and I put it out and not much happened, people seemed to like it. I was happy with it. Ultimately I just ended up continuing working with Subconscious because at that time that was the only thing that earned me any money. But it wasn’t just that, I don’t want to make it sound like it was totally mercenary, I mean I really love making music with Cevin and I still do. But I was conflicted, I would say. It was like, �I guess this is it,’ I mean If I’m not working with him then I don’t have a voice. Around 1997 or 98 he moved to Los Angles and so I had to continue working and making music up in Vancouver and so I ended up releasing more records and usually what would happen is Cevin and I would get together and make a record or two and then I would come back to Vancouver and I would make a record. Then I would release the record and the people who would buy my record were the people who bought our records. This was just how it went, eventually at some point I just resigned to it. But, I always felt there was another audience for my music, they just didn’t know it existed yet, because my stuff was more of a purist electronic at that time and Download veered into much more aggressive territory. You mentioned Subconscious Communications and you are one half of the founding fathers of that. I was aware of the label but at some point I listened to the Litany.net podcast with Cory Goldberg and Cevin Key and as I listened 15
to all the different artists on the label, I remember having this distinctly giddy teenage reaction of discovering something avant-garde and cutting edge that transcended the mainstream or dare I say mainstream industrial or subcul-
ture electronic music. In a sense I find Subconscious one of the true under-
ground labels. Is this something Subconscious set out to do?
PW : In the beginning, all of the artists were really just us. We had different names for different projects but if you looked on the credits it was always me and Cevin or maybe a few other people. Initially Plateau was created because (going back to the late 90s again) I was really influenced by Detroit electronic music and I wanted to do something that was more stripped down more minimal so we were just playing around with drum machines. There was very little going on in that first Plateau record, it was made very quickly and there were a couple of songs I had done in my own studio that ended up on that record but primarily it consisted of these kind of electronic jams that took place in the studio. We just put some sequences together, free formed it, print it, and then there it is, it’s done, kind of thing. It wasn’t developed enough to be called Download because Download was the figurehead project where if we were going to make a Download record it had to be fairly polished and a lot of care had to go into finishing it. So Plateau felt like an excuse to put out the weirder, whatever sort of stuff that we would do. But then project Plateau began to evolve on its own. I was never really happy with that first record, to me it was missing some fundamental mysteriousness that Detroit elec-
tronic music had. First of all we weren’t from Detroit. We were influenced by it but we weren’t taking the time necessarily to emulate it so in retrospect that record looked a lot like a throw away to me. We decided for the second Plateau record to go a little bit further into a work ethic. I think the second Plateau record was more developed and began to sound a bit more like a real project. We progressively con-
tinued to put out Plateau records and to me they have gotten stronger and stronger and really it’s at the point now where there’s very little to distinguish between the two. I think our attitude has changed. I don’t think we go into the studio with the idea of making throw away music. Now it’s if you are working on something make it good, finish it, and move on. So what we do now is we get together and make twenty songs, it’s relatively arbitrary, ten songs become Download, ten songs be-
come Plateau and there’s a little bit of intuition involved but that decision is made after the fact rather than before it is written. We did the last two albums [Down-
load’s] HElicopTEr and [Plateau’s] Gort Space Bar. We did those two in the same sessions and made the decisions afterwards. It was same with [Download’s] FIXeR and [Plateau’s] Kushbush we did those two albums at the same time as well and made the decisions afterwards like which would be which. There are three Download albums that came out, III, Effector, and FIXeR and to me those three are the most cohesive and devel-
oped of the albums. I think the last one was good but we didn’t spend as much time on it so to me it doesn’t sound as polished and complete as the previ-
ous albums. I think we learned from that, we’re not going to do another one until we have the time which hope-
fully will happen sometime this year or next year. There’s a lot involved in making it happen. It involves me tak-
ing two months at least maybe three months to go to Los Angeles and re-
ally get into the work. We both have lives now, I mean I’m going to be 41 years old this year I’ve got a baby on the way, I’m in a different place than I was fifteen years ago when picking up and leaving for three months was no big deal. I know we both really want to do another one and we are going to do some shows this month in Russia and Europe. So we still get together, my relationship with Cevin is really really good now, probably better than it’s ever been. Him and I have always had a really fiery relationship and we’ve had two big blocks of time when we weren’t even speak-
ing to each other. We had five years from 2000 to 2005 where we didn’t speak to each other and we had two years from 2007 to 2009 where we didn’t speak to each other and we lived like a mile away from each other at that time because I lived in Los Angeles for a few years. We’re like brothers, we get into these fights and then it’s like, �fuck it,’ I’m done with you and we always end up working it out at some point. It’s a funny relationship for sure. You mention touring. I had the honor of attending Beyondfest a couple of years ago in Toronto. Again I recall this giddy teenage excitement remember-
ing coming down the stairs of the bar and hearing the beats and just getting really excited about the music and every band playing that night was just so great. And then suddenly there was this man, or rather, green Martian lady, all in green makeup and that was you! PW : [laughs] That was me! Yeah that was an afterthought. I’ve got a bit of an issue with laptop shows. I do live sound as one of my jobs in Vancouver and I mix a lot of bands and every now and again you get electronic artists and they show up and they consist of a laptop and a controller. So they stand on the stage for an hour with a computer and I’ve always thought that was really… (and I’ve done it too, trust me) …it just feels so lame. We don’t have the resources or ability to bring out drums and other instruments, so I did what I could on the Beyondfest tour to make some of the shows a bit more entertaining. A couple of the shows involved costuming, and then the show in Vancouver involved actually bringing the entire studio on the stage and it was quite a spectacle of equipment. We also had Tim Hill do a massive install of projections at that show. To me if you are going to use a laptop as the main source of your material, you need to compensate for that by creating an event, somehow. When we were out of town in Chicago and Toronto our options were limited. So it was like okay, costuming, at least then I can engage with the audience in a different way. It’s also easier for me to be a little bit more flamboyant and out there when I’m costumed because it’s less naked feeling. I don’t know if I’ll ever do that again because it was a bit uncomfortable wearing all that makeup. It wasn’t really me I guess but I kind of enjoyed it in the moment, it was just something different to try. We did it three times and by the third time I was like okay, this is feeling kind of stupid. I could not agree more on the guy with a laptop thing. Sometimes people can pull it off completely and get away with it just because of the sheer presence of the music or the individual. And sometimes people really strike out to make a visual impact like the green lady. I also noticed at Beyondfest that a lot of amazing video was being played as part of the performance?
PW : And that’s very helpful. For in-
stance it depends on the degree of ce-
lebrity? Like I know that Aphex Twin rarely does shows but when he does it’s pretty much a laptop or a DJ set-up and it’s just him standing there. But the fact is there’s a bit of a mythology around his persona, he’s retained a cer-
tain degree of mystery. It’s like seeing Kraftwerk and it’s four old guys with laptops but your standing there like, �holy fuck it’s Kraftwerk!’ You except MUSI C
AUXILIARY june/july 2012 june/july 2012 AUXILIARY 14
Phil Western
MUSI C
there’s not much of a show although their visuals are amazing but its just I don’t feel remotely close to that and I feel like I need to compensate somehow. Also doing live sound I see so many amazing shows it inspires a desire to do something extra. But sometimes you just can’t. Like when we go to Russia there maybe some costuming possibilities but were not going to be able to fly with a bunch of equipment so it’s going to be what it’s going to be. Almost every music interview revolves around a question about whether we’re going to see something soon? Any plans for an album or a tour? PW : The cool thing is now since I’ve sort of left my solo stuff alone, like I kind of left the whole idea of trying to make something happen, just left it alone and then weirdly randomly I got an email from Stefano at Rustblade who said he wanted to put out this compilation. It’s kind of cool because I have not done a release in Europe. It’s kind of exciting even doing things like press. It’s very novel for me I just haven’t done it in a long time and usually when people want to do inter-
views they usually want to interview Cevin if its anything to do with Download or Plateau. It’s kind of funny or ironic to me that when I left it alone or it doesn’t matter anymore that’s when things start to weirdly pick up. I’m hoping to do more releases for them [Rustblade] and I have my studio put back together again so I can write again, I’m starting to get back into making music and buying synthesizers again. My life has gone up and down in such crazy ways over years. I’ve had full studios and then lost them and then had them again. There’s been a lot of turmoil and finally things are feeling like they are settling out and there’s some stability in my life it’s kind of a nice by product that good things seem to happen when things are stable. The input for the songs on the new album Laborandum, was that chosen by Rustblade or did you carefully craft this compilation yourself? PW : They told me a few of the songs they wanted to be on there and then I chose the rest. It’s always difficult, there’s a lot of material to pick from. I did a compila-
tion myself a couple of years ago that was double disc that pulled from all of the albums. The problem with my records is they’ve always been super (at least the first three) very schizophrenic albums. You’d go from a totally electronic song to like a weird drone space rock jam to ambient track and it was this very cohesive but non-cohesive thing. It wouldn’t make any sense unless you listened to the record from beginning to end. So trying to put a compilation together from those records is always challenging because you have your favorites but they’re totally different from each other. So from the compilation from a couple of years ago it was just as varied as the solo albums had been. With the Rustblade release what I wanted to do was make it a more cohesive compilation so it’s basically pulling from the two Kone albums and there’s one or two songs from my solo albums but they fit amongst the others. Stefano told me he was going to release a couple of versions of it, one was going to be a sort of bonus version of it and the other was going to be an ultra limited bonus version. So I created a four song EP the non-
limited bonus disc and then I created an eight-song mini LP for the really limited one. So people who buy the really limited one will get twelve new songs as well as the compilation. In that sense it’s a bit more like releasing a new record but really what I’d like to do now that everything has been submitted and they are happy and it’s going to be released. I think what I’d like to do now is complete a new release and really put a lot of work into it and then have them release that. That would probably be sometime next year. As I was going through all the tracks on Laborandum, only one I couldn’t place to a past album. That was “Angels”. Is that a new song? PW : That is a new song. It’s funny, the twelve songs that were completed for the bonus album hadn’t been done yet when I chose that to be on the record. I sub-
mitted the master for the compilation before I submitted the masters for the other stuff because that stuff wasn’t done yet. In retrospect I would have preferred to have used a different song on the compilation, it is what it is now and I’ll live with it but I would have preferred to have used maybe one of the newer songs because it would have fit a little better. I don’t know how many people are ever going to hear this, it could very well be that they sell a hundred copies of this thing, I don’t know. How it does will be an indicator of what I can expect. [The new track is] really influenced by some of the Severed Heads stuff. There’s a Severed Heads song called “Oscar’s Grind” that I really like a lot and I notice now when I listen to it that I’ve kind of ripped it off a little bit. One of the sequences reminds me a lot of that song. It’s obviously a totally different song but they are a huge influence on my work. I’ve always loved Tom Ellard’s melodies and structure. The nature of your many and sometimes varied projects are spread across defined “genres”. You mentioned you have this sort of purist approach to electronic music. What are your thoughts on that and do you even identify with genres? I mean especially in electronic music some people think it’s dumb, where you’ve got sub genre of sub genre and so on. PW : It’s funny I work in a venue and we will get a person coming in and it’ll be on their rider that it’s tech house or glitch-step and I have no idea what it is and then when I hear the music I’m like, oh it just sounds like electronic music to me. Nothing that I’ve heard other than maybe dubstep or brostep, that sort of heavy metal techno that people are making now. That’s the only thing that I can’t really equate to a previous genre. I’m not a fan of it but it does sound �new’, or it did, it’s mainstream now. But in terms of over the long span of history of electronic music or modern electronic music, going back to say acid house back in the late eighties, everything sounds recycled and distilled from what came before. Not too much comes along that sounds new. What I’m hearing now is a lot more people doing impressive sound design. People are getting really good at using effects and sound design and space to create a pretty epic sounding thing. It’s become a lot easier to do these things and for somebody whose been doing it for a long time you can start to feel a bit like… you know, I don’t ever want to feel like I have to �keep up’ with that. I’ve always sort of had a working method and I’ve always tried to make music that I want to listen to. But what I notice happening as I get older is maybe it’s starting to sound dated maybe? I don’t know, I just keep doing whatever comes naturally and it feels right and I haven’t endeavored to learn a bunch of new tricks because for me it’s not that interesting at the end of the day. The only thing about Squarepusher or Aphex Twin that was interesting for me was because of their melodic sensibilities and the fact that there was some sort of haunting, other worldly characteristic to their music that you couldn’t put your finger on. But if it was just pure programming and both of them can get into that, but they redeem themselves by occasionally putting something really tran-
scendental out that you are just like, �holy shit, that comes from an alien world.’ So discovering ones voice in this paradigm, discovering ones unique voice is the hardest part. Thinking you’ve discovered it and then realizing you don’t think it’s really relevant anymore and having to discover it again, it’s an interesting process. Trying to evolve as an artist, sometimes it can be really difficult and you can get creative blocks where I don’t like anything I’m coming up with and it doesn’t sound exciting. But for some reason I’m really driven to keep trying. If I step back and listen to it, I’m not breaking any new ground really, I’m not pioneering some new sound that nobody’s ever done before. But I still think that it’s still mine, I still think that it coming genuinely from my own sort of point of view. It’s really hard to be unique these days. It’s interesting you say that because in regards to the Deadmau5 show here in Toronto, friends of mine have said it’s the first time they had seen an electron-
ic musician pack that many people into a stadium. It’s almost like electronic music is hitting a mainstream where it’s both alarming and exciting. You’ve worked the electronic genre all your life. Are we seeing an age where it’s re-
ally hitting a stride or is it just a passing fad?
PW : I think it’s kind of like, where we had it before with The Prodigy in England and we’re having it again now with Skrillex and Deadmau5 in America and what it is, is the iconic artist as an electronic artist. Barriers are being put up and mosh pits are forming and people are pumping their fists in the air and really if you look at the crowd you could be at a Van Halen concert. I think it’s more of a cult of personality and it’s sort of a youth thing. You know, when you’re nineteen or twenty and you have no sense of history and you’re turned on to something by a friend, you’ve grown up in the suburbs listening to classic rock radio and all of a sudden there is something new and exciting, you’re whole identity gets wrapped up in it. We do shows here in this venue in Vancouver where like Mount Eden or Skrillex came here for an after party and the place is completely jammed packed and people are absolutely going out of their minds but they’re all twenty years old and for them this is their moment. This is sort of their zeitgeist, because they weren’t around the last time it happened or the time before that. Of course that’s one of the benefits or curses of getting older. It’ll probably take me quite a lot for me to get excited about anything ever again in my life. Things that have excited me lately have not had anything to do with electronic music. I started getting re-
ally into Ariel Pink when he doing his more bedroom albums and to me it sounded like nothing that I’d heard before. Some of the artists that I really really like, like Spectrum or Sonic Boom where they have been around for a long time and they have such character in their sound.
What are you listening to right now, these days?
PW : Doing live sound I get to hear a lot of new bands and every now and again I’ll hear a band I really like and I’ll buy their record, like this band White Sense played here the other night and and I bought their record. But when I’m at home listening to music I tend to put on the stuff I’ve always listened to. I have a collection that spans twenty-five years so I’ll go back to the stuff I’ve always listened to. I still love listening to Spacemen 3, and these are bands that I named dropped as my favorites fifteen years ago and so nothing has changed but I try really hard to keep listening and developing a taste for new stuff. I don’t want to become one of these guys that is just stuck on the old stuff forever. But it takes quite a lot for me to form the relationship with the music now. For me you form a relationship with a record by listening to it several times and really developing that relationship with it. I’ve been discovering a lot of new �old’ music. I’ve been buying old seven inches and really obscure stuff. Everything I’ve ever really liked and sounded really interest-
ing to me was always very obscure and never really fit into any sort of genre. Some of my favorite music is based around one note and it kind of drones on for fifteen minutes. It’s hard for me today, I have a lot of stuff I like and then there’s the stuff that really means something to me. I went record shopping the other day and I ended up buying a bunch of reissues. It seems like every record I was ever into is now available on vinyl again, it’s pretty cool. I bought an old White House album and I bought Mark Hollis’s solo album, I bought Brian Eno’s new record, I bought Spiritualize Ladies and Gentlemen, we’re floating in space, and some of these re-
cords I already knew but I didn’t have them on vinyl. I get to go to the record store and go record shopping and actually find stuff that was out of print for so long. I bought the new album by The Fall. I listen to a lot of bands, guitar based music, I listen to a lot of ambient and abstract, avant-garde music. You mention the really obscure stuff, I myself remember as a kid record shop-
ping and remember it was sort of a competition trying to find the coolest obscure bands. That seems to still be a real trend today, nothing really has changed. A year ago a friend of mine said to me hey you have to check out this witch house stuff, and I did and was like yeah that’s pretty cool and a twist on things. What’s your thoughts on that?
PW : Yeah we did a Salem show here and I thought they were really good. I bought their record. This is the thing, there’s new stuff and I’ll go on to websites and listen to the clips and if I hear something that sounds interesting I’ll go buy it. That’s how I discovered bands like Deer Hunter. Aesthetically those bands fit into my already pre determined tastes. It’s like who is doing a sort of psychedelic weird drone thing that puts me in a weird state of mind and there’s always one or two that are going down that particular rabbit hole that turns you on. I know what turns me on and there are always bands that are making it and occasionally I’ll find one and I’ll really form a relationship with it. When I’m having trouble finding that there’s still this wealth of material from history that I can dip back into. I’ve rediscovered electro recently and things like Arabian Prince and weird electro music, 808 kind of electro. I mean there’s just so much that you can dive into and you may have had a cursory knowledge of it but if you want to you can dig deeper and you can find other artists that are similar and just go down these little rabbit holes. You can even keep going further back, and go into the sixties sort of experimental avant-garde and be seeking out really weird obscure stuff. I’m really into some of those old bands like Red Crayola. I don’t know, there’s just so much that’s out there that if you can’t find something new there’s always something old that you can probably get into. MUSI C
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AUXILIARY june/july 2012 16
“ It’s kind of funny or ironic to me that when I left it alone or it doesn’t matter anymore that’s when things start to weirdly pick up. I’m hoping to do more releases and I have my studio put back together again so I can write again, I’m starting to get back into making music and buying synthesizers again. ”
quick picks
MUSI C
Tot al l y Enormous Ext i nct Di nosaur
- Troubl e
rel eased by Pol ydor on 11 June 2012
genre : el ect roni c dance, house
Tot al l y Enormous Ext i nct Di nosaur i s t he proj ect of Engl i sh born producer/DJ Orl ando Hi ggi nbot -
t om. He was al ready get t i ng recogni t i on before t he drop of hi s debut al bum from vari ous si ngl es and a sl ew of remi xes for t he l i kes of Lady Gaga and Kat y Parry. The musi c on Troubl e i s i nt ri cat e house musi c wi t h chi l l er t ones, wort hy of addi t i on t o any DJ’s repert oi re. The musi c i s st i l l j ust house, al bei t wel l produced. It i s Orl ando’s soot hi ng si ngi ng t hat real l y pushes t hi s al bum past t he rest. I suggest l yi ng out i n t he sun wi t h t hi s al bum on and forget t i ng al l your deadl i nes and t roubl es for an hour or so. 8/10 - MK
BT - Laptop Symphony
rel eased by Bl ack Hol e on 14 May 2012
genre : mi xed EDM
BT ki cks off t he summer wi t h a t wo-part DJ mi x named aft er hi s Si ri us/XM show of t he same name. The first mi x shows off a si de of BT new t o many as he adept l y mi xes sounds of el ect ro, dubst ep, breaks, progressi ve, and hi p hop. The second mi x i s more i n l i ne wi t h what one woul d expect from BT, a col l ec-
t i on of euphori c songs t hat skew t oward progressi ve and t rance. Thi s i s a great duo of mi xes for summer part i es, dri ves, and warm st arry ni ght s. There’s even a new BT rework of hi s cl assi c “Fl ami ng June”. 7/10 - AA
Ni ki & The Dove - I nsti nct
rel eased by Subpop/Mercury on 7 August/14 May
genre : el ect ropop, i ndi et roni ca
Ni ki & The Dove get t hei r al bum Inst i nct rel eased aft er t easi ng us wi t h The Drummer EP, a few si ngl es, and a bunch of vi deos. The Swedi sh duo’s sound i s hi gh energy wi t h t he songs t endi ng t o bui l d i nt o epi c moment s. Whi l e t he musi c i s very el ect opop t here are al so an i ndi et roni ca/experi ment al el ement s t hat keep breaki ng t hrough gi vi ng t he al bum dept h. Out shi ni ng t he musi c are t he vocal t al ent s of Mal i n Dahl st röm, t hey are what make Ni ki & The Dove conspi cuous. The al bum’s general feel i ng j umps al l over t he pl ace, l i ke i t ’s a hodgepodge of si ngl es and not a properl y t hought out al bum, whi ch based on t he sl ew of songs rel eased over t he past t wo years coul d be t he case. 8/10 - MK
West I n Dust - Vari ous Arti sts
rel eased by West In Dust on 10 Apri l 2012
genre : downt empo
Thi s Oakl and, CA based l abel ’s debut compi l at i on i s not onl y free but al so happens t o be pret t y good, t he col l ect i on of 14 t racks feat ure bass, beat s, and a downt empo at t i t ude. Art i st s from Aust ral i a, Canada, t he UK, and Ameri ca have cont ri but ed moody l ai d back bass musi c t racks wi t h i nfluences from hi p hop, IDM, R&B, dubst ep, UK garage, and downt empo musi c. RIYL: Buri al, earl y DJ Shadow, Dnt el, Squarepusher, and Bent. 7/10 - AA
Cel l dwel l er - Wi sh Upon a Bl ackstar
rel eased by Fi xt/Cel l dwel l er on 12 June 2012
genre : el ect roni c rock
Cel l dwel l er has final l y fini shed t he sophomore re-
l ease si nce t he sel f-t i t l ed al bum i n 2003. Yes i t has been ni ne years but Wi sh Upon a Bl ackst ar has been rel eased i n a seri es of chapt ers t hat st art ed i n 2009. Cel l dwel l er i s pri mari l y el ect roni c rock t hat pul l s i n sub genres t o spi ce t hi ngs up, from drum n base, dubst ep, even some house el ement s. Thi s i s consi st ent t o t he first al bum, but do t o t i me i t doesn’t have t he same i mpact i n 2012. Perhaps t hi s won’t be ground breaki ng, but i t i s st i l l very good. Fans from back i n t he day shoul d put i n t hei r heari ng ai ds and check t hi s out. The new fans wi l l get t reat ed t o t wo new al bums, as chances are t hey weren’t l i st eni ng t o t he ST al bum when t hey were 10. 9/10 - MK
:Wumpscut: - Women and Satan Fi rst
rel eased by Met ropol i s Records on 2 Apri l 2012
genre : i ndust ri al
:Wumpscut: i s one of t he more consi st ent i ndust ri al art i st s out t here. Rudy Rat zi nger has been around for a l ong t i me, hi s sound has al ways remai ned di st i nct-
l y “:Wumpscut:”, and wi t h around t went y rel eases si nce hi s debut i n 1991, t hat ’s a ful l al bum every one or t wo years. It ’s l i ke, i n an ever-changi ng genre, we can al ways count on :Wumpscut:! Whereas :Wumpscut: i s consi st ent, he st i l l manages t o remai n current and Women and Sat an Fi rst i s a t ri but e t o t hi s achi evement. Dark, dramat i c, and el ect ri c are hal l marks of t hi s al bum and I have t o say i t ’s one of t he more enj oyabl e al bums i n t he vast di scography under Rat zi nger ’s wat ch. As a bonus i t has one of t he great est al bum covers i n a l ong t i me. 8/10 - HM
musi c revi ews
19
MUSI C
The Hundred i n t he Hands - Red Ni ght
rel eased by Warp on 12 June 2012
dat a : 2nd al bum . 10 t racks . t hehundredi nt hehands.com
revi ewed by : Paul Mori n genre : i ndi e el ect roni c
I want t o l i ke t hi s al bum more t han I do. Thi s band has a l ot of t al ent. Vocal i st El eanore Everdel l goes from soft and soot hi ng t o ban-
shee wai l, soundi ng at t i mes l i ke Kari n Drei j er (Fever Ray), Si ouxsi e Si oux, and Bet h Gi b-
bons (Port i shead). The programmi ng i s al so very i nt erest i ng, l ayeri ng sounds i n dreamy t ext ures t hat are dance floor fri endl y one mo-
ment, gray and ambi ent t he next. When t he songs are good, t hey are very good. “Faded” sounds l i ke a cross bet ween Del eri um and Fever Ray, pl ucki ng some of t he best of bot h. “Keep It Low”, “Recogni se”, and “St ay t he Ni ght ” coul d have been spun at any got h/i ndust ri al cross-over ni ght i n t he 90s. But t oo oft en THITH sounds l i ke a band wi t h an i dent i t y cri si s, wi t h t racks j umpi ng abrupt l y from one i dea t o t he next for no rhyme or reason. Here i s a pseudo-i ndust ri al romp. Here i s somet hi ng of a bal l ad. Here i s ambi ence. Have some t echno. It i s a di fficul t al bum t o si t t hrough wi t hout hi t t i ng t he “next ” but t on t o find a t rack si mi l ar t o t he one you j ust heard when you j ust got i nt o t he mood. Ti t l e t rack “Red Ni ght ” wanders around i n i t s own l azy soundscape, but never real l y st art s nor draws t o a sat i sfyi ng concl usi on. “Come Wi t h Me” ut i l i zes an unforgi vabl e over-compressed and di st ort ed gui t ar echoes Kenny Loggi ns’s “Danger Zone”. And when Everdel l i s not careful, she ends up soundi ng l i ke a poor man’s Sarah McLachl an. Taken as a col l ect i on of si ngl es, t here are some great moment s on here. Li st ened t o as a whol e, i t ’s a j umbl ed soup t hat ’s di fficul t t o swal l ow. Break up t hi s al bum and put i t on vari ous mi xt apes or pl ayl i st s as t he ki ds cal l i t. Here’s hopi ng t hey keep at i t and find a sound of t hei r own. I real l y do want t o l i ke t hi s band, t hi s al bum, more t han I do. recommended tracks : Keep It Low, Faded, Lead i n t he Ni ght
i f you l i ke you may l i ke : Zol a Jesus, Del eri um, Hot Chi p
grade : overal l 5 - musi c 6 - l yri cs 5 - recordi ng qual i t y 8
Phi l Western - Laborandum
rel eased by Rust bl ade on 12 June 2012
dat a : 6t h al bum . 10 t racks . 54:04 run t i me . www.rust bl ade.com/art i st s/1108
revi ewed by : Aaron Andrews genre : IDM, t echno
Phi l West ern i s one of t hose art i st s you’ve probabl y heard and not real i zed, maybe as one of hi s many proj ect s l i ke, Pl at EAU, Frozen Rabbi t, Off and Gone, or Downl oad. The Vancouver, BC resi dent i s an ori gi nal co-
founder of t he l abel Subconsci ous Communi-
cat i ons al ong wi t h Ski nny Puppy’s Dwayne Goet t el. Through hi s fri endshi p wi t h Goet t el he cont ri but ed keyboards on Ski nny Puppy’s The Process and confounded Down-
l oad as t he t ri o of West ern, Goet t el, and cEvi n Key. Downl oad has cont i nued on aft er Dwayne’s unt i mel y deat h wi t h Key and West ern as i t s consi st ent creat i ve core, rel easi ng an i mpressi ve cat al og of musi c. Laborandum i s a compi l at i on of mat eri al West ern produced under hi s name as wel l as hi s Kone moni ker. Thi s i s a chance t o check up a col l ect i on of sol o mat eri al, some rare and some out of pri nt. The great t hi ng about t hi s compi l at i on i s t hat i t al l ows you t o hear and fami l i ari ze Cdataki l l - Battl ewor n
rel eased by Hymen Records on 19 Apri l 2012
dat a : 5t h al bum . 11 t racks . 49:21 run t i me . cdat aki l l.c8.com
revi ewed by : Hangedman genre : IDM, breakcore, experi ment al
Thi s revi ewer ent ers i nt o Cdat aki l l t erri t ory, green as grass, havi ng never l i st ened t o t hem before. I find mysel f wonderi ng where has t hi s band been al l of my l i fe? As a noob t o t he band t he t hi ng t hat st ri kes i mmedi at el y i s t he amazi ng bl end of musi cal st yl es, some-
t i mes at odds but for some reason, al l grace-
ful l y col l aborat i ng i nt o one sound. There are el ement s of j ungl e, IDM, hardcore, and even el ement s of dubst ep, met al, and count ry. It al l get s t hrown i nt o a bl ender of deep sequences, di rt y bass, and dark overt ones. For exampl e, pl ayi ng around wi t h sampl es from Johnny Cash i s a bol d and ri sky move. Thi s i s especi al l y t rue i n a seemi ngl y chi l l IDM t rack where i t coul d easi l y be const rued as a mere novel t y gi mmi ck. But on t he mi d al bum t rack, “God Wi l l Cut You Down”, Cdat aki l l s manages t o nai l i t wi t h a sl ow paced, head bobbi n cool t rack t hat capt ures sol emn mood of Cash perfect l y. The whol e al bum i s enri ched wi t h si mi l arl y odd musi cal experi ment s maki ng i t one of t he best sur-
pri ses I’ve heard i n a l ong t i me. Track 9, “The Worl d i s Comi ng t o Anot her End”, i s very sl ow and very chi l l whi ch makes i t s usage of met al l i c overt ones so i nt erest-
i ng. I can see t hi s al bum havi ng a very wi de appeal. It ’s got a l ot of i mpressi ve t hi ngs goi ng on at once and for t hi s new fan, I’l l be del vi ng down t he rabbi t hol e of previ ous Cdat aki l l rel eases due sol el y on t he fact t hat t hi s rel ease i s so st rong and so spl endi d.
recommended tracks : God Wi l l Cut You Down, Bat t l eworn, The Worl d Is Com-
i ng t o Anot her End
i f you l i ke you may l i ke : Det ri t us, Tarmvred
grade : overal l 9 - musi c 9 - l yri cs 9 - recordi ng qual i t y 9
yoursel f wi t h t he personal i t y t hat i s so essent i al t o t he i ncredi bl e cat al og of Down-
l oad’s musi c. Li st eni ng t o West ern’s sol o work you can hear hi s compl ex approach t o programmi ng, mel ody, and rhyt hm front and cent er i nst ead of bei ng i nt ert wi ned wi t h t he t al ent and personal i t y of ot hers. The songs show off a vari et y of i nfluences from, and l ove for, t echno, psychedel i c, gl i t ch and IDM. Hi s songs are mel odi c, compl exl y mul t i -l ayered, and desi gned wi t h great nuance and subt l et y. They show an amazi ng ski l l t o bui l d off of a synt h drone or basi c drum pat t ern and evol ve i nt o i mpossi bl y preci se and beaut i ful pi eces of musi c. The addi t i ons and flouri shes of mel ody, sounds, and vocal sampl es are al l equal l y beaut i ful and nuanced as t he core el ement s of t he songs. Every l i st en you can focus on a new area and pi ck up new sounds. The songs on t hi s compi l at i on span t he course of at l east a decade and aren’t easi l y dat ed or t i me l i ned, a t est ament t o t he compl exi t y and t al ent i n West -
ern’s work. I recent l y had t hi s on whi l e dri vi ng Washi ngt on al ong Puget Sound and found t he musi c t o be t he perfect compl i ment.
i f you l i ke you may l i ke : Downl oad, Ri chi e Hawt i n, Boards of Canada, The Bl ack Dog
grade : overal l 8 - musi c 8 - recordi ng qual i t y 9
j une/j ul y 2012 AUXI LI ARY LI FESTYLE
Ms. Deschanel, I must confess t hat, unt i l recent l y, I had vi rt ual l y no knowl edge of your exi st ence. I’m not part i cul arl y part i al t o i ndi e rom-coms t hat damage t he credi bi l i t y of ot herwi se consummat e act ors (WTF, Art hur?! You were t he poi nt man for fuck’s sake!) or what ever t hat sound you make wi t h your mout h i s sup-
posed t o be (Surel y, i t can’t be si ngi ng! Wai t, WHAT?! Oh dear god...), but as of l at e you’ve become qui t e hard t o i gnore. You’ve got a show on FOX, t he i nt ernet ’s apparent l y deemed you bot h meme-wort hy and god-t i er fuckabl e, and now... ad-
vert i si ng. Whi ch i s where we met. And met agai n. And agai n. AND AGAIN, ad i nfini t um. Seri ousl y, whoever al l owed t hese i Phone commerci al s t o ai r wi t h such frequency shoul d have t hei r geni t al s devoured by hyenas. Preferabl y t he ones from The Li on Ki ng, for maxi mum emot i onal di ssonance (and bonus Di sney raci sm!). But I di gress. You’ve encroached i nt o my comfort zone and mol est ed my eyes and ears wi t h your “ZOMG SO ADORKABLE!!!” rout i ne, so I feel i t ’s onl y fai r t hat I offer some const ruct i ve cri t i ci sm: St op what you’re doi ng and set yoursel f on fire, qui ck as ya can, because what you do i s t erri bl e.
Let ’s j ust di ssect t he ad spot, bl ow for bl ow, and your wort hl essness as a human bei ng wi l l become cryst al cl ear:
0:00 (vi deo has not offici al l y begun yet ): HOLY FUCK, ARE THOSE FATHOM-
LESS GLOBES OF MOST FOUL ICHOR YOUR EYES?!! I hat e t o dump on someone for t hei r nat ural appearance, but shi t, I know sungl asses exi st! I’ve seen t hem! Fuck i t, go ful l on Ri ddi ck and get some wel di ng goggl es, t hen never t ake t hem off. Is t hi s what peopl e find at t ract i ve now?! Cause t he onl y t hi ng t hose eyes make me t hi nk of i s how I’d l ove t o l ose a whol e aft ernoon pl i nki ng t hem wi t h a Red Ryder.
0:01 (t he evi l commences): “Is t hat rai n?”, you ask t he t i ny phone robot. You know goddamn wel l i t ’s fucki ng rai n! I know you can see i t t hrough t he wi ndow wi t h your t wi n Eyes of Sauron! 0:08: You force your smal l rect angul ar sl ave t o order you soup, bot h t roubl ed by t he prospect of bravi ng t he wrat h of t he rai n gods (as evi denced by t he feveri sh dart i ng of your OHFUCKTHEEYESAGAIN) and bound by t he l egal sanct i on prohi bi t i ng you from operat i ng a st ove-t op. 0:15: You are pl eased, for now you have no need for “real shoes”. Worry not, Zoey. The ones wi t h Vel cro you’ve al ready got on shal l suffice.
0:19: “Remi nd me t o cl ean up... t omorrow”, you say, unabl e t o cont rol t he rol l i ng of your eyes (t o be fai r t hey may be swi ngi ng freel y by vi rt ue of t hei r consi derabl e wei ght ), knowi ng al l t o wel l t hat t omorrow never comes for you, and t hat your soci al worker wi l l be al ong short l y t o t i dy t he graveyard of banj os you reduced your house t o. 0:23: “Today we’re danci ng!” Si ri, despi t e l ack of sel f-awareness or mort al soul, cont empl at es sui ci de. As do we al l.
0:25: The dance begi ns, wi t h “Shake, Rat t l e and Rol l ” as a st and-i n for t he hi deous droni ng of pi pes t hat normal l y accompani es your mi ndl ess danci ng. You j i t t erbug out of t he room wi t h gl eeful abandon, t hrashi ng and cont ort i ng yoursel f l i ke a del et ed scene from The Exorci st. Fade t o bl ack. Merci ful bl ack and al l i t s final i t y. Under 30 seconds, and you’ve perfect l y i l l ust rat ed al l t hat can and shoul d be re-
vi l ed about you. But t o summari ze: You l ook l i ke a Henry Sel i ck creat i on got Fi resi de Chat wi t h Zoey Deschanel
by Adam Rosi na
21
gangbanged by t he ent i re art i st i c out put of t he manga i ndust ry, t hen shot up wi t h l i qui d rai nbows and l oosed upon t he worl d. Thi s i s NOT a good t hi ng. And t he fact t hat you i nsi st on paradi ng yoursel f around i nst ead of di vi ng under a pi l e of oi l y rags and never comi ng out i s a t est ament t o your arrogance, or at l east your desi re t o wat ch t he human race wi l l ful l y bl i nd i t sel f i n prot est and di sgust. Unfort unat e appearance asi de, t here’s your persona. For al l t he ment al l y handi capped j abs I made earl i er, I don’t t hi nk you’re act ual l y ret arded. I do, however, honest l y bel i eve t hat you found out about Aspergers and t hought i t was a l i fest yl e choi ce. Because t hat ’s what t hi s whol e soci al l y-awkward shi t comes off as: aut i sm-l i t e. Inst ead of t hrowi ng money at medi cal research or vol unt eeri ng l i ke a reasonabl e human, you t hought i t l ooked pret t y neat and deci ded t o be an earl y adopt er. Then ya marri ed i t wi t h t hi s cal cul at ed t hri ft -st ore chi c aest het i c and undeserved i ndi e gi rl swagger and vi ol a! The const ruct t hat i s Zoey Deschanel i s compl et e, so ut t erl y naked i n i t s art i fici al i t y and i nsi nceri t y t hat we few pri mat es st i l l capabl e of hi gher t hi nk-
i ng can onl y see you for what you are. You are t o hi pst ers what Ol i vi a Munn i s t o gamers. And your act i ng fucki ng sucks, t oo. So pl ease, PLEASE, di sappear. In a fiery bl aze or sl i nk off si l ent l y i nt o t he woods l i ke a wounded ani mal, i t mat t ers not. Just do i t.
In t he words of t he al most cert ai nl y fict i onal Sam Hal l, “Damn your eyes!”
Adam refuses to si t passi vel y by as the Deschanel menace sti l l wal ks among us, and has el ected at great personal ri sk, to empl oy the Bl ack Dji nn curse. Magi ckal theory di ctates that the pendul um of karma shal l swi ng back at hi m and cl eave three-fol d, but sti l l Adam stands, powerful l y drunk, drugged, and al -
most certai nl y mad, twi n mi ddl e fingers extended and not a si ngl e fuck gi ven.
BLACK THEOREM
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.
j une/j ul y 2012 AUXI LI ARY He’ l l be back next t i me f or anot her t hr i l l i ng i nst al l ment of Bl ack Theor em!
20
musi c revi ews
MUSI C
Lot us Pl aza - Spooky Acti on at a Di stance
rel eased by Kranky on 3 Apri l 2012
dat a : 2nd al bum . 10 t racks . 44:02 run t i me . kranky.net/art i st s/l ot uspl aza.ht ml
revi ewed by : Paul Mori n genre : shoegaze, dreampop, i ndi e
Locket t Pundt remai ns a bi t of a myst ery man i n hi s mai n proj ect, i ndi e rock j uggernaut Deerhunt er, where he i s oft en overshadowed from t he l i mel i ght by front man Bradford Cox. In hi s si de proj ect, Lot us Pl aza, he i s firml y at t he hel m, pl ayi ng, programmi ng, and per-
formi ng al l of t he i nst rument s. Pi geon-hol i ng Lot us Pl aza i nt o a si ngl e genre i s di fficul t, t he musi c i s remi ni scent of t he dreami ness of shoegaze and dreampop, but al so draws from a sensi bi l i t y t hat evokes Phi l Spect or and Bri an Wi l son, endi ng somewhere cl ose t o The Jesus and Mary Chai n’s cl eaner and cri sper moment s wi t hout bl ast s of feedback and oversat urat ed di st ort i on. The i nst rument s and vocal s are drenched i n reverb and del ay, and bui l d around si mpl e, mi ni mal i st figures t hat repeat and bui l d i nt o hypnot i c pat t erns. The songs al so fol l ow si mpl e, t radi t i onal pop song Sui ci de I nsi de - Homi ci de
rel eased by Al fa Mat ri x on 27 Apri l 2012
dat a : 4t h al bum . 11 t racks . 57:12 run t i me . sui ci dei nsi de.ambassador21.com
revi ewed by : Mi ke Ki effer genre : i ndust ri al rock, hardcore, rhyt hmi c noi se
Perhaps bet t er known for t hei r Ambassa-
dor21 proj ect, Nat asha Prot asov and Al exey Prot asov ret urn wi t h t hei r fourt h al bum under t he si de proj ect Sui ci de Insi de. Let ’s st art by sayi ng t hat Sui ci de Insi de’s al bum Homi ci de i s bi gger t han you are, i t ’s l i ke wal ki ng i nt o a gi ant abandoned fact ory ful l of broken down machi nes and pi l es of j agged met al scraps. It fil l s your st omach wi t h nervous but -
t erfli es t hat t he aut hori t i es wi l l bust i n and rui n your day at any moment or even worse a ghost of a crushed fact ory worker i s goi ng t o ki l l you. Keep yoursel f i n check because t he out si de worl d doesn’t need t o know how you feel, al l t hey need t o know i s your facade i s a dark and di st urbed, you are a hardcore i ndi vi dual t hat i s wi l l i ng t o ki ck t he faces i n of any opposi t i on. Let t he pansy t at t ooed asses l i st en t o t hei r dark fol k musi c or over-processed dubst ep crap, you are goi ng t o be l i st eni ng t o t hi s dynami c al bum t hat i s bot h refined yet brut al l y raw! Unl i ke many al bums rel eased t hi s year, Homi ci de doesn’t pl ay i t safe or dance around genres hopi ng t o get a hi t on a new musi cal t rend. It i s dark and hard wi t h pl ent y of l ayered ef-
fect s t hat real l y dri ve i t home. Sui ci de Insi de managed t o make an al bum t hat i s i mposi ng and not vul gar. On a hot summer day you can st and out from t he crowd by bl ast i ng i t whi l e weari ng al l bl ack wi t h bl ack sungl asses, bl ack mi l i t ary boot s, whi l e cursi ng around i n your bl ack car wi t h onl y bl ack and whi t e bumper st i ckers and not feel l i ke a t ool. recommended tracks : Snake H, Learn To Swal l ow H, Ti l l The End of Ti me
i f you l i ke you may l i ke : 13t h Monkey, Iszol oscope
grade : overal l 9 - musi c 9 - l yri cs 8 - recordi ng qual i t y 9
Grendel - Ti mewave : Zero
rel eased by Met ropol i s Records on 24 Apri l 2012
dat a : 4t h al bum . 10 t racks . 52:17 run t i me . www.grendel -base.com
revi ewed by : Hangedman genre : i ndust ri al
Yes, I’m pret t y sure I’m heari ng a sampl e here, “eat pork ri nds” on t rack 4, “EPR // EDP”, and wi t h t hat my hat goes off t o Gren-
del! The Dut ch cyberpunk hi msel f has done i t agai n wi t h a very st rong fourt h al bum firm-
l y root ed i n a cont i nui ng expl orat i on of hi s i ndust ri al/fut urepop root s. Ti mewave : Zero st art s out st rong wi t h a dramat i c, ci nemat i c prel ude and l aunches i nt o a seri es of pumpi ng cl ub fri endl y songs t hat fans of Grendel ol d and new wi l l l ove. The al bum i s armed wi t h agro modul at ed vox and dramat i c sampl es of Orsen Wel l es narrat i on of t he 1972 document ary Fut ure Shock. And when i t comes t o Grendel, woul d we have i t any ot her way? The onl y breaki ng ground here are t he ext remel y 90s femal e pop vocal s on Deep Wat ers. Whereas t he pace of t he whol e al bum i s dance floor mat eri al, t hi s one sways down t o a ni ce break i n t he al bum’s cadence. I’ve al so al ways l oved t he i ndust ri al fu-
t urepop t radi t i on of i ncl udi ng updat ed hi t s. Here Grendel t akes hi s flagshi p si ngl e “Chemi cal s + Ci rcui t ry” ori gi nal l y debut i ng on t he 2010 EP of t he same name and gi ves us a ki ckass 2012 versi on. Overal l t he energy and pol i sh of Ti mewave : Zero i s such t hat fol l owers of puri st new i ndust ri al wi l l be pl eased by t he machi ne made musi cal vi be of t hi s excel l ent edi t i on t o t he Grendel di scography. recommended tracks : Ti mewave : Zero, EPR //EDP
i f you l i ke you may l i ke : Aest het i c Perfect i on, DYM, Sui ci de Commando
grade : overal l 8 - musi c 8 - l yri cs 10 - recordi ng qual i t y 9
st ruct ures wi t h occasi onal forays i nt o psychedel i c/kraut rock t erri t ory. Throughout al l of t hat i s Pundt ’s gorgeous, shi mmeri ng gui t ar pl ayi ng. He’s one of t he most cri mi nal l y overl ooked and underrat ed gui t ari st s maki ng musi c t oday, and hope-
ful l y t hi s al bum wi l l hel p t o change t hat. The al bum t i t l e borrows i t s name, for t hose not fami l i ar, from a famous Ei nst ei n quot e about hi s i nabi l i t y t o expl ai n a phenomenon i n quant um physi cs. Far from bei ng abl e t o unt angl e t he myst eri es of t he uni verse or t heori es of rel at i vi t y, t he al bum nonet hel ess woul d probabl y make a great compani on t o a Carl Sagan or St ephen Hawki ng document ary. It ’s heady, t ri ppy st uff t hat al so remai ns firml y pl ant ed i n fami l i ar st ruct ure and doesn’t get t oo bogged down i n experi ment at i on. Hi ghl y recommended.
recommended tracks : St rangers, Monol i t hs, Remember Our Days
i f you l i ke you may l i ke : Spi ri t ual i zed, Cryst al St i l t s, The Jesus and Mary Chai n
grade : overal l 8 - musi c 8 - l yri cs 8 - recordi ng qual i t y 8
AUXI LI ARY j une/j ul y 2012 Recently you’ve been touring and writing with a new line-up for Orgy, and you’ve stated publicly that you wish to revive the band’s brand (something for which I’m personally very grateful, since I have missed the band very much since my days as a star struck teenager). What about the present moment inspired you to prioritize Orgy once again, and how do you feel its brand will differ (or stay the same) from its previous incarnations?
Jay Gordon : Well I’m glad that people haven’t forgotten about the band, and that was the main motivation behind the Revival, no pun intended. [laughs] That and one of the other main reasons is my son Jax wanting to get on stage with me and see the band play live. We’d been in hibernation status, since just before he was born. Seven years. Damn! I remember making the decision to finally get a new band together after Jax said, �Daddy, you said you were gonna take me on tour and get on stage with the band.’ I said, �That’s exactly what we are gonna do, so gimme a few weeks,’ and like magic it all came together with the new lineup. I don’t believe that there is any one thing that can make you want to do something more than when your kid looks at you and asks you to do it.
As for the branding situation, I have always embraced change as far as my musi-
cal endeavors go. I may not have been on the radar this entire time, but I did a lot of genre hopping and whatnot during that period of my life. I just never felt like anything I was writing was gonna be suitable for an Orgy release, so I shifted gears and tried to mess around with different ways to approach this part of my career. It all worked out for the best though. I think you totally intended that pun, but hey, I’m titling this interview with one of your lyrics, so we’re even. Orgy has been known not only for its music but also for its style, which has been unique among other bands in its genre. In an interview you once referred to yourself as a “fashion bitch”. How would you define your personal style now, and is there a chance we’ll see you in that white suit again?
JG : [laughs] The dreaded �white suit’! I don’t think I’ll be wearing that one any-
time soon. As far as style goes, I love fashion today, as I did back then, only I don’t drop nearly the kind of cash on a label as I used to.
What specific designers or brands inspire you these days? JG : The same ones that used to inspire me back in the day. Gucci will always be Gucci, and so on. Labels don’t change, only the people that wear them.
In the past several years you’ve focused a lot on the production aspect of the music industry, especially with your label D1 Music. How is that either more or less gratifying than being a frontman?
JG : I love both, but they are different beasts. One makes me feel good to bring someone else’s music to the forefront, which has its benefits, and the other makes you feel good because you are playing your music for people who are there to hear your songs, which is an amazing feeling. Both are good.
You mentioned to me that you’re excited about doing more DJing lately. What songs and artists would we be likely to hear you spin?
JG : Well, most likely not my own band. [laughs] I love so many EDM artists, like Kill the Noise, Skrillex, Drive Pilot, it just goes on and on.
Orgy has always been an electronica-based band, but lately you’ve been delv-
ing into other sectors of the ever-expanding genre, including your project Kill-
o-Watt and collaborations with Skrillex. How do you think this will influence Orgy’s new music? Should your fans expect a similar sound to your previous albums, or is there more of an evolution that’s taking place as you create?
JG : Orgy has always been about change, and electronic music. I think it is only a natural progression to fuse what I do with what other EDM artists do. As far as the Orgy sound goes, yeah, you can expect what I am listening to these days to be a part of the sound, and we never know what the actual end result will be until it’s LI FESTYLE
23
june/july 2012 AUXILIARY Fresh off tour and back in the studio, Jay Gordon talks to Auxiliary Magazine’s Arden Leigh about Orgy’s new sound and lineup, his ever-expanding work in electronica, and how one might end up throwing a fire axe into the ceiling of a dressing room.
photographer Nate “Igor” Smith
makeup artist Angie Peek
interview by Arden Leigh
AUXILIARY june/july 2012 dreaming in digital : Jay Gordon of
Orgy
LI FESTYLE
finished. I am curious too.
What are your plans for Orgy’s immediate future? Will there be a tour when the new album is com-
pleted?
JG : Well, as far as the band goes, we plan on heading back out on tour in July. We will have the single out in June, and if all goes as planned, that should take care of getting the band and the brand revived.
Speaking of touring, what’s the craziest thing you’ve ever done while on the road? I’m rather hoping you’ll share that Rammstein story, unless of course you have a tale that’s even crazier.
JG : I’d have to say busting up the dressing room with Rammstein was pretty nuts, and has to be one of the cra-
ziest moments I’ve had on tour. Hey man, they started that shit. [laughs] They are such a blast to be on the road with. We hit it off, and then you have some huge East German, ex-Olympic swimmer dude throwing a beer bottle at the wall right near your head, drunk off his ass, laughing… So you have to respond by pushing over a locker, that falls against the other lockers, and before you know it you are playing a game of locker battle dominoes. It’s only natural to follow that up with sticking the fire axe in the ceil-
ing, right?
Totally natural. I only wish my experience at a Rammstein show had been as dangerous! Though they did stain my silk Agent Provocateur lingerie with their soap bubble cannon. Anyway, moving on. You’ve been called a music industry pin up. I’m always interested in the dynamic that happens when a man’s public persona becomes sexualized (whether purposefully or not), be-
cause it seems much less common than when it happens to a woman. How do you feel about being labeled a sex symbol?
JG : Wow. Uh, sexy? Well I guess I’d seem narcissistic or something, so I don’t wanna touch that one. [laughs] I thought Rod Stewart was one of the only guys that could pull off talking about how sexy he was? Wait but then there’s that Right Said Fred guy. Yikes. Ultimately I’d have to say I’m flattered though.
Because I write the relationship advice column for Auxiliary, I’m compelled to include this question: What traits about the opposite sex do you find par-
ticularly attractive? If you could give all our female readers any generalized relationship advice from your own perspective, what would you tell them?
JG : I love when a female knows how to handle herself but doesn’t act too stuck up. I really enjoy it when a fe-
male has just as many issues as I do, but doesn’t have to bring them up all the time, so that they can relate without making you feel like you just scored at an AA meeting. [laughs] I’d have to say I’m the worst at relationship ad-
vice, but perhaps I’d tell them, not too much R. Kelly, meaning the closet is a place for jackets, not skeletons that come out to haunt you later. If you are into certain things, don’t be afraid to divulge a few things early on. I mean we all have some fantasies, and whatnot, and we (men) are not all retarded, and can probably accept you for who you really are, if given the opportunity to do so. Show and tell.
Finally, interpret this however you like: What’s your favorite indulgence?
JG : I like to get really wasted and drive around naked. [laughs] Just kidding. I would have to say acquiring new equipment or shopping for clothes. Boring right? Hey I could have been clichГ© and said hookers and blow. That would be a lie though. I hate blow!
AUXILIARY june/july 2012 24
LI FESTYLE
Nadia G
Hostess of the popular cooking show Bitchin’ Kitchen on Food Network Canada and the Cooking Channel in the US, and releasing her second cook book, Cooking for Trouble, Nadia G is heating things up with her cooking, humor, and style!
interview by Tasha Farrington
june/july 2012 AUXILIARY Bitchin’ Kitchen
of
I don’t know about all of you out there, but here at Auxiliary we like to eat. When we’re looking for something inspiring and fun to cook, we run to one cooking show, Bitchin’ Kitchen, with its super stylish creator and hostess Na-
dia G! Nadia Giosia is a one of a kind and refreshing take on what’s on in the land of food TV. In 2007 Bitchin’ Kitchen debuted as a three-minute online show. It was a fun and lively show mixing comedy and food. Fan’s wanted more and in 2009 a cookbook came out to satisfy the masses titled Rock Your Kitchen and Let the Boys Clean Up the Mess. Attracting attention of the net-
works in 2010 Bitchin’ Kitchen premiered on Food Network Canada and in 2011 brought her bitchin’ style to the Cooking Channel in the US. This year her new cookbook, Cooking for Trouble, was released and it’s about time Auxiliary caught up with this fast paced cooking goddess!
Jumping right in… what’s the process for creating the show?
Nadia G : Bitchin’ Kitchen is a comedy cooking show. So we’ll choose a theme every week, break-up brunches, rehab recipes, dysfunctional family pizza night, do all the comedy on that theme and then cook a meal that goes with it.
You’ve often said that your grandmother, mother, and aunts could rival any of the top chefs and you take a lot of inspiration from their traditions. Where else do you find inspiration with regards to cooking recipes for the show?
NG : I love to eat, so I’ll go to a restaurant and say, �wow, this is a really amazing brown butter sauce, wouldn’t it be fantastic with apricots.’ Just tasting food that other cooks and chefs make is always very inspiring.
You don’t just cook and look amazing while doing so. you teach the viewer a thing or two about every meal you make. Giving background info on the food’s spices and other ingredients you use with the help of your Bitchin’ Kitchen team. Can you tell us about your food correspondents and the roles they play within the show?
NG : We’ve got the Spice Agent, who’s an extremely neurotic Israeli from Raa-
nana, and he gives us more detail on a particular spice or herb that we’re featuring in a recipe. Most of the time he ends up talking about himself instead of a spice or herb but we bear with it. We’ve got Panos, the fish and meat guy, and he is a Greek butcher and fish monger and his family has been in the fish business for genera-
tions. Actually if you’re ever in Montreal, you can go to his fish shop which is “Le Gout De La Mer”, the taste of the ocean in French. And then we have Hans, our scantily clad food correspondent who is our resident nutritionist. He gives us all the health details while greased up and shirtless.
What is your personal favorite dish?
NG : I’m a big fan of fried chicken. I gotta say, I love fried chicken with maple syrup all over it.
What is the dish you consider most enter-
taining to make?
NG : I love making pastas, because they’re just so easy. And you can be inspired by any-
thing for the sauce! So you can have like a curry sauce, go a little more traditional with tomato and whatever vegetable you want to throw in there, maybe some pancetta. It’s just a lot of fun to play with sauce.
What food could you not live without?
NG : I’m going to have to say pasta.
What is your current food crush?
NG : Chilies. I love chilies, I’ve been put-
ting them in everything. We’re used to tasting spice in savory foods, but chilies are really fantastic in desserts and in drinks. You can LI FESTYLE
make a margari t a and put a coupl e of sl i ces of fresh j al apeno i n t here. You can make a del i ci ous cheesecake and j ust mi nce up a l i t t l e bi t of habanera. You’ve got t he heat from t he chi l i and t he creami ness of t he cheesecake bal anci ng t hemsel ves out. Have some fun wi t h chi l i es. But not t oo much fun!
If trapped on a desert i sl and, what other chef ’s cookbook woul d you choose to have wi th you?
NG : [Mari o] Bat al i ’s cookbook. But i f i t ’s a desert i sl and, I woul d probabl y choose a book t hat ’s focused more on seafood.
You have a very uni que styl e from what we see on TV, why do you thi nk food and fashi on work so wel l together?
NG : I do real l y t hi nk t hat t hey work t oget her, because at t he end of t he day i t ’s al l about bei ng passi onat e and expressi ng yoursel f. Whet her you’re expressi ng yoursel f vi a past a fazul or you’re expressi ng yoursel f wi t h t he cl ot hes t hat you wear. They defini t el y go t oget her.
Do you have any advi ce for readers who want to be true to thei r own styl e yet aren’t sure how to rock out skel eton heel s i n the ki tchen?
NG : Fi rst t hi ng, go for a pai r t hat ’s t hree i nches, anyt hi ng hi gher t han t hat and i t mi ght get a l i t t l e crazy i n t he ki t chen, a l i t t l e uncomfort abl e.
What i nspi res your personal styl e?
NG : I t hi nk I’m made from my personal i t y. I’ve al ways been a l i t t l e count er-
cul t ure. I l ove j uxt aposi t i on, bl onde hai r, shaved si des, pi nk nai l pol i sh al l scraped off. Men’s account ant shi rt wi t h l eat her pant s. I t hi nk women and men are very compl ex creat ures and one can have a l ot of fun expressi ng t hat compl exi t y wi t h t hei r st yl e.
As Montreal, Canada nati ve, do you have a favori te Montreal or Canadi an desi gner? NG : Travi s Taddeo and Deni s Gagnon.
Now that you’re i n LA, are there any desi gners that you woul d l i ke to men-
ti on?
NG : There i s one st ore t hat I absol ut el y l ove cal l ed Openi ng Ceremony. What t hey do i s every season t hey focus on a di fferent count ry and bri ng i n cool and hi gh-end fashi ons from al l around t he worl d. I recent l y got t wo j acket s whi ch I l ove, fri nge j acket s from Argent i na. The fri nges are al most t wo feet l ong! If you coul d have any one outfit for the rest of your l i fe, what woul d that outfit be?
NG : I woul d t ake my best l eat her l eggi ngs, James Perse T-shi rt, and my four-i nch spi ked Loubout i ns. And my j ewel ry, al l of i t! Wi th a TV network show, styl i sh musi c vi deos, onl i ne bouti que, and two cook-
i ng books, what’s next for Nadi a G and Bi t chi n’ Ki t chen?
NG : We got renewed for a t hi rd season, so I’m real l y exci t ed about t hat. Hopeful l y a t hi rd cookbook, much more wi l d musi c vi d-
eos, and a bunch of new shoes!
Where can we get our dai l y Bi t chi n’ Ki t ch-
en fix?
NG : Come and see us onl i ne, we have a great communi t y. We’re al most gonna hi t a hundred t housand fans soon and every day we have a bunch of fan quest i ons, and supper cl ub chal l enges. Come and say hi on www.
facebook.com/Bi t chi nKi t chen or on t wi t t er @bi t chi nki t chen.
AUXI LI ARY j une/j ul y 2012 26
EntrГ©e : Sal ti mbocca Veal Cutl et Sandwi ch
Servings : 4
Level : Easy
Cut l et sandwi ches are t he best! I l ove t hem so much t hat I act ual l y st ol e one from my cl assmat e i n fift h grade. Seri ousl y. Thi s ki d al ways had bi g pani ni s ful l of t he good st uff. So I memori zed hi s l ocker combi nat i on, sneaked out t a cl ass, broke i nt o hi s l ocker, and st ol e hi s cut l et sandwi ch. If t hat doesn’t scream It al i an, I don’t know what does.
Grocery List :
* 4 cut l et s free-rai sed veal
* 3 eggs, beat en
* 1 cup It al i an seasoned breadcrumbs
* 1/4 cup canol a oi l
* 4 sl i ces prosci ut t o di Parma
* 1/2 cup mayonnai se * 3 sweet gherki ns, mi nced
* 1 t bsp mi nced fresh sage
* 4 kai ser rol l s, hal ved and t oast ed
* 10 fresh baby romai ne l eaves Cutl ets : Usi ng a meat mal l et, pound t he veal cut l et s 1/4 i nch t hi ck. Then di p t he veal cut l et s i n t he beat en eggs, and coat t hem wi t h t he It al i an seasoned breadcrumbs. In a l arge fryi ng pan, heat t he canol a oi l t o 350В°F, and fry t he cut l et s for 2-3 mi nut es per si de, unt i l gol den, cri spy, and cooked t hrough. Drai n t he cut l et s on paper t owel s. Add t he prosci ut t o sl i ces t o t he pan, and fry for about 1 mi nut e, unt i l very cri spy. Drai n t he cri spy prosci ut t o on paper t owel s. Sage Mayo : In a smal l bowl mi x t he mayonnai se wi t h t he sweet gherki ns and sage.
Shki affing It Together : Sl at her each Kai ser rol l wi t h sage mayonnai se, add a cut l et and a sl i ce of cri spy prosci ut t o, and t op i t off wi t h some baby romai ne l eaves.
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Nadia G’s Recipes : 3 Course Meal
Gear :
* meat mal l et
* l arge fryi ng pan
* smal l mi xi ng bowl
Si de Dish : French Green Bean Sal ad
Servings : 6
Level : Easy
A bi t chi n’ spread al ways needs somet hi ng fresh n green… wi t h bacon i n i t.
Grocery List :
* 1 cup wal nut s
* 1 l b hari cot s vert s, t ri mmed
* 8 sl i ces bacon, di ced
* 1 cup cherry t omat oes, hal ved
3 l emons, t hi nl y sl i ced
1/4 red oni on, t hi nl y sl i ced
2 t sp sea sal t
1 t sp sugar
3 fresh oregano spri gs
1 finger hot chi l e, hal ved l engt hwi se
ext ra-vi rgi n ol i ve oi l
Mari nated Lemons : In a medi um-si zed bowl, t oss t he l emon and oni on sl i ces wi t h t he sal t and sugar. Put t he oregano spri gs and chi l e i n a gl ass j ar. Add t he l emons and oni ons t o t he j ar and pack t i ght l y. Fi l l t he j ar wi t h ol i ve oi l. Cl ose t he j ar and gi ve i t a good shake t o di st ri but e t he ol i ve oi l, and t hen add more oi l i f t here i s st i l l room. Cl ose t he j ar agai n and l eave t he cont ent s t o mari nat e i n t he refri gerat or for 2 days. Di ce 15 sl i ces of mari nat ed l emon. Ret ri eve al l t he oni on sl i ces and add t hem and t he di ced l emons t o a sal ad bowl.
Toasted Wal nuts : Preheat t he oven t o 350В°F. Toast t he wal nut s on a baki ng sheet for about 10 mi nut es. Let t hem cool. Hari cots Verts : Bl anch t he hari cot s vert s i n a l arge pot of boi l i ng sal t ed wat er for 1 mi nut e. Drai n t he beans and i mmedi at el y pl unge t hem i n an i ce bat h. Once t hey have cool ed, drai n t he beans, add t hem t o t he sal ad bowl.
Bacon : Heat a l arge fryi ng pan over medi um heat, and fry t he di ced bacon pi eces unt i l cri spy and gol den, about 10 mi nut es. Drai n on a paper t owel.
Shki affing It Together : When ready t o serve, add t he bacon, wal nut s, and t omat oes t o t he sal ad bowl. Dri zzl e t he sal ad wi t h some of t he oi l from t he l emon mari nade, and season t o t ast e. Toss and serve.
Gear :
* l arge sal ad bowl
* baki ng sheet
* l arge pot
* fryi ng pan
* 1 medi um mi xi ng bowl
* 2 cup gl ass j ar wi t h l i d
Dessert : Rebecca’ s Psycho PMS Chocol ate Bal l s
Servings : 22
Level : Easy
I got a t ast e of t hese babi es at my fri end’s Rebecca’s pl ace. One sweet and sal t y and nut t y bi t e l at er, my t ast e buds and I bot h agreed t hat me and Rebecca woul d be fri ends for a l ong t i me.
Grocery List :
* 1 cup finel y chopped semi -sweet chocol at e
* 1 cup finel y chopped mi l k chocol at e
* 1 cup but t erscot ch chi ps
* 1 1/2 cups unsal t ed dry-roast ed peanut s
* 1 1/2 cups crushed pret zel s
Chocol ate Mi xture : Heat a doubl e boi l er over medi um heat. Add t he semi -
sweet chocol at e, mi l k chocol at e, and but t erscot ch chi ps t o t he t op pan. St i r unt i l everyt hi ng i s mel t ed. Remove i t from t he heat, and fol d i n t he peanut s and pret zel s. Let t he mi xt ure cool sl i ght l y at room t emperat ure.
Shki affing It Together : Li ne a baki ng sheet wi t h parchment paper, and scoop on heapi ng t abl espoons of t he chocol at e mi xt ure. Refri gerat e for 5 mi nut es. Remove i t from t he fri dge, and wi t h your fingers, gent l y compact t he i ngredi ent s t o form bal l s. Cover and refri gerat e unt i l you’re ready t o serve t hem.
Gear :
* doubl e boi l er
* baki ng sheet
* parchment paper
Unless you’ve been dreaming in a coffin for the past one hundred years, you know who Vincent Price is. A horror icon, he is known for his icy voice and easy por-
trayal of the villain in many movies. His cool depiction of Poe madmen and evil psychopaths has firmly cemented him in the annals of horror history. Yet, his repu-
tation seeps through all darker subcultures. Whether you are a horror fan, a Tim Burton fan, a Misfits fan, a goth, or involved in any way with a darker subculture, Vincent Price’s legacy pervades.
It’s hard to escape the impact that Vincent Price has made on dark subculture. So many artists and filmmakers have been influenced by his extensive repertoire. Countless musicians have included Vincent Price in their music including The Misfits, Alice Cooper, and Wednesday 13.
A modern smith of goth imagery, Tim Burton, was greatly influenced by Vincent Price. Burton grew up watching Price play in Gothic horror movies such as The Raven and The Pit and The Pendulum. As a young animator at Disney, Burton wrote a six-minute film entitled Vincent. The stop-action animated short is about a boy named Vincent Malloy who is obsessed with Edgar Allan Poe stories and wants to grow up to be Vincent Price. Price agreed to do the narration for Vincent and a wonderful collaboration and friendship began between Vincent Price and Tim Burton. A few years later Burton wrote the part of The Inventor for Vincent Price in Edward Scissorhands, which would ultimately be Price’s last film ap-
pearance.
Like many adults my age, I was introduced to Vincent Price as an impressionable child through the Michael Jackson “Thriller” music video. My parents and their friends all gathered around the Zenith in the living room to watch the premier. I peered around the corner to catch a glimpse of the screen, knowing that it was scary but too excited to turn away. When Vincent’s smooth chilling voice began to speak I was mesmerized. His maniacal laugh haunted my little footed-PJ dreams for years.
Fast-forward to 1990 and the release of Tim Burton’s film, Edward Scissorhands. I went and saw this movie multiple times in the theater, each time begging a differ-
ent friend to go with me. Even as a young teen I was moved by the lonely Inventor, played by Vincent Price, and his sad creation that was Edward.
This was my introduction to Vincent Price. Some however, might have been intro-
duced to him through an episode of The Muppet Show or Sesame Street. Most, like Tim Burton, were introduced through more traditional means by watching one of his numerous horror movies.
Price’s first horror film was The Tower of London starring horror heavies Basil Rathbone and Boris Karloff in 1939. In 1953 Price starred in The House of Wax. He played the deranged Professor Henry Jarrod, who makes his cherished wax figures out of the recently deceased. The House of Wax was the first 3D movie released by a major American studio and kicked off the 3D movie craze of the 1950s.During the 1960s Price teamed up with Roger Corman in a number of Gothic horror films, later known as The Poe Cycle. These included many adaptations of Poe classics, such as The Fall of the House of Usher and The Masque of the Red Death. Some may remember the Milton-Bradley Shrunken Head Apple Sculpture that Price promoted in the 70s. It was a toy that would turn a dried out apple into your very own shrunken head, minus the pesky voodoo. This type of spooky camp re-
ally endeared Vincent Price to so many of his fans.
ICON
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The Vincentennial, an event celebrating what would have been Price’s 100th birth-
day, was held in St. Louis last year. Victoria Price, author of Vincent Price: A Daughter’s Biography, gave a presentation where she said that she will always be grateful to Tim Burton because, “along with Michael Jackson, it was Tim Burton who introduced my dad to the next generation.” Making this movie, becoming friends with Johnny Depp, and Tim Burton, “was an extraordinary swan song for my dad.”
I had the pleasure of meeting Victoria Price in Toronto last year when she was gearing up for the Vincentennial. She was ecstatic to learn that I had named our son after her father and she generously gave us a signed poster of her father with a quote that her dad told her often, “If you are always curious, you will never be bored.”
Victoria Price graciously agreed to be interviewed for this article:
At the Vincentennial, you mentioned that your father was the most interesting person you ever met. It seems many of his fans are fans because of the roles he took but also because of the fully rounded individual that he was.
Victoria Price : I think that he was so interesting because he was so interested in everything, in other people, in new ideas, in beauty, in learning about other cul-
tures, in travel. He was always curious and always assimilating new information. His excitement about being alive was infectious and it made me (and others) look at the world with more joy, hope, and interest. It was a glorious way to grow up.
In regards to you father and Tim Burton’s relationship, could you expound on how your father may have felt about being introduced to an entirely new and younger audience?
VP : My father always loved staying “current”. When I was a little girl, he was in his 50s, and he took great pride and glee in appearing on shows such as Batman, The Brady Bunch, and Get Smart, that I and all my friends watched. He loved be-
ing around young people and, in many ways, never lost his childlike enthusiasm for life.
How do you think your father would feel knowing how beloved he is in the goth subculture?
VP : His love of art as a boy growing up in the Midwest made him feel like an outsider. Sure he was from a very successful upper middle class family, and he could make friends with anyone. But in his heart, he felt like he was different, because his appreciation of art and beauty made him look at the world differently. To me, that is the essence of the “goth subculture”, people who look at the world differently, and feel different than the mainstream. I think my father understood that and would understand why he appealed to people who felt as he did, different. And mostly, he would have been extremely grateful to be beloved and remem-
bered as he is.
Vincent Price was truly an amazing man. He leaves us not only the gift of over 100 movies, but also his legacy as a remarkable human being. He helped establish the first teaching art collection at a community college. He donated large amounts of money to various charities. He fought for racial equality. He is known for taking the time to personally reply to as many of his fans as he could. He was always happy to talk and take pictures with his supporters.
Quoting Victoria Price from the presentation she gave at the Vincentennial, “If we can live life with even a tenth of the joy and curiosity and interest and kind-
ness with which my father approached life then we will all be making the world a better place.”
The films of Vincent Price cultivated a Gothic disposition through numerous gen-
erations. There are many icons within our environment that shape and fill what dark subculture is. Vincent Price is firmly established among these icons, shaping what we know and believe to be Gothic. His composed yet campy demeanor will forever epitomize the essence of cool in the goth world.
29
Vincent Price is a horror icon known for his icy voice and easy portrayal of the villain in many films. Beyond his legacy as an actor is his legacy as a remarkable human being. With the recent Vincentennial celebrating his life and work, his daughter Victoria Price championing his legacy, his inspiration to Tim Burton, and his inspiration to many fans of horror and all things goth alike, it is clear Price is an icon.
written by Elizabeth Masarik
illustration by Jason Masarik
Vincent Price
june/july 2012 AUXILIARY 1975. 1975 might be the best year rock n roll has ever known. Alice Cooper re-
leased Welcome to my Nightmare with its huge theatrical production of a tour. The Rolling Stones performed on a flatbed truck driving down 5th Ave in NYC to pro-
mote “Brown Sugar”. Punk rock was being born in the back room at Max’s Kansas City. The signing of the Ramones to Sire Records, and The Sex Pistols play their first show and on the other side of the Atlantic. Led Zeppelin release “Physical Graffiti” which would sell over 16 million copies and on the cover of the album a photo of a building in New York City on St. Marks Place in the East Village. Had the photographer taken the picture a few blocks down, he might have caught Basquiat tagging the sign of a new shop being taken over by Ray Goodman that would come to be known as Trash and Vaudeville. Trash and Vaudeville is a NYC landmark that has been outfitting rockers, mods, punks, goths, rockabillies, working class heroes, and working class trannies since any of those genres excited nearly. And whatever your scene, in 1975 it was all going down on St. Marks, and Trash and Vaudeville was there to dress it!
When you enter the top floor of Trash and Vaudeville, it takes a second for your eyes (and sometimes ears) to adjust to the rockness that IS Trash. Music from The Clash to Tom Waits reverberates in the air. And visually, it’s kinda what you might imagine the inside of a zebra might look like. All white walls with streaks of black everywhere. No pastels or earth tones here. If there IS a color it’s bright red, yellow, neon pink, or some other non-subtle color. Patent leather bondage pants to patchwork flairs, foil leather go-go pants to western shirts, skeleton motorcycle jackets to steampunk dresses to just plain black stretch jeans. And that’s just the top floor! When you turn to the left, you will see the register and find the Trash and Vaudeville or “Trash” as the locals call it, wall of fame. You’ll see autographed photos of everyone from Aerosmith and Avril Lavigne to ZZ Top and Peelander-Z. Looking at the pics you might have a moment of déjà vu. The people in the photos with Deborah Harry or My Chemical Romance look familiar, but you’re not sure you know them. That’s because it might be one of the staff that gave you a warm greeting as you entered. You could very easily be intimidated by the awesome clothing and amazing ce-
lebrity photos on the wall and jump to the conclusion that the staff would carry as much attitude as Johnny Rotten. Just when you thought you had Trash all figured out, you couldn’t be more wrong.
Jimmy Webb, the manager of Trash and Vaudeville and has worked there for thirteen years. He’s a native of upstate NY and moved to NYC after hearing Lou Reed’s “Walk on the Wild Side” on a transistor radio in 1975. Jimmy has some very illustrative stories of exactly what you get when shopping at Trash and Vaudeville. “One time, when Ray [the owner] used to work here in the shop, Bruce Springsteen came in. He liked the shirt Ray was wearing and Ray literally gave him the shirt off his back and it ended up on the cover of his album, The River. Many years later, the same thing happened to me with Iggy Pop. He wanted the pants I was wearing so I let him have them. He wore them on the Skull Ring album, and I think that says it all! The shirt off your back, the pants right off my legs. Our finger is on the pulse of what makes people happy,” grins store manager Jimmy Webb. After thinking for a minute Jimmy smiles further, “well I did make Iggy give me my pants back though, [laughs] but he had them for the shoot and we made sure he looked and felt his best. And no matter who it is, we always give our best to our customers.”
The bottom floor is more the accessory, jewelry, and shoe department. Trash’s shoe department is legendary. You don’t have to have a shoe fetish to appreciate the selection of shoes Trash carries. All you need is two feet and good taste in rock n roll fashion. Whatever you need, Chuck Taylors, 6” stiletto heels, Doc Martens, creepers. Jimmy explains, “Trash and Vaudeville was the first store in America to carry Doc Martens so we will always carry those, we will always carry creepers, we will always carry leopard prints and skulls and those are things that have come and gone in mainstream popularity.” Which raises the question, how does a store as authentic and as genuine as Trash feel about the mainstream crossover of rock n roll couture? For example Paris Hil-
ton sporting a Motorhead shirt, Pyramid studs everywhere, Ramones babies one-
sies? Jimmy replies, “I don’t think it’s relevant. Again, we have been selling these things for years. Just because it’s in Bergdorfs, how does it affect me? It doesn’t. It doesn’t affect the spirit of rock n roll or what we do. Funny, it was skulls, now it’s studs. We did it thirty years ago, and well do it now, and we’ll do it forever. We stand for the truth of what it’s about and we will always do it.”
Visit Trash and Vaudeville at 4 St. Marks Place and at trashandvaudeville.com.
brick &
mortar
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Trash and Vaudevi l l e i s New York Ci t y’ s l andmar k cl ot hi ng shop of al l t hi ngs punk rock r i ght on t he f amous St. Marks Pl ace i n t he East Vi l l age
.
wri tten by Acey Sl ade
photographed by Ron Dougl as
Trash and Vaudevi lle
AUXI LI ARY j une/j ul y 2012 AUXI LI ARY ONLI NE CONTENT See more i mages from t hi s feat ure by searchi ng “Trash and Vaudevi l l e” on www.auxi l i arymagazi ne.com.
Auxiliary Magazine Presents
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the PinUp
Auxiliary’s playful take on the sexy centerfold pin up. Flip the page, cut out, and tac on your wall!
photographer Steve Prue
fashion stylist Arden Leigh
makeup artist Anna Victoria H. Scheumann
hair stylist Anna Victoria H. Scheumann
model Kent Kaliber
interview by Arden Leigh
Kent Kaliber
Kent Kaliber, best known for his scene-
stealing run on two Emmy Award Winning seasons of the CBS series The Amazing Race, and for being one of the most-
photographed male models in the world of commercial alternative fashion. He has appeared as special guest at virtually every comic convention you can think of, as well as music festivals from Bamboozle to the Warped Tour. The current host of Bar Sinister every Saturday night in Hollywood, Kent is this issue’s PinUp.
june/july 2012 AUXILIARY LI FESTYLE
Q : Last ni ght I went out and i nvi ted the guy I l i ke to drop by where my fri ends and I were, and he sai d maybe. He texted me l ater on i n the ni ght ask-
i ng i f we were there yet, but I mi ssed i t! I texted, “hey I onl y saw thi s now!” I feel l i ke maybe i f I answered, we woul d have met up and everythi ng woul d have been al ri ght. I feel real l y out of pl ace texti ng hi m some more... that was my onl y shot at bei ng casual! Now I feel l i ke i f I try to start a conversati on I mi ght even ri sk a no-text-back, and I mi ght be pursui ng too much, and i f he says no to the date I’l l be crushed and my chances wi l l l i teral l y be at 0%, ver-
sus wai ti ng i t out and “restarti ng” thi s process, i.e., two weeks down the road I ask hi m to drop by, but ever so casual l y. So Arden, do I take the pl unge?
A : You ri sk so much more by wai t i ng i t out. If you wai t i t out and come back t o me how do you t ake t he pl unge but come of f as casual at t he same t i me?
Ask Arden
how do you handle being rejected?
Q : I just got rejected! This is the first time I’ve ever gotten rejected in my entire life. I feel... human. Any words for the future?
A : I’ll let you in on a little secret, I, Arden Leigh, get rejected plenty because I pur-
sue what I want all the time. I get rejected way more often than people who don’t pursue what they want, because by pursuing what I want I necessarily open myself up to it. I also succeed more often. Your successes are worth the cost of your rejec-
tions. I’ll say that again, your successes are worth the cost of your rejections. Be okay with crashing and burning. Rejection isn’t the end of the world, nor is it a reflection on you personally. So much of this work is about the knowledge that you can get back up on your horse and keep going, that one or two “failures” (or what-
ever) are no big deal because there will always be more interesting horizons for you to pursue. It’ll suck momentarily and then you’ll move on, because you’ll live a lifestyle where you are constantly inviting excitement, romance, and intrigue into your life. In my humble opinion, if you’re not getting rejected at all, you’re not risking enough, you’re not going after big enough game. Failure is a sign that you’re challenging yourself and challenging yourself is necessary for growth.
submit your questions to : askarden@auxiliarymagazine.com
AUXILIARY june/july 2012 32
for more advice later I’m basically going to just say I told you so, so be warned. Your “I only saw this now” text already made you seem way casual because it was clear you weren’t waiting for him to contact you. He probably already thinks that’s an indicator that you’re not super into him. He reached out and showed interest, and you (mistakenly) blew him off, so your next ping should be a generous one. Text him with, “Hey let me make it up to you for missing you the other night! Coffee this week?” Listen, darling. Your whole frame of “I might be pursuing too much”, “I’ll be crushed”, “my chances will be at 0%” are ruining you far more than any text you might send or not send. Your chances will not be at zero percent if he doesn’t text back; you will simply send him another ping forward and give him the benefit of the doubt that he didn’t text you back for reasons that have nothing to do with you (e.g., he was at work or with his family at the time and forgot to get back, he didn’t get the text, it got lost in the shuffle, whatever, because clearly you are awesome and his lack of texting could not possibly be for lack of interest). Know this, guys can smell the fear on you. Your best-executed seductions will be the ones you didn’t let screw with your head, the ones you allowed yourself to not give that much of a fuck about but rather approached with playfulness and daring. They will be the involvements you ran toward with excitement rather than cringed away from in anxiety. Listen, this is so important, if you allow yourself to be afraid of the man you desire, you will never be able to create experience for him. Seduc-
tion is an essentially generous action because we are devising a beautiful, almost otherworldly experience for another person. We are causing them pleasurable emotions, things like desire, curiosity, excitement, lust, intrigue, the deep comfort of commonality, and ultimately the exhilaration of knowing that if they fall for us we’ll be there to catch them, and you can only go about creating this for someone if you truly, profoundly believe that you have something meaningful to bring to their table. You must look at these interactions with an intense understanding of the value that you are able to bring into someone’s life. If you are scared of the men you want, you will hesitate and fail to act in the decisive manner necessary to move things forward, and your cowardice will cause you to deprive them of the pleasure of being with you. So, in your case, do more than you think you should. Bringing together her experience in neuro-linguistic programming, psychology, pick-up artistry, and the fetish industry, Arden Leigh, today’s freshest voice on women’s dating and relationship strategies, answers your questions. name : Kent Kaliber
birthplace : Louisville, KY
current residence : Hollywood, CA
eye color : dark brown
hair color : Black as black can get.
turn-ons : Pin up. Mirrors. Black lace. Garters of any color. Popsicles.
turn-offs : Fashionable-negativity, exclusion, pineapple on my pizza, your drama.
why do you model? : Modeling gives me both a means of artistic expression and a way to pay my bills. I love the creative aspect of it and I also love being the “clothing hanger” to showcase a new T-shirt in a catalog.
how did you get into modeling? : I did “hometown” modeling back in Louisville, KY for the newspapers, local advertisements, etc. When I moved to Los Angeles, I took things to the next level and had the opportunity to model for the brands I had been in love with my entire life.
favorite music : 80s/new wave, synthpop, goth/
industrial, and metal. Depeche Mode can do no wrong.
favorite movies : Star Wars original trilogy (sans re-
release changes). Rocky Horror Picture Show. 80s fantasy flicks. Anything Tim Burton.
favorite tv show(s) : Sailor Moon! 90s Nickelodeon! Anything with a super hero, vampire, zombie, or alien!
favorite book : Honestly? Not much of a reader... my favorite books all have pictures. [winks]
favorite color : Pink and black.
favorite tattoo : Any ink on a girl.
favorite cocktail : I don’t really drink... but if you mix pretty much any fruit juices, I will be a happy boy.
favorite article of clothing: My platform sneaks from Osaka, Japan. Most complimented and versatile shoes I will EVER own.
favorite fashion designer : H Naoto
favorite fashion style : Depends on my mood. Some days I want to look like I’m on the way to a rock show, other days I want to look like I just walked out of an anime convention.
favorite star/icon : My mom has been dealing with breast cancer, she is my shining star.
favorite outdoor activity : Traveling the world on Amazing Races.
favorite indoor activity : Pretty much, if I am indoors in a climate-controlled environment, I am having fun.
favorite club night/place to go out: Bar Sinister and Das Bunker in Los Angeles.
anything you’d like to say to our readers? : If you are reading this, you must be pretty rad. Thanks for spending some time with me. Kisses.
for more visit www.facebook.com/KentKaliber
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AUXILIARY june/july 2012 You’ve reached an unusual degree of commercial success as an alt model, modeling for a lot of very well known brands, including Hot Topic, Tripp, Skelanimals, and Lip Service. Describe your personal journey into the field, what advice would you give aspiring models out there? Kent Kaliber : It all started back in Louisville, KY, I did “hometown” modeling for the newspapers, local advertisements, basically anything in which a “rocker kid” was needed. When I moved to Los Angeles, I took things to the next level and had the op-
portunity to model for the brands I had been in love with my entire life. Alt modeling is unique because there is much more room for aesthetic experimentation and creativity. My advice for aspiring alt models out there is to experiment with your look as much as possible as you shoot to really find your “niche” and to realize that a strongly branded non-traditional image can be marketable in the alt world and beyond.
For you personally, what are the differences between modeling for a clothing brand and modeling for portraits where you are the focus instead of the clothes?
KK : When you model for a clothing brand, you are on a MISSION, that mission being to “sell” the clothing. You must pose and position your body to augment and show off any special features on the clothing. As you make your facial expressions, you kind of have to imagine yourself in environments in which the clothing “makes sense”... aka are you at concert in the mosh pit, on a romantic date, walking down a busy urban street, etc. In portrait/pin up shoots, you aren’t as confined by the “brand” you are wearing, it’s more about creating a look, an image, that the viewer can never forget.
Every Saturday you host the party Bar Sinister in Los Angeles, one of LA’s most successful weekly goth parties. If someone had not yet been to Bar Sinister, what would you tell them they could expect there on a typical night?
KK : One of the many things I love about Bar Sinister is that there is something for everyone, it is a dark playground suited for experienced clubgoers that also welcomes and embraces first-timers into the alternative scene. A typical night? There is nothing “typical” about Sinister... but there are always A-list scene bands on our stage, amaz-
ing DJs rocking the dancefloor, go-go dancers, and a “who’s who” list of avant-garde patrons. The night has an unmistakably decadent edge to it, I get such a thrill being part of it! Seeing is believing, check it out at www.BarSinister.net.
You gained a large following during your two seasons on The Amazing Race, espe-
cially from goths across the country who were excited to see someone from their culture represented in a mainstream, decidedly non-goth show. What has the re-
ception been like post-Race?
KK : You know, the reception post-Amazing Race was pretty mind-blowing. My race partner and best friend Vyxsin and I now do appearances at comic conventions and vari-
ous events across the country. Alternative cultures are definitely not always portrayed in the most positive of light in mainstream media, I felt like our Amazing Race appearance was a strong step toward changing that. It feels quite rewarding when we get stopped in a mall to take a photo with a teenage fan, and afterwards his parents also ask us for a photo-op!
You’re one of the few guys out there who really knows what he’s doing when it comes to makeup. Who were your style icons growing up, and what made you decide to perfect your skills in eyebrows and eyeliner application?
KK : [laughs] My first style icon was probably Jack Skellington. As for makeup skills, practice, practice, practice! Growing up, I kind of developed an obsession with makeup and I always appreciated boys that were bold enough to give it a try! Why let the girls have all the fun?
Describe your ideal first date.
KK : Not sure how it would start... pretty sure how it would end... be as imaginative as you like.
Finally, how does it feel to be chosen as Auxiliary’s PinUp? Are you accustomed to being portrayed as a sex symbol, or are we breaking new ground by snapping photos that are, well, more you and less clothing?
KK : This Auxiliary photoshoot with Steve Prue has been one of my favorite shoots to date. It was far more personal and intimate than my commercial work and my first published shoot in a little less clothing, I loved it! As much as I adore fashion, the exhi-
bitionist in me loved letting loose a little for the Auxiliary PinUp. I feel very lucky!
june/july 2012 AUXILIARY AUXILIARY ONLINE CONTENT See more images from this feature by searching “Kent Kaliber” on auxiliarymagazine.com.
|FAT|
Kent Kaliber
Now in its seventh year, Toronto Arts & Fashion Week, better known as |FAT| has come along way from its humble beginnings. |FAT| has established itself as a front runner in the mainstream fashion industry, showcasing collections from Toronto and the world, while still maintaining its alternative roots. It has become a venue for the latest collections of some of the best alternative fashion designers in the Northwest. |FAT| allows these collections to be shown, not in dark and un-ideal nightclubs, but in the traditional runway setting, while at the same time breaking traditions with models that break the strict industry standards, cuts and styles that blur gender lines, unconventional materials, and fashion forward designs. |FAT| is a journey for the senses through art installations, performance pieces, photog-
raphy, and of course, fashion. The theme of this year’s event was Fashion-scapes with each day having a sub-theme of its own, land, city, body, and future.
Day 1 kicked things off with Landscapes, and a veritable garden of blooming couture followed. One of the highlights of this particular evening was the collec-
tion by designer B.E. Shields. The dark, flowing fabrics were almost hypnotic, and hugged the models curves expertly, while the buckle accents found on some of the garments gave them an edgier feel. This collection also brought about a beauti-
ful cohesion between masculine and feminine fashions in a fun, flirty, wearable way. The stealer of the show, however, was Asphyxia whose Bloom collection undoubtedly took everyone’s breath away. Referencing the styles of the Victo-
rian era, Asphyxia’s collection was more art than fashion. Each piece was entirely unique using a variety of fabrics ranging from furs to antique lace to age-old silk, making each piece extremely delicate. As if this wasn’t enough, each piece was covered in live or dried flowers and foliage to bring a whole new concept to As-
phyxia designer Alex DeFrancesco’s art-as-fashion ideal. When asked to describe her collection DeFrancesco said, “I like to reference classic lines and materials, but shake them all up, make them more edgy. It’s about coexisting extremes and I think that means my work can say a lot or speak to many different people. One description that appeals to me is �deconstructed couture’, but I particularly also like bringing more history to my work, and bringing more darkness. It’s a hard [thing to describe], but I’m enjoying some of the labels others are coming up with lately… 1920s boudoir, bordello in hell.” When asked which piece in the collec-
tion she felt to be most successful she replied, “All my pieces are like my children in an aspect. I can’t really pick one over the others. It was such a journey to create each one that literally my blood sweat and tears are in each, each one has a place in my heart. I did enjoy how my finale piece turned out though.” A striking piece of sheer lace with, “living flowers on the dress and parasol,” with a tied up black, “jacket over it [that was] cut off in a performance art moment on the runway.” The piece was topped with a parasol of flowers that when spun showered blooms down onto the model. Day 2 brought us Cityscapes providing all the urban trendsetters with an assort-
ment of fashion eye candy to please every palate. There were so many amazing collections from this night, but some stuck out among the rest. Esther Perbandt, a German-born designer, gave us a stunning all-black wardrobe reminiscent of modern goth, echoing military cuts and styles. This show had some of the most interesting menswear of the entire week with chic, yet masculine styles that could appeal to any man regardless of his style preferences. Victory & Vice, the new collection from Laura Stewart of Futurstate, was a departure from what we have come to know and love from her Futurstate line, but it did not disappoint. This exploration into the more contemporary gave us a look that is sleek, sexy, and maybe slightly more mature. The new collection is both classic and feminine, but with an underlying hint of bad girl, perfect for those of us that like to be edgy, but still look like a lady. Raji Aujla gave us a politically inspired line of fashion forward menswear. Using a variety of fabrics and textures, the designer created an interesting fusion of the old and the new. Another interesting collection was shown by Woudenberg. The designer showed a variety of hip and trendy looks while still making a very bold statement about the egocentricity of the fashion industry. It was a thought provoking show that included both runway and video.
On Day 3 we were titillated with Bodyscapes, and much like the theme of the night suggests, the body was molded, sculpted, and reshaped. Curves were hugged. Cor-
sets were tightened. Latex was shimmied into and then shined to sparkle. We were treated to a welcome collection of the most fantastic latex designs from House of Etiquette. Ashley Davies of House of Etiquette had much to say about her collec-
tion, “This collection was all about mixing retro inspired styles with S&M un-
dertones like crotch zippers, lace up backs, and high collared dresses worn with latex hoods.” Davies continued, “Our collection �Desire Transformed’ was loosely based around a vampish woman who uses her confidence to get what she wants. The pieces in the collection were designed to transform not only how the wearer looks, but how they feel, their attitudes and empowering their self-image.” On the same night we were privy to the notable work of Diana DiNoble of Starkers Corsetry. Starkers Corsetry showed a gorgeous collection of corsets, dresses, and gowns that had a distinctly matrimonial feel to them in beautiful eye-catching colors. DiNoble’s collection ended with a piece that has been in every goth girl’s dreams, a giant black, Victorian style, hoop skirt, corseted mourning gown topped with an extravagant hat.
Day 4 lead us into Futurescapes and was a big night for alternative fashion featur-
ing the likes of Haphazard, Pippa Latex, Artifice Clothing, and Dystropolis. Pippa Latex got sexy in the great outdoors and showed us that bondage doesn’t have to be kept strictly in the bedroom! Haphazard put on a very carnival-esque perfor-
mance with her Tormented collection this year. The dark and demented characters in her show were the stuff of nightmares. Artifice’s signature structure could still be seen in this most recent offering from designer, Emily Rishea. The addition of a mostly pastel palette gave the garments some softness and femininity without straying too far from the original feel of her work. The audience was also treated to a bit of a light show with her Tron inspired pieces. As the lights were dimmed, the clothing began to glow. Rishea commented on this feature, “We did use some of our glow in the dark trim pieces as well. We interspersed the looks throughout the regular collection since they look really cool just under regular light and then at the end had the four models with glowing trim outfits come out in the dark. I was a little worried backstage since they do really need a dark environment to show off properly and there was so many camera flashes and ambient light but I think the audience enjoyed the �surprise’ glowing section.” Rishea aimed to create a mood with her collection and choose a somber Gary Numan remix for the models to walk down the runway to saying, “I personally prefer fashion show music to have a less lyrical focus (plus it’s easier to mix in case the show is shorter or longer) and I wanted something more ambient and interesting for the models to walk to. This may sound weird but I find if you have faster paced clubby music the models walk way too fast down the runway and this was a nice ethereal backdrop for them to walk to.” Dystropolis was one of the last designers to show and helped close out the night and event. Designer Wendy Ng described the concept behind her col-
lection saying, “The story of this collection is a portrayal of the untrained spirits unleashed from the Pandora’s Pithos through the eyes of a girl from space. This collection is very personal to me as some devastating personal events took place last summer that started the concept of the story.” When asked why she shows her collections at |FAT|, Ng said, “I want to share the vision of Dystropolis via fashion. |FAT| is the perfect outlet which combines fashion and art all under one roof.”
For more information on |FAT| and to follow developments on next year’s event visit: www. fashionarttoronto.ca.
written by Ashley Godwin and Jennifer Link
photographed by Steve Alkok FASHI ON
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j une/j ul y 2012 AUXI LI ARY Toront o Art s & Fashi on Week
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Asphyxi a
Vi ctory & Vi ce
House of Eti quet t e
Arti fice
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Starkers
Dystropol i s
the Runway at |FAT|
The law according to Collective Chaos states that going green and staying true to your indulgent, hedonistic roots don’t necessarily have to be mutually exclusive concepts. Environmentally responsible living doesn’t confine you to a life of Birkenstocks and shapeless hemp-woven sacks. It does however force you to rethink your contribution to the local landfill. One way to put the brakes on the over-consumption madness, so prevalent in modern society, is to reduce textile waste. How, you ask? For starters, pondering your fashion purchases long and hard before plunking down the plastic for clothing that sacrifices quality, longevity, and, frankly often, originality in favor of a more attractive (read: cheap) price point. Sure, that out-of-the-box mass produced one-size-allegedly-fits-all latex mini will cost you no more than a price of a movie ticket and medium popcorn, but how many wears will you truly get out of it before it inevitably rips and begins its funeral procession to the city dump. Need I even mention that ten other girls will probably be rockin’ it too? On the same night, in the same club. No, thanks. So what’s the sexiest, most wardrobe-enhancing way to put less stress on our planet’s valuable resources? Collective Chaos’s latex pieces answer that pressing question by fleshing out the well known conservation concept of “Reduce, Reuse, Recycle” in the most sensuous way yet. Simply reduce the amount of filler apparel, by buying the highest quality pieces you can really shine in (figuratively and literally). Reuse by investing in exceptionally versatile garments, which can easily be styled in a thousand different ways (the V-Luptuous dress immediately springs to mind). And if you wish to part with your garb, you can easily recycle all of Collective Chaos’s 100% biodegradable, fair trade manufacturer produced latex. Sustainability has never felt so sumptuous.
What’s the best way to ease into latex for those curious, yet unfamiliar with its second-skin body-
hugging feel? Which one of your pieces would you recommend for a first time wearer?
Aliona : Wearing latex feels much more natural than you may realize. Most people are familiar with the comforting tightness of workout clothes and the sensual feel of leather. Well, if you marry the two, adding a dose of shine, sensuality, glamour, and invincibility, you might get an idea of what latex feels like. It’s impossible to describe, it needs to be experienced. My best advice for popping the latex cherry would be to, one, test your allergies, two, learn how to properly wear and take care of it, and, three, opt for spending a bit more, but on a higher quality piece, too many people get turned off by buying a cheap sample that does not fit or last.
Has the increased visibility of latex in the mainstream as of late helped to increased Collective Chaos’s sales?
A : The way latex is presented in the mainstream media, as a rule, worn by celebrities to create controversy, promotes the celebrity and draws attention to the controversy, not latex and, especially, not the designer. It attaches a stigma and creates unrealistic expectations, often pushing people further away from trying it, as it is viewed as a fad or as too unobtainable. Proper presentation in high end magazines, on the other hand, where the name of the designer is valued as opposed to just the material itself, is very beneficial. It shows people how they can incorporate rubber pieces into their wardrobe and where they can obtain them. I do think that the concept of owning latex has become more popular and acceptable to a wider range of people, but the designs have become more diverse and appealing to a wider range of customers as well. It’s an evolving industry with lots of potential, which keeps it incredibly fun. What’s the greenest way to part with latex pieces you feel like you’ve outgrown? Or unused scraps of latex material leftover from garment creation?
A : If the pieces are still in good shape, sell them for someone else to use or trade them in for another piece with friends or through social media outlets. Broken pieces may be repaired, and if it is completely outlived its life, it is good to know what can be recycled in your local waste center. Some places will take rubber to recycle or burn it to generate power. Worst case scenario, latex is biodegradable, which makes it a more desirable throw-away material, then synthetic fabrics. Our company uses remnants from bigger pieces for appliquГ©s and throws away only the smallest unusable scraps.
Do you consider your workspace to be more “chaotic”, “collected and organized”, or perhaps a mar-
riage of the two: organized in a chaotic manner?
A : Creation cannot happen without chaos, in fact, it is said that it happens out of chaos. But to maintain the creative chaos, one has to stay organized. I am personally a compulsive organizer, which allows me to have a clear head and clean workspace to be impulsive and creative when I am designing. Our company name, which was invented by my long time business partner, is meant to symbolize our freedom to create anything we would like, without restrictions to categories, genres, materials etc. It also happens to be a tribute to my parents, who are mathematicians and besides all my logic skills, also taught me that our future is determined by our own actions and a change in our behavior or attitude may change our lives and the world in general. The trick is, the future outcome is completely unpredictable, even though it’s completely dependent on the smallest of your present actions, so all you can do is your best at every step, and then let go, watching it unfold. It’s a mind boggling, beautiful concept, which is the basis of the chaos theory, more commonly known, as the butterfly effect.
Collective Chaos
interview by Vanity Kills
photographer Collective Chaos Photography
models Marlo Marquise and Elegy Ellem
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Basic Underwire Bustier and Straight Up High Waisted Girdle.
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From top to bottom, Coquette Cowl Neck Dress, Frill Bound Dress, and Basic Underwire Bustier and Straight Up High Waisted Girdle. AUXILIARY june/july 2012 41
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The dilemma has long existed, what to wear in the hot summer months that is practical while allowing you to stay true to your aesthetic. Websites and blogs have been created around the hu-
morous moment when goths, or anyone with a distinct style, brave the sun. Writer, the Lady of the Man-
ners aka Jillian Venters, the ex-
pert on giving advice to goths, proposed on her blog that it can be done, one can main-
tain their goth style for summer. The key is simply to choose the right clothing and allow for carefully se-
lected breaches in the generally accepted “dress code”. With the Black Sun style concept, embrace the backbone of standing out and making a statement, especially in the summer, wear all black. But be calcu-
lating in your garment selections, choose cotton and linen, choose summer dresses, bloomers, and lightweight shrugs. For the most options, and therefore ease in finding season appropriate clothing, pull from many sub styles. Mix and match steampunk, hip-
ster, lolita, noir, witchy, and goth. Pick the right accessories, dangling jewelry and lace parasols. And make an exception for drool worthy leather strap sandals. So go ahead, have yourself a dark and stylish day at the beach.
1 Heavy Red Presumption of MГ©chant Dress, Five and Diamond Cotton and Lace Parasol, and Harem Royal Peris Butterfly Blade Necklace available at Five and Diamond.
2 Harem Royal Sylph Butterfly Earrings available at Five and Diamond.
3 Heavy Red Spring Time Flirtatious Shrug.
4 Heavy Red Twisted Frolic Dress.
5 Harem Royal Susanoo Necklace available at Five and Diamond.
6 Wild Card Bloomers available at Five and Diamond.
7 United Nude Frame Rivet sandals.
8 Harem Royal Luna Rose Earrings available at Five and Diamond.
9 United Nude Abstract Rome Hi sandlas.
styled and written by Jennifer Link
photographed by Jennifer Link
makeup artist Joseph Frank Rothrock model Dakotah Schickling
black
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What advice could a younger version of Aliona benefitted from the most when first foraying into the world of fetish fashion retail?
A : Identify, reinforce, and enforce your priorities. It is very important to stay on track and not get pulled in a thousand directions. Research projects worth your time and only invest in those. And stay absolutely oblivious to anyone who tries to push you off balance through copying your designs, negativity, or intimidation.
Your Organic Gown is said to be “inspired by the organic themes and pat-
terns of nature, as well as traditional elaborate gowns of Slavic princesses”. Was it any particular visage of nature that helped to bring forth the inspira-
tion, perhaps a photo or painting? And how did it come to merge with the Slavic influence?
A : Plant life simply fascinates me. We cannot create what nature has created, we can only learn to respect it and recreate it in its honor. I had a vision of a gown that seemed to grow around the body, like a vine around a tree, encompassing the wearer in its beauty and life. One of the main things we love about working with latex is that is allows us to make these custom cut appliquГ©s and place them exact-
ly where we want them on the body, which is a rare quality for a fabric. My Slavic heritage plays a very important role in my design work. Flowers, bright colors, intricate filigree are all stables of the Ukrainian culture and its Byzantine past.
What initially sparked your interest in ecologically sustainable design?
A : It is very important to draw attention to the disposable quality of the world we live in, with the fashion industry being one of the biggest offenders. Clothes are usually bought to be worn once, if that, and disposed of, creating an incred-
ible amount of waste. Buying things of quality and longevity, as well as recycling things that are not needed, is just as important in fashion, as it is in other avenues of our lives. Having the passion for fashion, we wanted to draw attention to this issue and contribute to a greener clothing industry. What small daily lifestyle changes can the average, somewhat even eco-obliv-
ious person undertake to help reduce the impact of their consumption habits on the environment?
A : Eco awareness is a shift in consciousness with a new set of priorities and be-
haviors. It’s being able to see the potential of self, as well as eco-sustainability in everything you do. It’s choosing to make your own dinner over an extra half hour of TV, buying one high quality piece of clothing over five cheaper ones on sale that will be disposed of quicker, recycling, growing a garden, even if it consists of a couple of flower pots in your living room. You will find that there is still the same amount of time and money you spend, or less, it will be simply different things you spend it on, but your quality of life will be better and so will the planet.
What makes retro lingerie styles such great candidates for being re-imagined in latex?
A : Shape-wear has been a staple of fashion for centuries. We seem to have given it up recently in exchange for comfort and latex is one of the ways shape wear is being re-imagined. Corsets, girdles, bullet bras, high waisted panties, enhance the curves of the body, especially made from stretchable, yet firm material, such as latex, enhance the curves of the body and posture, making you look and feel incredible. We also like the more covered look of retro styles, as we think the main power of female seduction lies in the promise of the reveal, and not the explicit look itself. Desire and the worship of beauty is born out of anticipation and imagi-
nation, and women are meant to exploit these, with the air of confident modesty, mystery, and grace.
Your earlier collections featured a fair share of PVC wear alongside your latex offerings. What prompted your decision to slowly phase out the vinyl in favor of concentrating primarily on latex as a medium?
A : We did not feel that PVC met our standards of sustainability, as it cannot be recycled and does not bio degrade. But, once again, it is important to remember that sustainability has a lot to do with quality, it’s relative. It is better to have a high quality PVC piece that will last for years than cheap latex that will be thrown away after one use. We just choose to have the best of both, high quality latex pieces that will last for yours and biodegrade afterwards! Fill in the blank, “___ epitomizes seduction”.
A : Imagination exploited with anticipation.
If you were commissioned to construct a historically-inspired couture latex gown based on any era of your choosing, especially for a customer whose budget was as limitless as their spirit of adventure, what sort of regal attire would you craft and why?
A : The Queen Elizabeth during the Golden Age with futuristic elements. We have a weakness for red headed, strong women with an over the top, impeccable sense of style that commands attention and awe.
What’s next for Aliona and Collective Chaos?
A : Lots of new designs including a new women’s collection to be released this June, shortly followed by a new lingerie collection and possibly even a full line of menswear. We are also heavily delving into the world of burlesque and circus performer costume designing, so keep an eye out for our designs on stages all over the world. FASHI ON
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Veni ce Lace Corset Dress.
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Skipper Bikini Top and Yacht Bikini Bottom in red/white/blue by Fables by Barrie paired with Sailor Summer Espadrilles with embroided anchor detail on sides.
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Swim Noir Deadly Summer Bikini Bathing Suit by Heavy Red paired with model’s own jewelry and sunglasses.
AUXILIARY june/july 2012 june/july 2012 AUXILIARY poolside
photographer Zach Rose
creative director Jennifer Link
fashion stylist Jennifer Link
makeup artist Nicole Barry
hair stylist Erin Moser and Sarah Geraci
models Paige Carson and Samm Haney
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Sophie Top and Amelia Bikini Bottom in black/white by Fables by Barrie.
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On left, Swim Noir Deadly Summer Bikini Bathing Suit by Heavy Red paired with model’s own jewelry and sunglasses. On right, Octoanchors bra style top and skirted bottom with attached brief Austin Bikini by Too Fast paired with H&M flower accessory.
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On left, Audrey Swimsuit by Fables by Barrie. On right, Swim Noir Insidious Temptation One Piece Vintage Bathing Suit in red/black by Heavy Red paired with Love Skulls tie up style embroidered Summer Wedges by Too Fast.
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On left, Sophie Top and Amelia Bikini Bottom in black/white by Fables by Barrie. On right, Seahorses bra style top and retro ruffled high waisted bottom Reno Swimsuit by Too Fast.
AUXILIARY june/july 2012 june/july 2012 AUXILIARY THIS PAGE
On left, Swim Noir bikini bathing suit by Heavy Red and Swim Noir Striation Bathing Suit Teaser by Heavy Red. On right, Marley Top and Frannie Bikini Bottom in black/white by Fables by Barrie.
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On left, Kitty retro skirted with halter ties and corseted back one-piece Tucson Swimsuit by Too Fast. On left, Swim Noir Striation Deviation Bathing Suit by Heavy Red paired with Ancient Silver Metal Bat Skull Necklace by Moon Raven Designs and Swallows tie up style embroidered Summer Wedges by Too Fast. To achieve a wet lip look for summer try Carousel Gloss in Candy Apple and Cherry On by Lime Crime.
AUXILIARY june/july 2012 june/july 2012 AUXILIARY THIS PAGE
On left, Monster Girls retro skirted with halter ties and corseted back one-piece Tucson Swimsuit by Too Fast. On left, Swim Noir Steam Menagerie Two Piece Swim Suit by Heavy Red.
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Olivia Swim Bustier and Amelia Bikini Bottom in nude tones by Fables by Barrie paired with model’s own sunbathing hat.
AUXILIARY june/july 2012 june/july 2012 AUXILIARY THIS PAGE UPPER
On left, Spite top by Futurstate and Black Cat Skull necklace by The Rogue and the Wolf. On right, Genesis T-shirt by Futurstate and Blue Cat Skull necklace by The Rogue and the Wolf.
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On left, Espeado Blaze jacket by Christopher Bates, shirt from the Male Heir F/W 2012 Collection by Cyeoms Clothing, and Black Bison Skull by The Rogue and the Wolf. On right, Ease top by Victory & Vice and Recycled Leather purse by Adriana Fulop.
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On left, sweater from the Male Heir F/W 2012 Collection by Cyeoms Clothing paired with Men’s Shema T-shirt by Futurstate and Service pants by Futurstate. On right, Quinn dress by Victory & Vice paired with Pochette purse by Guy Latulippe. Dissension
AUXILIARY june/july 2012 june/july 2012 AUXILIARY photographer Adam Zivo
creative director Pretty Deadly Stylz
fashion stylist Pretty Deadly Stylz
makeup artist Larissa Palaszczuk of Blonde Moxie Makeup
hair stylist Larissa Palaszczuk of Blonde Moxie Makeup
models Sam L. at Spot6 and Madison D. at Spot6
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On left, Espeado Blaze jacket by Christopher Bates, shirt from the Male Heir F/W 2012 Collection by Cyeoms Clothing, Demo Pants by Futurstate, and Black Bison Skull by The Rogue and the Wolf. On right, Ease top by Victory & Vice and Recycled Leather purse by Adriana Fulop.
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On left, Ease top by Victory & Vice and Venus pants by Plastik Wrap paired with Recycled Leather purse by Adriana Fulop and Grey Cat Skull ring by The Rogue and the Wolf. On right, Espeado Blaze jacket by Christopher Bates, shirt from the Male Heir F/W 2012 Collection by Cyeoms Clothing, and Demo Pants by Futurstate paired with Black Bison Skull by The Rogue and the Wolf and Doc Marten shoes. THIS PAGE LOWER
Hood-T and vest from the Male Heir F/W 2012 Collection by Cyeoms Clothing paired with H&M cuff and Red Cat Skull necklace by The Rogue and the Wolf.
AUXILIARY june/july 2012 june/july 2012 AUXILIARY THIS PAGE
Deco top and belt by Victory & Vice and Impact pants by Victory & Vice paired with Blue Cat Skull necklace by The Rogue and the Wolf.
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Hood-T and vest from the Male Heir F/W 2012 Collection by Cyeoms Clothing and Brace pants by Futurstate paired with H&M cuff and Red Cat Skull necklace by The Rogue and the Wolf.
AUXILIARY june/july 2012 june/july 2012 AUXILIARY THIS PAGE
Caged dress by Victory & Vice paired with Shield Clutch by Guy Latulippe.
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On left, Quinn dress by Victory & Vice paired with Pochette purse by Guy Latulippe. On right, sweater from the Male Heir F/W 2012 Collection by Cyeoms Clothing paired with Men’s Shema T-shirt by Futurstate.
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On left, top and belt by Victory & Vice and pants by Victory & Vice paired with Blue Cat Skull necklace by The Rogue and the Wolf. On right, Noctem Vest by Christopher Bates, shirt from the Male Heir F/W 2012 Collection by Cyeoms Clothing, and Service pants by Futurstate paired with Black Cat Skull necklace by The Rogue and the Wolf.
AUXILIARY june/july 2012 june/july 2012 AUXILIARY THIS PAGE
On left, Genesis T-shirt by Futurstate and Demo pants by Futurstate. On right, Spite top by Futurstate and Collide skirt by Plastik Wrap paired with Recycled Leather purse by Adriana Fulop and Black Cat Skull necklace by The Rogue and the Wolf.
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On left, Dual cropped cardi, Drift top, and Exo skirt all by Victory & Vice. On right, Mens Chevron T-shirt by Futurstate and Backdaft Coat by Christopher Bates.
AUXILIARY june/july 2012 june/july 2012 AUXILIARY where to buy
Emily Woudenberg
www.emilywoudenberg.com
Essie
www.essie.com
Esther Perbandt
www.estherperbandt.com
Fables by Barrie
www.fablesbybarrie.com
Five and Diamond
www.fiveanddiamond.com
Forever21
www.forever21.com
Futurstate
www.futurstate.com
Guy Latulippe
www.guylatulippe.net
Haphazard
www.haphazardclothing.com
Heavy Red
www.heavyred.com
H&M
www.hm.com
House of Etiquette
www.houseofetiquette.com
Illamasqua
www.illamasqua.com
Jaxamuse
www.jackielevitt.com
Julep
www.julep.com
Lime Crime
www.limecrimemakeup.com
Manic Panic
www.manicpanic.com
Michelle Witt Studio
www.michelewittstudio.com
Moon Raven Designs
www.moonravendesigns.com
nails inc.
www.nailsinc.com
OCC
www.occmakeup.com
Oliver Peoples
www.oliverpeoples.com
Orly
www.orlybeauty.com
Plastik Wrap
www.plastikwrap.com
Artifice Clothing
www.artificeclothing.com
Asphyxia
www.asphyxiadesigns.com
B.E. Shields
www.beshields.ca
butter LONDON
www.butterlondon.ca
China Glaze
www.chinaglaze.com
Christopher Bates
www.christopherbates.com
Collective Chaos
www.chaoslatex.com
Cyeoms
www.cyeoms.com
Dystropolis
www.dystropolis.com
FASHION
for info on getting your company, brand, or shop listed in AUXILIARY
marketplace contact : info@auxiliarymagazine.com
june/july 2012 AUXILIARY Pippa Latex
www.pippalatex.com
Raji Aujla
www.houseofaujla.com
Sephora
www.sephora.com
Starkers Corsetry
www.starkers.com
Too Fast
www.toofastonline.com
The Rogue and the Wolf
www.therogueandthewolf.etsy.com
United Nude
www.unitednude.com
Victory & Vice
www.victoryandvice.com
We Are Radar
www.we-are-radar.com
FASHION INFO
LIFESTYLE
FASHI ON
MUST
author Tasha Farrington & Jennifer Link
fashion stylist Tasha Farrington
photographer Phil Sutherland
makeup artist Vivien Zheng
hair stylist Vivien Zheng
model Rama Luksiarto
It’s summer, it’s hot, and possibly a bit sticky. The question is posed, what to wear to adapt to the season while remaining stylish? Choose a classic white dress shirt, with a twist. The button up, collared and cuffed dress shirt has long been a staple in men’s suiting. Channel the aesthetic of the dandy with the Dorian Shirt by Raji Aujla. This shirt breaks limitations with long draping material for accent, allowing you to forgo a suit jacket. Undo some buttons, role up the sleeves, and add some enhancing accessories for a summer look that plays with masculinity and femininity, suitable for both men and women.
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Dorian Shirt by Raji Aujla paired with Tiger Tooth Necklace and Tiger Tooth Bracelet both by Michelle Witt Studio available at We Are Radar, Gunmental Eagle Talon on 36” Chain by Moon Raven Designs available at We Are Radar, four Recycled Leather Rings by Jaxamuse available at We Are Radar, leather bracelets by H&M, pants by H&M, and ankle boots by H&M.
Draped Dress Shirt
Raji Aujla Dorian Shirt
AUXILIARY june/july 2012 AUXILIARY
marketplace
your guide to the best in alternative fashion, music, lifestyle, and more...
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