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Auxiliary Magazine is an alternative fashion, music, and lifestyle magazine available online for free. October/November 2013
psyclon nine / nero bellum
chet zar / laur
en amante
muise / mahafsoun
classically creepy
ne basil / shoe overload
ather masks / feathered headpieces
ipes and corsets / bohemian queen
ick or treat / fashion forward vampires
It’s October and that means it’s our Halloween issue! This issue embraces the many facets of Halloween: the costumes that pay homage to your icons and stars, the vintage vixen with a touch of macabre, the wicked and powerful creatures of your dreams and nightmares, couture zombies limping down the runway, the goodies a vampire would pack in their human hunting kit, the monsters that live in the paintings on your walls, the films and books that provide inspiration, the music that provides the soundtrack, the dance that tames your darker side, the hollow ghostly yet beautiful model, the sweets that fill out loot bags, the headgear that completes your costume, the lavish and slightly spooky corsets for all the best parties, the necessary footwear and legwear for harvest time, and that perfect leather masquerade mask. May your Halloween be filled with haunts, adventures, intrigue, and a little spooky fun. As always thanks for your support and enjoy the classically creepy goodness that follows!
Sincerely, Jennifer Link
Editor in Chief
Jennifer Link
Fashion Editor
Tasha Farrington
Music Editor
Mike Kieffer
Copy Editor
Dylan Madeley
Advertising Account Manager
Collen Godwin
Logo Design
Melanie Beitel
Layout Design
Jennifer Link
Bailey Northcott
Jennifer Link
Laura Dark
Sequoia Emmanuelle
Le Mew Photography
Karlie Lanni
Saryn Christina
Marisa Pike
Ian Compton
Rick Rodney
Ron Douglas
Aaron Andrews
Diamond Bodine-Fischer
Paige Etheridge
Tasha Farrington
Dahlia Jane
Reem Jazar Mike Kieffer
Rocki Lee
Arden Leigh
Jennifer Link
Dylan Madeley
Jessica Rowell
Vanity Kills
Liz Walker
Photographs / Illustrations
photographs on 23
Jennifer Link
Illamasqua photos courtesy of Illamasqua
photograph on 38
J.Ferrara Photography Inc.
photographs on 39
Phil Izhot Photography
upper photograph on 40
Ben Samson
lower photograph on 40
Raymond Fryer
Auxiliary = alternative, supplementary, to provide what is missing, to give support. Auxiliary Magazine is an alternative fashion, music, and lifestyle magazine cover-
ing goth, industrial, EBM, electronic, punk, indie, pinup, retro, rockabilly, gotha-
billy, deathrock, witch house, grave wave, cybergoth, cyberpunk, steampunk, and many more subcultures, genres, and styles that all combine to create one Auxiliary. / email :
advertising / email :
issue 30 : october/november 2013 / ISSN 1948-9676
No part of this publication may be reproduced in any form or by any means, electronic or mechanical, without the permission in writing from the publisher, except small excerpts for review purposes. Submitted work, reviews, ads, and photographs are copyrighted by their respective owners and fall under previous declaration. Copyright Auxiliary Magazine 2013.
your opi ni ons on the Aug/Sept 2013 Issue
My morning will consist of coffee and reading @auxiliarymag - @BrittRocksHair13 via Twitter
Come on payday... momma needs the new Auxiliary Magazine!
- Nez Wilburn via Facebook
[The Cam Rackam feature is a] great article. Damn, I love Medusa.
- Pam M. M. via Facebook
Holy crap! [The Aug/Sept 2013 cover is] amazing and beautiful!
- Belinda B. via Facebook
share your thoughts on the i ssue, news and events, whatever i s on your mi nd!
Email, comment on our website, tweet at @auxiliarymag, or comment on our Facebook page.
A contributor from the very beginning, Aaron Andrews brings experienced ears and excellent insights to the mu-
sic section of Auxiliary Magazine. An-
drews has been DJing for ten years ever since that pivotal day when he walked into the WBNY studios at Buffalo State and said, “I want to be a DJ.” “Because of my radio show I got a weekly gig at Buffalo’s [now closed goth club] The Continental to do a retro night. From there it’s been more club gigs and writ-
ing for Auxiliary.” He continues to DJ at WBNY for an audience who listens, “for the mental experience,” and enjoys spinning at the monthly Buffalo event On the Wire, “[where] we focus on classic dark music: postpunk, deathrock, industrial, and I also get to throw in some newer bands that thematically belong.” “Auxiliary is an outlet for me to create via the written word and contribute to art and culture. It also keeps me current and hungry to hear and see new things.” In the spirit of the Halloween season, “when Autumn comes I revel in the horror of The Damned, 45 Grave, and Skinny Puppy; and embrace the bleakness of things like The Cure, A Place To Bury Strangers, and Alice In Chains. It all feels crisp, just like the air.”
Aaron Andrews
AUXILIARY october/november 2013 beauty
4 songstress
the synthpop pri ncess, the new wave i con, and the bohemi an queen
10 ki ss me deadl y
vi ntage vi xen l ooks wi th a touch of macabre
16 keeper of dreams
feathered, horned, armored, and chai ned headpi eces
22 runway to vani ty
Gareth Pugh’s couture zombi e l ook
23 bl oodthi rst
vampi re i nspi red beauty pi cks
24 arti st spotl i ght
Chet Zar
28 medi a revi ews
Morri ssey: 25 Li ve, How to Ki l l a Vampi re, The Wol ves of Mi dwi nter, and more
30 seven deadl y questi ons
Psycl on Ni ne
31 musi c revi ews
Gary Numan, Mi ni stry, Ni ne Inch Nai l s, Covenant, i Vardensphere, and more
youth code : 34
psycl on ni ne . chet zar : 30 . 24
j ani ne basi l . l auren amante . mui se . manafsoun : 46 . 41 . 38 . 38
shoe overl oad . l eather masks . feathered headpi eces : 56 . 66 . 16
bohemi an queen . tri ck or treat . fashi on forward vampi res : 4 . 45 . 23
34 Youth Code
on thei r debut al bum, touri ng, and the ups and downs of hype lifestyle
37 ask arden
advi ce on rel ati onshi p strategi es
38 freedom to dance
Mui se and Mahafsoun on bel l y danci ng’s fusi on wi th subcul ture
41 the Pi nUp
Lauren Amante
45 styl e
tri cky treats
46 desi gner spotl i ght
Jani ne Basi l
50 l aced up
corsets wi th the ri chest detai l s and fi nest accessori es
56 harvest
the best shoes from the best crop of the season
66 must
l eather hal l oween mask
67 where to buy
Photographer : Bai l ey Northcott
Fashi on Styl i st : Tasha Farri ngton
Makeup : Chri sti na Parasi l i ti
Hai r : Jesse Y
Model : Vor m Van Ai mee
october/november 2013 AUXILIARY photographer Sequoia Emmanuelle
makeup artist Debra Macki
hair stylist Bianca Mc Millan
models Courtlyn Cannan
The synthpop princess, the new wave icon, and the bohemian queen.
On the eyes, Make Up For Ever Eyeshadow in Neon Pink 75, Debra Macki CyberDust in Ice Princess, Debra Macki Eye Pencil in Black, Urban Decay Supercurl Curling Mascara, and paper lashes. On the lips, Make Up For Ever 12 Flash Color Case and Debra Macki Lipgloss in Crystal.
october/november 2013 AUXILIARY Songstress
AUXILIARY october/november 2013 THIS PAGE
On the eyes, Make Up For Ever Eyeshadow in Tangerine 18 and Yellow 2, Debra Macki CyberDust in Ice Princess, Debra Macki Eye Pencil in Black, and Urban Decay Supercurl Curling Mascara. On the lips, Make Up For Ever 12 Flash Color Case.
october/november 2013 AUXILIARY THIS PAGE
On the eyes, Make Up For Ever Eyeshadow in Tangerine 18 and Yellow 2, Debra Macki CyberDust in Ice Princess, Debra Macki Eye Pencil in Black, and Urban Decay Supercurl Curling Mascara. On the lips, Make Up For Ever 12 Flash Color Case.
On the eyes, Make Up For Ever Eyeshadow in Tangerine 18, Debra Macki CyberDust in Ice Princess, Debra Macki Eye Pencil in Black, Urban Decay Supercurl Curling Mascara, and paper lashes. On the lips, Make Up For Ever 12 Flash Color Case and Debra Macki Lipgloss in Crystal.
AUXILIARY october/november 2013 THIS PAGE
On the eyes, Make Up For Ever Eyeshadow in Tangerine 18 and Yellow 2, Debra Macki CyberDust in Ice Princess, Debra Macki Eye Pencil in Black, and Urban Decay Supercurl Curling Mascara. On the lips, Make Up For Ever 12 Flash Color Case.
october/november 2013 AUXILIARY photographer Laura Dark
makeup artist Deanna Roberts for Makeup Vamp
hair stylist Synthetic Rebellion
models Odette Despairr, Brianne Jeanette & Katarzyna Kozicka
Feathered, horned, armored, and chained headpieces for the fiercest one of them all. Keeper of Dreams
Headpiece by Posh Fairytale Couture.
Headpiece by Posh Fairytale Couture.
october/november 2013 AUXILIARY AUXILIARY october/november 2013 THIS PAGE
Headdress by Miss G Designs.
october/november 2013 AUXILIARY THIS PAGE
Headpiece by Posh Fairytale Couture.
AUXILIARY october/november 2013 THIS PAGE
Headdress by Miss G Designs.
october/november 2013 AUXILIARY photographer Bailey Northcott of Through The Glass Photography
creative director Pretty Deadly Stylz
fashion stylist Pretty Deadly Stylz
makeup artist Christina Parasiliti of Sinner Saint Artistry
hair stylist Jesse Y
nail stylist Pretty Deadly Stylz
models Vorm Van Aimee @ Valt
Moonlit looks for the vintage vixen with splashes of red and a touch of macabre.
On the nails, Essie Nail Polish in Really Red and Butter London Nail Lacquer in West End Wonderland.
Stylist’s own vintage hat and replica cat skull. On the cheeks, MAC Powder Blush in Harmony. On the eyes, Sugarpill Pressed Eyeshadow in Bulletproof and MAC Eye Shadow in Goldmine and Amber Lights paired with Sephora Collection Long-Lasting Liquid Eye Liner in 01 Black and Urban Decay Big Fatty Mascara. On the lips, Illamasqua Lipstick in Pristine and Lime Crime Carousel Glossy Lipstick in Loop-de-Loop. On the nails, Essie Nail Polish in After School Boy Blazer.
october/november 2013 AUXILIARY AUXILIARY october/november 2013 THIS PAGE
Stylist’s own vintage hat and replica cat skull. On the cheeks, MAC Powder Blush in Harmony. On the eyes, Sugarpill Pressed Eyeshadow in Bulletproof and MAC Eye Shadow in Goldmine and Amber Lights paired with Sephora Collection Long-Lasting Liquid Eye Liner in 01 Black and Urban Decay Big Fatty Mascara. On the lips, Illamasqua Lipstick in Pristine and Lime Crime Carousel Glossy Lipstick in Loop-de-Loop. On the nails, Essie Nail Polish in After School Boy Blazer.
Halloween crow decoration. On the cheeks, MAC Powder Blush in Harmony. On the eyes, Too Faced Shadow Insurance Anti-Crease Eye Shadow Primer and MAC Eye Shadow in Blanc Type, Bronze, Goldmine, and Amber Lights paired with Sephora Collection Long-
Lasting Liquid Eye Liner in 01 Black and Urban Decay Big Fatty Mascara. On the lips, Lime Crime Carousel Glossy Lipstick in Candy Apple and MAC Clear Lipglass.
october/november 2013 AUXILIARY AUXILIARY october/november 2013 THIS PAGE
Halloween crow decoration. On the cheeks, MAC Powder Blush in Harmony. On the eyes, Too Faced Shadow Insurance Anti-Crease Eye Shadow Primer and MAC Eye Shadow in Blanc Type, Bronze, Goldmine, and Amber Lights paired with Sephora Collection Long-
Lasting Liquid Eye Liner in 01 Black and Urban Decay Big Fatty Mascara. On the lips, Lime Crime Carousel Glossy Lipstick in Candy Apple and MAC Clear Lipglass. On the nails, Essie Nail Polish in Really Red and Butter London Nail Lacquer in West End Wonderland.
october/november 2013 AUXILIARY THIS PAGE
Stylist’s own vintage hat paired with Halloween glitter skull. On the cheeks, MAC Powder Blush in Harmony. On the eyes, Too Faced Shadow Insurance Anti-Crease Eye Shadow Primer and MAC Eye Shadow in Blanc Type, Malt, and Espresso paired with Sephora Collection Long-Lasting Liquid Eye Liner in 01 Black and Urban Decay Big Fatty Mascara. On the lips, Urban Decay 24/7 Glide-
On Lip Pencil in Bang and Urban Decay Revolution Lipstick in Bang combined with Lime Crime Opaque Lipstick in My Beautiful Rocket.
THE VANITY : Starting with a pale base foundation, apply an even coat to the face slightly adding a bit of grayish pigment into your contouring and high-
lighting to further achieve a deadly look. Continue your contour by using a shadow or pigment in silver on the cheekbones and eye sockets to help sharpen the fea-
tures. To further accentuate the overall look use a dark shade of gray or gunmetal black to provide additional depth and dimension as desired. For more of a theatri-
cal look you can use a heavier application technique with harsher contrast to help transform the face. On the eyes use a black cream base following your crease line, and then coat the lid with a shimmery black pigment. Using an angled brush pull the pigment along the waterline for added drama. With a gray pigment follow above your crease line and under your waterline blending in the black for a smoky affect. To polish off the look, use a shimmery silver and pearlescent white to blend out the gradient. The look lends best for a grunge affect but it can also be played up or down depending on your preference! Top it off with a pale lip or try metallic champagne or silver. The creativity and innovation of the runway reinvented for recreation at your vanity.
THE RUNWAY : Influenced by Gareth Pugh’s eerie Fall/Winter 2013 collection presented at Paris Fashion Week, this makeup installment brings forth the season’s haunt with a spooky couture zombie look.
written by Jessica Rowell
photographer Marisa Pike
fashion stylist Jessica Rowell of J-Chan’s Designs
makeup artist Jessica Rowell of J-Chan’s Designs hair stylist Jessica Rowell of J-Chan’s Designs
model Twigglet
On the eyes, Myth Cosmetics Mineral Eyeshadow in Zeus, Hades, and Elysium.
AUXILIARY october/november 2013 BEAUTY
1 “Full-lipped” and “provocative” are adjectives typically employed to describe brooding bad boy love interests with mile long rap sheets, or the Vampire Kiss Bag by Kreepsville 666. And while I’d think twice before bringing either home to Mom, in the end I’d choose bag over boy. $54
2 Above all, thou shalt fear no beer, largely thanks to GAMAGO Bite Me Bottle Opener. $12
3 It’s common knowledge that nothing quite nails that “freshly fed bloodsucker” look like sinking your fangs into the neck of a nubile young virgin. Since the steady supply of virgins is on the decline these days, Illamasqua Intense Lipgloss in Succubus will see you through in a pinch. $22
4 Swipe on a reddish-brown lip color (such as Blood Red by Portland Black Lipstick Company) to ensure that your soon-to-be-human snacks happily bow to all your commands. $10
5 Dining with Dracula? Lunching with Lestat? Noshing with Nosferatu? Thought you should know that it’s not officially a date till you line and define those lids with Kryolan Eye Liner in Red. $17 6 Illamasqua Cream Blusher in Brazen appears striking against the pallor of undead flesh. $26
7 Some girls like their prose the same way they like their manicures: purple. We recommend the supernatural romance genre and Ulta Professional Nail Lacquer in Vampire Kiss respectively. $8
Vampires possess an innate knack for pioneering nail, hair, and skin trends. Rihanna’s stiletto-like acrylics? Count Orlok made �em happen back in 1922. Think Snooki put Bump Its on the map? Not before Gary Oldman conquered the towering double poof wig seventeen years prior in Bram Stoker’s Dracula. Lastly, Elizabeth Bathory beat Kim Kardashian to plasma facials by 400 years. Today, exsanguination is no longer a prerequisite to obtaining hemoglobin-hued mouths. “Biting necks? Ain’t nobody got time for that,” claim convenience-minded ghouls, while simultaneously expressing their approval of fall’s unrestrained reds, declaring the shades to be, “perfect for Blood Bank Happy Hour.” Bloodthirst
by Vanity Kills
october/november 2013 AUXILIARY 1
AUXILIARY october/november 2013 THIS PAGE “Death Playing Air Guitar On A Scythe”
Southern California artist Chet Zar is a master of giving our fears a face. For the last ten years he has relentlessly produced images of ghastly creatures with names such as Corpse Licker and Spiderface and features to match. His designs are pure monsters. They embody the word’s ancient Latin origin, monstrum, meaning ab-
berant or unnatural. Chet’s works, though dark, are not straightforward presenta-
tions of evil. Grimacing against backdrops of apocalyptic colored skies and rocky landscapes, each monster has a personality ranging from charming to pitiable. They match our stares with their own outward facing penetrating regards as if to say we are the unfortunate ones. Being a monster is fun.
It is evident from his work that there is nothing Chet enjoys more than making monsters. He is an accomplished oil painter, sculptor, and special effects artist and his work in every medium explores the haunting and bizarre monsters that popu-
late his mind. Chet paused his efforts in his home studio to discuss his new show Ego Death, the concept of the artist as shaman and what drives him to create.
Ego Death, the most ambitious show of your career to date, has two openings in Los Angeles in October at Beyond Eden and Copro Nason Gallery. What can we expect to see at this show?
Chet Zar : The first opening during Beyond Eden at the Barnsdall Art Museum (the weekend of October 12th) will be more of a traditional museum show. It will have all of the Ego Death paintings as well as a retrospective of my work over the last decade. We will also be premiering the trailer for Mike Correll’s documentary about me called, I Like To Paint Monsters. Mike will be there to film both events to include in the documentary. Once the two day Beyond Eden festival ends, the works will go to Copro for viewing throughout the month of October. On October 26th will be the second opening, or rather, the closing show, which will be the big Gothic funeral for humanity’s collective ego. It will include all of the work for the show, of course, as well as a hearse parked in front of the gallery, a funeral procession, a live organ player, a funeral director as well as the weeping widow of Black Magick, who will be playing the part of the ego in the casket. This is the big blowout show that I funded via Kickstarter. There will be lots more to it, but I don’t want to give it all away!
What does the show’s title Ego Death mean to you?
CZ : Ego Death refers to a spiritual awakening through the use of psychedelics, meditation or even extreme stress. It is the moment when you go beyond your own ego and are able to fully embrace and experience your own true nature and the nature of the world around you: infinite, boundless energy. There is no need for judgment, hatred, fear, self doubt or any other form of ego fantasy. The ego is a valuable tool that has guided us to this point in history. We could not have gotten this far without it. It has kept us alive. It is the survival instinct that has forced us to become who we are. However, if we don’t learn to control it, the ego controls us. This has lead to the vast majority of the world’s population walking around in a trance, acting upon conscious and unconscious fears and desires. Getting loose from the grip of the ego allows us to go beyond being reactive, fearful creatures of habit, going in circles and chasing our tails. All of the problems of human behavior stem from the ego. That is my belief, anyway. The only way to get past this and end human suffering is for people to quiet their minds and realize their own true nature. Buddhism teaches that everybody is a Buddha, they just don’t know it yet. Meditation and relaxed contemplation helps us to realize out own “Buddha Na-
ture”. If enough people had this experience it would make for a more harmonious and compassionate world. And isn’t that what we all want?
Ego Death is going to incorporate a performance aspect with the staging and set of an elaborate Gothic funeral. How will the funeral theme heighten the experience of the show?
CZ : I think it will turn the concept of Ego Death into an almost ritual experience. I am hoping that when people experience the �service’ and see the art and the whole thing, they will feel like they are laying their own ego to rest, or at least get them thinking about it. On the surface, it’s just all good fun. But if you want to look deeper, there is an important message about ourselves and how we choose to live our lives. One of your signature characters, Black Magick, known for his gas mask face and gun, has a starring role in the funeral as the body in the casket. Does this mean he’ll no longer be appearing in new works?
CZ : Not necessarily. I see him as an actor playing the role of the ego for the show. I always thought the first painting I made of him looked like a representation of pure ego: scared, yet scary. I painted him a second time for this show as well: he is holding a gun to his head. It is a metaphor for killing your own ego.
Have you ever been to an extravagant funeral such as the one you have planned for the art show? And what kind of send-off would you like for yourself upon your own passing?
CZ : I never had. I am basing it on what I have seen in movies and my own fantasy of what a cool Gothic funeral would be like. I never really thought too much about how I would like my own funeral to be. I probably won’t have one when I die. If people wanted to get together and have a party in my honor, that would be cool, I guess.
You recently raised more than $70,000 through a crowd-funded Kickstarter campaign, essentially subsidizing the cost of creating Ego Death. Do you think this success demonstrates the importance crowd-funding will have in getting art shows put on in the future? Might crowd-funding replace the role of the gallery curator?
CZ : I do think the whole crowd funding phenomenon has huge implications for the art scene and beyond, but I still think galleries have their place in it. Just like there is nothing like seeing a band live, the only way to truly see a painting is in person, and galleries fulfill that. Art openings at galleries are also a good way to promote your work and create and excuse to get people together. Of course you could crowd fund your own show and rent your own space, do your own sales, etc, but who wants to do that shit? Not me! It’s a lot of work curating and running a gallery and I am happy to let somebody else do that. For me, my Kickstarter suc-
cess has meant that I don’t have to worry about the work selling as much. Think about it: an artist spends, three, six, or even twelve months creating work for a show that may not even sell one painting. It’s a crazy way to live! In the old days, a gallery would give an artist a stipend to live on while painting for a show. That is not the case these days unless you are in the big time high end galleries. This has been a major road block for me. I would always have to be hustling side work to support myself while painting for a big show so I could never really do my best work and it definitely took a lot of the joy out of painting. Having a way to pay my bills while painting for this show has been a revelation for me. It has allowed me to create the best paintings of my career. Kickstarter has also allowed me to create a show that I would never have been able to do on my own. Actually, it’s the fans and supporters that have made this happen. Kickstarter is merely the platform for it. But a great platform nonetheless!
Did anything about the process of the Ego Death Kickstarter campaign sur-
prise you?
CZ : What surprised me the most was the huge response, especially at the end. I was secretly hoping to hit 70 Gs, but I never told anybody. The other thing that really hit me was that how strongly people were resonating with the message of the Ego Death show. I sort of took the approach that if I created an amazing show with amazing artwork, I could sort of sneak the message in under the radar. Folks that knew what I meant would be in for an added surprise, but everybody else could just appreciate it as a really good, fun show. But the response was incredible. MEDI A
october/november 2013 AUXILIARY ARTIST SPOTLIGHT
Chet Zar
interview by Dahlia Jane
People get it. It’s so fucking cool that so many people get the concept. When I had my first big ego death/
psychedelic experience in 1987, I wanted to tell everybody about it. It was such a joyous time and it felt like it was right there for anybody who wanted to have a true spiritual experience (a recent peer reviewed scientific study showed that people who ingested psychedelic mushrooms have a 70 percent chance of hav-
ing a major spiritual experience). But nobody would listen to me. People thought I was either full of shit or just plain crazy. It seems like enough time has passed and the tides have finally turned and more and more people are realizing the importance of real spirituality through psychedelic medicines, meditation and other disciplines. I think we are on the verge of a major collective �enlightenment’ and I think there is still time to turn this whole mess around. It doesn’t need to be everybody having these kinds of enlightenment experi-
ences, or even a majority of the population. It just needs to be enough. I believe that once enough people have had a true spiritual experience, things will begin to change for the better, for everybody.
Your Kickstarter campaign ran in July and August, the show opens in October. Your medium is oil paint, which requires dry time. Why give yourself so little time to realize such an ambitious show?
CZ : Ideally, I would have had a year to paint for this show. In fact, I had the idea for the show in the first hours of 2013. I knew I had a show in October at Copro gallery so I figured I could do it all throughout 2013 until the show in October. But things got away from me as they often do, and I was forced to put the Ego Death show on the back burner so I could earn money to pay my bills. I started thinking about the possibility of a Kickstarter project pretty early on, but I was just too busy to get it together. Finally, things lined up in July and I figured it was now or never. Three months is not a long time to paint for a show, not to mention all the organizational stuff as well as the sculptures I am doing for it, sending stuff to the foundry to be bronzed, etc. but I felt like the time was right to pull the trigger. Everything has gone more smoothly than I could have possibly imagined, so I think it was the right choice. As far as the paint drying question, I use an oil painting medium that dries my paints usually by the next day.
You’ve been uploading loads of previews of Ego Death paintings in progress online. Is this part of the process of creating a show now and why not keep the work a secret until the opening?
CZ : I started sharing my work of paintings in progress many years ago and kind of got hooked on it. It is now part of my process. I like getting feedback, looking at it on different computer monitors, getting people’s ideas for titles, etc. It’s fun for me, it’s a communal experience and people really like to see the process. I know I do. I love seeing how other artists work. It’s the best way to learn other than doing it yourself. I don’t agree with the idea that an artist should have �secrets’ about his or her process. I think it is better for everybody to be open about these things so that others can learn from them. I also like that it lets people in on the creation of it. They feel more of a connection with the art. I think progress shots also help sell the work, which is an important part of an artist’s life. But I mainly do it because it is fun. It’s the closest thing I have to a social life!
You have been candid about your occasional use of mind-altering substances, namely psychedelic mushrooms. You said that the idea for the Ego Death show was revealed to you during a mystical trip. Do you see artists as the contemporary shamans and if so, how have they taken on that role?
CZ : Definitely. I think that is the underlying role an artist has in this society, to show things differently, to explore new realms of thought, to provoke ideas, to create beauty and to help heal us. As far as being candid about psychedelics, I just got tired of seeing them lumped in with other drugs. They are not the same. They are medicine. It is ironic that most other drugs (including the legal ones, like alcohol) lead to nowhere or worse. Many people know the truth about psychedelics but because of stupid drug policies and they stigma attached to them, they are afraid to admit it. I think more people need to come out about it. These compounds can open a doorway to our own consciousness and have great spiritual and psychological healing powers. I believe they are the answer to what ails us as a society, now more than ever.
Besides chemicals, which you use sparingly, what are some other ways that you tap into your creative forces?
CZ : Seeing great art always inspires me. Music. Film. The important part of being able to access that part of your mind is to be clear. Meditation is very helpful for this.
In 1905 Sigmund Freud wrote, “no one who, like me, conjures up the most evil of those half-tamed demons that inhabit the human breast, and seeks to wrestle with them, can expect to come through the struggle unscathed.” You’ve been conjuring up monsters your whole creative life. How has this affected you? Do you have demons that torment you or do you get them out of your system by painting them?
CZ : Painting visions of the dark side is very therapeutic for me. Getting my own pain and suffering out and onto canvas seems to bring me some kind of peace.
Do you imagine the monsters all living together in an imaginary world or is each one plucked out of your subconscious just to exist on canvas?
AUXILIARY october/november 2013 THIS PAGE Upper to lower, “Abandoned”, “Crybaby”, and “Shamanic Tendencies”. CZ : I imagine they all live in the same place, in some other dimension. This is something I hope to explore more in the future, possibly with film or a comic book or something.
Though grotesque and demented, your monster portraits convey a surprising humanity and suffering. Where does this come from?
CZ : I think it comes from being compassionate. I have always felt really bad for those who suffer. When I look at the world and all of its pain, it just hurts. I try to express this with my art. Actually, I don’t really try. It just comes out that way. But that is what I think the artwork is expressing.
You love dogs and support rescue causes especially for pit bulls. What do you appreciate about pitbulls? Does your affinity for the often-misunderstood pitbull breed connect to your interpretation of the pathos of monsters?
CZ : I have always been a huge animal lover ever since I was a kid. I haven’t eaten meat since I was about eighteen years old when I started reading about the horrible conditions in factory farms. We always had lots of pets growing up, always strays that needed homes. I think I get it from my mother. She has always loved animals. I never had a pit bull growing up but when one of my sons picked one out at a shelter, we gave him a try. Rambo was his name (he came with it). I was surprised at what a loving dog he was. He would sit on your lap and was very cuddly and af-
fectionate. Ever since we have rescued pit bulls. They are truly the sweetest dogs I have ever owned. They are very strong and strong willed but they have huge hearts when they are not trained to fight and it kills me to see how they are maligned by the press and people’s ignorance. I suppose I do see the connection with my mon-
sters now that you mention it! In fact, I am sure of it! Nice observation! I never really thought about it...
Black Magick is also the title of the art book of your work published last year. Why did you decide to do an art book? With so much art available to be viewed online for free these days, is there still a demand?
CZ : I grew up on art books and still buy them to this day. I’m big into online galleries and I love the net, but nothing beats a well printed book, particularly for artwork. The book was published by Jon Beinart and BeinArt publishing. I had been wanting to publish a book for a while and when they asked if I would be interested, I jumped at the chance. I am super happy with how it turned out. My favorite graphic artist/designer, Mackie Osborne, did all the layout work and she did a phenomenal job. Sales have been good. I think there will always be a demand for good art books.
Mike Correll has been working on a documentary about you for the last year it worked out! I believe that anybody can do the same if you are willing to do the work.
You’ve been painting and sculpting for years. But you recently started explor-
ing the techniques of tattooing. What do you like about that medium?
CZ : I have not had much experience tattooing, and definitely not enough to even comment on what I like about it as a medium. What I can say is that I love tat-
tooing from a conceptual standpoint. There are so many amazing aspects to it: it’s permanently on a living being, it moves with a person’s body movements, the connection between the artist and the patron... it’s really an incredible art form, both ancient and extremely modern at the same time. I hope get to do it more in the future.
Before working mostly as a fine artist, you were a special effects artist who worked on videos for Tool and feature film productions. In what ways has your work in that industry shaped your work as a fine artist?
CZ : It taught me the importance of personal expression. It only took a few years to realize how unfulfilling it can be to have designs dictated to you by others for purely commercial purposes. It also showed me what a gift it is to be able to create anything you want for a living. Not a day goes by that I don’t stop and think about that. From a purely practical standpoint, I learned most of the standard academic art principles while I was in the film industry. I was lucky enough to be able work with artists who were much better than myself and I soaked it up like a sponge. I started working in the industry right out of high school, so it was a lot like going to art college.
You’ve also curated an annual sculpture show for the last three years at Co-
pro Nason Gallery in which you’ve displayed both the work of fine artists and film industry effects artists together. Should there be a distinction between these different types of artists and the work they do and why or why not?
CZ : I never thought there should be a distinction, which is why I thought it would be good to start showing effects work in galleries. Some of the best artists I know either currently work in that field or have worked in it in the past. There is so much talent there, you would not believe it! I thought that talent was being wasted on crappy films, even when I was working in it. It’s been a great privilege to be able to present work from effects artists in a gallery setting. I think it is about time they got their due.
Between all of your artistic endeavors, marketing yourself and effects work you seem to be a workaholic. What drives this pace and how do you unwind?
CZ : To be honest, most of it has been driven by the need to make money to MEDI A
cal l ed, I Li ke t o Pai nt Monst ers. What do you hope vi ewers take away from i t when i t i s fin-
i shed?
CZ : Wel l, i t ’s hi s deal. I’m j ust support i ng and hel pi ng t o promot e i t, so you woul d have t o ask hi m, real l y. I j ust hope I don’t come out l ooki ng l i ke an i di ot! [l aughs] But seri ousl y, I guess t here i s somet hi ng t hat I hope comes across: fol -
l ow your bl i ss, do what you l ove and find your purpose. That i s basi -
cal l y what I di d. I t ook t he l eap of fai t h t o fol l ow my heart ’s desi re and wi t h a l ot of hard work, support mysel f and my fami l y. If I di dn’t make enough money wi t h my art work, I woul d have t o go back t o t he dwi ndl i ng effect s i ndust ry, and I di d not want t o do t hat. So I di d what I had t o, whi ch was work my ass off 24/7. But I have al ways l oved creat i ng art and i t i s an ext remel y sat i sfyi ng j ob, so I was abl e t o put up wi t h t he grunt work. I don’t do much t o un-
wi nd: wat ch movi es, t ake t he dogs on wal ks wi t h my wi fe. I most l y j ust work on pai nt i ngs and t hat i s one of t he most fun t hi ngs t here i s t o do.
oct ober/november 2013 AUXI LI ARY THI S PAGE
“Li l i th” AUXILIARY october/november 2013 MEDI A
How To Kill A Vampire
release : 09.01.13
author : Liisa Ladouceur
I enjoyed reading Liisa Ladouceur’s first book Encyclopedia Gothica, so I was ex-
cited when I learned her second book was about vampires. Ladouceur analyzes sub-
culture and its topics of interest in a seri-
ous way (but often playful and sarcastic in tone) and from an insider’s viewpoint. Being a writer for Rue Morgue magazine and Auxiliary Magazine, her observations are from a horror enthusiast and goth sub-
culture perspective. This is one of How to Kill a Vampire’s strengths; it is written by someone who sincerely loves and enjoys the topic, not by a writer wishing to capitalize on a trend, which is too often the case with research books and guides like this. While Encyclopedia Gothica is exactly that, an encyclopedia with entries ordered alphabetically, How to Kill a Vampire: Fangs in Folklore, Film, and Fiction doesn’t follow the encyclopedia format but is like one in many ways. Ladouceur organizes her vampire research, theories, and musings into her own format that is structured about the vampire slayer. The first chapter is a chronologically told “Pop Culture Primer” but it’s tied together by following the evolution of vampire killing. The third chapter, “The Weapons”, has a section for each type of vampire weapon and references folklore, films, TV, and books to connect the pieces of where these weapons came from and how they developed. The fourth chapter, “In Praise of the Slayer”, has a section for each of Ladouceur’s six most notable slayers and compares and contrasts them to each other considering their era and its problems, interests, and values. Organizing the book around slayers and vampire killing rather than vampires themselves is a unique and fun way of discussing the beloved monster. I was disappointed that the role playing game Vampire: The Masquerade didn’t get much credit for laying a rich foundation through its source material for many of the key parts of vampire fiction we see today. I was also disappointed anime and manga didn’t really get brought into the discussion; Vampire Hunter D and Hellsing would have been good additions. But it is important to remind yourself while reading How to Kill a Vampire that it is one author’s research: it doesn’t cover every vampire story ever told and in order to really enjoy it, you can’t get hung up on what it didn’t cover. To me the best aspects of the book were, firstly, Ladouceur’s conclusion that love is the greatest weapon against a vampire and their ultimate downfall; this adds something concrete to the often discussed idea that vampires are so intrigu-
ing because of their human qualities, because they are a way to analyze the hu-
man condition. And secondly, discovering new vampire films and books to watch and read and learning the takes on vampire mythology of films and books I’ve never had time to watch and read and might never find time to. - Jennifer Link
Morrissey: 25 Live
DVD release : 10.22.13
director : Morrissey
Writing for The Telegraph, critic Robbie Collin called Morrissey: 25 Live, “the worst concert film I’ve ever seen.” It was the same week he reviewed One Direc-
tion’s This Is Us. When people hate Mor-
rissey, they really throw their backs into it, don’t they? It’s complete bullshit, of course. Morrissey: 25 Live (named in cel-
ebration of the singer’s twenty-fifth year as a solo artist) is lively, funny, and most importantly, full of great music. At the beginning of 2013, an evil witch placed a hex on our dear old friend: at least, that seems like a valid explanation for the series of health problems that lead to not one but two canceled tours. While this was a massive disappointment for fans and lead to (hopefully false) rumors of his impending retirement, it does mean that 25 Live couldn’t come at a better time. Here is the concert you didn’t get to see, only with a much better view and no one knocking you over while fighting for a scrap of Mor-
rissey’s briefly airborne shirt. Filmed in March, 25 Live documents an intimate per-
formance (which sold out in a matter of seconds) in the auditorium of Hollywood High School. The small venue allows us to see Moz and his band up close and details the interaction with his most devoted (i.e. heavily tattooed) fans. The whole thing is rather adorable. It is true that Smiths purists may not be happy with current arrangements of “Still Ill” or “That Joke Isn’t Funny Anymore”, but they never will be satisfied, will they? Forget them; the man sounds great. Actually, he sounds better than great, he sounds perfect. Newer songs, including “Action Is My Middle Name” and “People Are The Same Everywhere”, don’t have the same sentimental baggage as the classics, but they hardly seem out of place alongside old favorites. It’s a strong set, with work spanning his entire career. The spectacle of Morrissey being Morrissey remains and clearly the crowd (as fervent as ever) would fol-
low him anywhere, at any time. If you’ve wandered away from Morrissey in the past few years, this may be a good time to check in and remember how much his music once meant to you. “This microphone is my tombstone,” Morrissey intones towards the end of the set. Damn it, Moz, not yet! We still need you. - Liz Walker
This Is The End
DVD release : 10.01.13
director : Evan Goldberg and Seth Rogen
“Have you seen This is the End?!” This was the question posed to me when the film first came out by several different sources. It was the very same question I found my-
self asking everyone I knew after watching the instant comedic hit about what happens when a celebrity house party is disrupted by the apocalypse. Watching doomsday play out in this made-for-stoners comedy adds an over-the-top fantasy element to the movie that, on its own, may have been a weak premise. Featuring a cast includ-
ing Seth Rogen, James Franco, Jonah Hill, Danny McBride, Jay Baruchel, and Craig Robinson, the dialogue between the ac-
tors makes the audience happily buy into a world where Michael Cera is an over-
sexed coke addict and Jay Baruchel successfully performs an exorcism. This is the End is a delightful mix of low-brow hilarity and clever lines that you’ll appreciate for both their timing, understated smarts, and self-deprecating charm. The script, written by Seth Rogen and Evan Goldberg, is riddled with pop-culture references. A ton of A-list celebrity cameos and references to current events is what gives this FILM
film such current appeal, an instant win for the online generation. Watching ce-
lebrities play dramatized versions of themselves gives the film a reality television feel. This is no doubt part of the reason why this film seemed to strike a chord with audiences everywhere. The back-story was simple and relatable: Rogen entertains his old friend and fellow Canadian, Baruchel, while he visits LA, and labors to act as if they have not been growing apart for years, something most people have experienced at least once in their lives. The mockumentary aspect gives back to fans with references and jabs at the crew’s previous films (Pineapple Express) and respective careers. Like any social circle, there are rivalries. These rivalries are what push the movie forward and keeps the audience laughing. James Franco and Danny McBride’s hateful banter combined with McBride’s brand of gluttonous, intrusive humour were incredibly funny and fun to watch. The unpredictable and utterly ridiculous plot twists and dialogue make this movie funny without being cheesy. In spite of the humorous antics, the film is framed like a horror movie, each character rallying to survive impending doom making October a perfectly timed release for this story of bromance, frenemies, and Satan. - Reem Jazar
The Wolves Of Midwinter release : 10.15.13
author : Anne Rice
2012’s The Wolf Gift by Anne Rice intro-
duced the reader to the series’ protagonist Reuben Golding. In what felt like a mash-
up of Kafka’s Metamorphosis and the Spiderman origin story, Reuben struggled with his new identity as an isolated mutant driven to take vigilante action against the vilest criminals of San Francisco. He was alone and afraid. In book two of The Wolf Gift Chronicles, The Wolves of Midwinter, Reuben is far from alone. He’s surrounded by a pack of immortal werewolves and their loyal servants. Many of his human family have come to terms with the truth about him. The people he saves are too grateful to wish him harm. Even the spirits of the forest amass to protect him. Whereas book one was about existing as a monster, book two is about existing as an immortal. The book explores the conflict of living openly amongst regular people when you and your friends never age. Unfortunately, since the entire story transpires over the course of a couple of months around the Christmas season, this quandary is only dealt with philosophically. What The Wolves of Midwinter is missing is a central tension that drives the story forward. Reuben’s ex-girlfriend Celeste rants at one point that Reuben leads a charmed and spoiled existence free of consequences. Celeste is not a likable character in the least, but I felt myself agreeing with her that a character who gets everything he wants so easily and de-
spite his often reckless behavior is hard to connect to. The over-the-top, too perfect for words Christmas revels that the rich werewolves orchestrate, and the silliness of their Midwinter ceremony, turned me off. So did the uncomfortable descriptions of bestial couplings. Yet I found myself happily devouring long stretches of the book. Marchent, who met a violent end in book one, reappears as a brokenhearted ghost in book two. Her presence as well as the depictions of the mysterious for-
est spirits made for compelling reading. Furthermore, by removing us from the ruthless urban jungle which felt monotonous and unreal in book one, Rice settles into an environment where she is much more comfortable. The lush and dreamy Nideck Estate with its secret rooms and dark forests gives the book a romantic gothic heart reminiscent of Rice’s vampire and witch series. If you’re a reader looking for persistent action, drama or horror, this is not a book for you. But if you want to curl up by the fire and sink into a fully-realized fairy tale world you will find some magic moments. - Dahlia Jane
release : 06.05.13
author : S. Alexander Reed Upon reading the first few pages of Assim-
ilate: A Critical History of Industrial Mu-
sic, I admit that I fell for the obvious satire J. Alexander Reed uses so skillfully. I was so sure that it was going to be a narrative of some 1980s partial, elitist, industrial music “purist” douche. I soon discovered that not only was this not the case, but I was reading what is easily the most rich, multi-faceted, and philosophically-sound observation of industrial music. Within the first few chapters, Reed illustrates every-
thing from the very “first” industrial music (music literally created to increase productivity for factory workers) to how the industrial music scene became a cultural revolt. What I find the most interesting about this entire work is how Reed manages to keep it enticing while still remain-
ing relevant. For such an intensive read, he somehow kept all of the information cohesive and organized, while still jumping around, describing songs and brief band histories. Through his extensive knowledge of the scene and his biting wit, Reed provides a very honest, open, and unbiased chronology of the genre. Rather than focusing solely on the musical aspects of industrial, Assimilate provides more of a political and philosophical approach. I think this is important because indus-
trial is not merely music; it’s a revolt, it’s a satire, and sometimes, a mockery. Reed makes a brilliant point of this while commenting on the musical attributes of the song “A Drug Against War” by the iconic KMFDM. Reed notes that, “at 322 BPM, the eighth-note snare fills at the end of verses fire at about eleven rounds every second—the same rate as an AK-47.” Nearly everything within the realms of industrial music is somewhat tongue-in-cheek. This becomes increasingly clear when taking a look at one theme that never really seems to go out of style, the mock-military theme. Reed focuses on this aspect extensively, as this is no acci-
dent. Industrial music’s cultural revolt takes its sarcasm to an extreme; such an ex-
treme that it’s not uncommon to find men and women decked out in their military best at the underground clubs. Taking a few well planned tangents along the way, Reed brings his readers through decades of growth. From bands like Kraftwerk and Frontline Assembly, to the 1990s NIN craze, and beyond; Assimilate can eas-
ily serve as the official textbook of industrial history. Reed confronts everything from the influence of William S. Burroughs, to industrial’s dysfunctional romance with all things military, to what we now refer to as the industrial “crossover” scene. I think it’s important to really know about what you love; even if it’s obses-
sively. Reed’s obvious love for the genre hinders his critiques in no way, and this has allowed him to write such a powerful, educational, and refreshing work on a genre that is so difficult to analyze. - Rocki Lee
theatrical release : 09.06.13
director : David Twohy
The thing about Riddick is that it begins equal parts good and bad and eventually takes a nosedive for the worse. There’s a definite point where you can hear the ring-
ing beep of the film flat-lining. The film grabs your attention from the beginning, with believable prosthetics and predators that answer the question, “what happens when an alien mates with a snake?” There is much unrealized promise in this film. Riddick finds himself stranded on a des-
ert-like planet. In the recounting of how he was left for dead, there are flashbacks to another world: a dark, seedy underworld-like planet where Riddick was king. The visually decadent world rife with gothic imagery is never revisited after that flashback. Viewers are left with the sameness of the unchanging, dry, dusty setting. FILM
With two-dimensional characters and predictable storytelling, this film doesn’t come across as fresh or engaging as it wears on. It seems more like a parody of itself and movies of its kind as the corny dialogue progresses. The special effects even seem to get worse towards the end of the film. By that point the only thing that keeps your attention is waiting for Jordi Mollà ’s character to finally get what he deserves. Throughout the film, conflict is resolved ever so conveniently and not all that believably. This film doesn’t deliver on story, character development, not even the action delivers to its full potential, and that could have been a redeeming factor. My main beef with this film would have to be that it is, unapologetically, sexist. What I’m referring to is a lack of capable, humanized women who aren’t just meant as sexual props. When a strong female character is introduced, by the name of Doll no less, she is quickly reduced to the same air-headed and weak behavior that is an insulting objectified generalization of women. The backstory is a little cliché and a whole lot corny. However, if you’re looking for a mindless dystopian movie with some gruesome looking predators this Halloween you might be able to overlook the overt sexism and tired plot devices. - Reem Jazar
october/november 2013 AUXILIARY MEDI A
Nero Bellum of Psyclon Nine reveals how he sins.
interview by Dylan Madeley
photograph by Jennifer Link
As for that upcoming release, [Order of the Shadow: Act 1], little will be known about it thematically or sonically until after its release so that fans get a chance to make their own interpretation. “[The Shadow] is the final installment of the con-
ceptual trilogy that began with Crwn, went into INRI and will culminate here with The Shadow... in time, I will be releasing something of a companion to decipher anything lost along the way,” reveals Bellum.
How important is sex in your life and music?
Nero Bellum : Sex and sexuality has always been a very important part of the philosophy behind and the visual aspects in front of everything that Psyclon Nine has done since its inception. Sexuality is the single most basic part of each of our foundations and when you begin to question your foundations, you begin to ques-
tion other aspects of live. Whether that be introspective or not, it’s causing you to ask questions and it’s my belief that any good art is provocative in that it causes you to ask questions. Questions lead to answers and ultimately push us all towards some sort of deeper understanding of ourselves as a species. What is your favorite food and fondest memory of it?
NB : I’ve personally never had much of a food fetish. Those around me would tell you that I tend to drink a lot of caffeine but, the fact of the matter is that I am a creature of habit and I do tend to overdo just about everything that I enjoy. Whether that be cigarettes, coffee, (at one point alcohol and drugs), or even be-
coming stuck watching the same movies on repeat. I go through phases. But, I am very addictive. What is your most prized possession?
NB : Ironically, I tend to collect a lot of Catholic Church decor along with other items that I find to be beautiful although, never a necessity. My prized posses-
sion that does not include any form of musical equipment is an ornament that my Valentine (Miss Carissa White) had made for me for my recent birthday. She had commissioned a famous taxidermist to co-design an ornament for my home studio out of an actual, skeletal human hand. It’s beautiful. I noticed quickly that it had been their right hand so, odds are in my favor that before the flesh was stripped away, it must have been used for masturbation. What is something you have always aimed to do but never have?
NB : I have a very long history with depression which has continuously lead me into forks in the road over the years. Turn left, feel the pain and move forward with the band. Turn right, numb yourself into oblivion and get nothing done. There have been countless things that I’ve wanted to do with this band that I simple could not. A lot of what this next chapter for Psyclon Nine [will be] is attempting to realize those dreams and the potential therein. What inspires in you the most rage?
NB : This would seem like the easiest answer and perhaps the most fun although, rage for me is a beast best kept tamed. Closing my eyes and attempting to conjure up images from my life that truly inspire hatred and rage is something that I des-
perately attempt to stray from. My emotions are too strong. I do a lot to stay away from the negative unless I’m purging through an album. What is one thing you find yourself being jealous of?
NB : My girlfriend’s fashion sense. Truly. But, let’s move back to our friends Dante and Mr. Christ. I don’t understand how envy wouldn’t simply be a virtue? If it wasn’t for envy, we wouldn’t find anything beautiful enough to attempt to create art from it. We would find ourselves lacking inspiration. Every great man has aspired to rise to the ranks of his/her idols and even above that. Without envy, we would have no variety. We would have no science. No art. No music. No home to retreat to with central AC and a DVD player. We would all be content to live in caves and be eaten by the elements. What are you the most proud of?
NB : After this [interview], I would have to say that I’m most proud of my ability not to subscribe to such a pointless set of rules and to decide for myself what I consider to be good and what I consider to be evil. And what I consider to be ut-
terly harmful such as, the advice handed down to we average Americans, growing up in a judeo-Christian society. Can you think of a time you stared down the path for a potential fight but managed to stop it from escalating to the physical level?
NB : I have been in quite a few fights growing up in my redneck town, dress-
ing the way I do. I’m sure I’ve managed to break things up in the past but I tend to be a bit of a feisty one. Psyclon Nine started in 2000 within the realm of terror EBM/aggrotech music and they have ex-
panded ever since, experimenting with black metal and industrial metal in past releases. Frontman Nero Bellum explains, “the music is just a vessel for the message. As the message has developed themati-
cally, the atmosphere has had to reflect that. I fully expect to lose some fans with each release due to our drastic changes but, I also expect to gain. I’m sim-
ply revealing different worlds within the universe that I’ve created.” The band got a golden opportunity, a headlining slot at Wave Gotik Treffen in 2005. They did it again in 2007, and they would do it again. “Psyclon Nine is and always has been a very theatrical act. We truly excel on the large stage. Treffen was a good oppor-
tunity for us to show the world what we are capable of.” The band is currently planning another Euro-
pean tour in support of their new album. AUXILIARY october/november 2013 MUSI C
oct ober/november 2013 AUXI LI ARY 31
Mi ni stry - From Beer to Eter ni ty rel eased by 13th Pl anet Records on 09.10.13 Aft er over t hi rt y years and five mi l-
l i on band members, Mi ni st ry has deci ded t o end t hei r musi cal career wi t h t he final st udi o al bum From Beer t o Et erni t y. “Final” albums are usually recorded long after bands have reached their peak, but this is certainly not the case. Ministry’s thirteenth album manages to infuse their signature industrial rock sound with an indescribable newness. While hecklers might bitch and moan about how dif-
ferent Ministry has become, From Beer to Eternity proves itself a respectable final chapter to decades of heroin and hard industrial metal. From Beer to Eternity opens with a track titled “Hail to His Maj-
esty (Peasants)” which is nothing short of a 1990s industrial club anthem with all of its heavy grinding guitars, echoing samples, and Uncle Al’s mocking growls. The following tracks “Punch in the Face” and “PermaWar” start to incorporate more electronic elements, but certainly not at the expense of metal. Songs like “Fairly Unbalanced” and “The Horror” paint a horrific, yet honest satire of Fox News with repetitious samples of Richard Mourdock babbling sexist things to an up-beat dance tempo. “Lesson Gary Numan
- Splinter (Songs From A Broken Mind) released by Mortal Records on 10.15.13 When I mention Gary Numan to most people, they always come back at me with, “I think I know that �Cars’ song” and in return I throw up on their shoes. They deserve it, “Cars” came out in 1979 and with the vast discography that Gary Numan has re-
leased since then they can’t come up with a newer, more modern song. I really don’t like living in the past and thankfully neither does Gary Numan, as is evident on this album, Splinter, and the last, 2011’s Dead Son Rising. Both albums are modern music with no hint at trying to live in yesteryear. The music has a dark tone and has heavy guitar, various synths, programmed drums, typical for an industrial rock album. What sets this apart is that the songs are so well produced and every void is filled with the perfect bang, beat, clap, chime, etc. On top of that, Gary Numan has vocal de-
livery that sends chills down your spine, in a good way. The lyrics are personal and so well written you get sucked in like a kid hearing a scary story. Splinter is so good and I wish the masses of people could enjoy it, but alas taste is subjective and the majority just don’t get it. Knowing that this album exists, it hurts my soul to hear anything played on pop radio. - Mike Kieffer
recommended track : Here in the Black
genre : industrial rock similar artists : Nine Inch Nails
10/10 : music 10 : lyrics 10 : recording quality 10
Unlearned” serves as another great example of the indescribable newness stated above: it’s sort of a groove-metal mixture peppered with Al’s occasional barks interrupting feminine cooing. It’s weird, but oddly tasteful. The album might not escape the criti-
cisms of 40-year-old industrial metal “purists”, but it certainly serves as respectable closure to Minis-
try’s career, if that’s the case. Jourgensen has cried wolf many times when it comes to “final” albums, but From Beer to Eternity feels like the logical end-
ing. - Rocki Lee
recommended track : Hail to His Majesty (Peas-
genre : industrial metal
similar artists : PIG, KMFDM
7/10 : music 8 : lyrics 6 : recording quality 9
Nine Inch Nails - Hesitation Marks released by Columbia Records on 08.30.13
During Nine Inch Nails’ hiatus Trent Reznor has been busy with two film scores and several releases from the project How To De-
stroy Angels. It feels like being devoted to an ensemble role has reinvigorated Reznor for a return to the spotlight and to bounce back to form after 2008’s disappointing and drab The Slip. Hesi-
tation Marks is a noticeably studio album, heavy on electronics and sound engineering and lighter in the “real band” vibe. In comparison to With Teeth and Year Zero there is a less densely packed sound and fewer political undertones. The material is more introspective and, according to Reznor, there was a lot of self-reflection, looking at the path from 1994’s The Downward Spiral to now. There are threads back to earlier works due to the art direction of Rus-
sell Mills (The Downward Spiral) and the guitar work from Adrian Belew (The Downward Spiral and The Fragile). This isn’t a sequel to the band’s best known work but there is a kindred spirit and a sense of awareness of the legacy of their catalog. The cream of the album have been used as singles, the best being “Come Back Haunted,” followed by “Copy of A”. I found the more restrained “Various Methods of Escape” to be a personal favorite and more enjoyable than the modern rock radio friendly, “Everything”. Hesitation Marks falls on the quieter side and the more bare instrumentation is appropri-
ate for that. This is a solid album with good mo-
ments but there will be songs you probably won’t come back to if you’re a singles oriented listener. - Aaron Andrews
recommended track : Various Methods of Escape
genre : alternative rock, industrial
similar artists : Halo In Reverse
6/10 : music 6 : lyrics 7 : recording quality 9
AUXI LI ARY oct ober/november 2013 Hecq - Horror Vacui
rel eased by Hymen on 09.04.13
Sound desi gner Ben Lukas Boysen has rel eased musi c un-
der hi s own name and t he moni ker Hecq as wel l as pro-
duci ng some vari ed commerci al work. He i s someone who i s i n t he ri ght professi on: hi s rel eases al ways have an awesome amount of det ai l and careful desi gn. Hi s l at est and ei ght h Hecq rel ease, Horror Vacui, i s a st ep i n a di fferent di rect i on from previ ous work. He cert ai nl y hasn’t come back wi t h a sequel t o previ ous al bum Avenger ’s heavy and rough dubst ep/breaks i nspi rat i ons, nor has he reached back t o hi s previ ous dark IDM sounds. Horror Vacui feel s l i ke an at t empt t o reconci l e t he musi c made as Ben Lukas Boysen, whi ch i ncl udes a soundt rack for t he fil m Mot her Na-
t ure, wi t h hi s IDM hi st ory. It i s very at mospheri c but bri ngs back t he beat s and gl i t ch. The whol e work feel s very mi ni mal wi t h l ot s of space bet ween el e-
ment s t o al l ow everyt hi ng i n t he room t o be not i ced. There are t racks l i ke t he beat l ess “rye” t hat rel y on l ong sweepi ng mel ody, ambi ent noi ses and bl i ps. Then t here are al so songs where Boysen shows hi s abi l i t y t o craft met i cul ous beat s and bl eeps: “dkma-
j est i c” exhi bi t s t hi s careful breakbeat programmi ng and t hen l ayers on t he mel ody and t ops i t off wi t h some gl i t chy st ut t ers. Horror Vacui i s a consum-
i ng al bum, i t ’s qui et and t akes t i me and at t ent i on t o appreci at e. I kept havi ng t o rest art i t over and t ry agai n, part l y because I l oved hi s recent hard sounds so much and part l y because I j ust was t oo act i ve t o appreci at e t he peace i n t hi s work. - Aaron Andrews
recommended track : dkmaj est i c
genre : ambi ent, gl i t ch, IDM si mi l ar arti sts : Ankl ebi t er, Boards of Canada
8/10 : musi c 7 : recordi ng qual i t y 9
Oneohtri x Poi nt Never -
R Pl us Seven
rel eased by Warp Records on 09.30.13 I don’t remember l i st eni ng t o Oneoh-
t ri x Poi nt Never, I j ust remember a fel -
l ow revi ewer sayi ng t hey were wei rd. I am goi ng t o share my t hought s as I l i s-
t en t o t he al bum for t he first t i me. The al bum st art s wi t h “Bori ng Angel ”, and i t ’s real l y not t hat bori ng j ust a ni ce el ect roni c song, a good i nt ro t o t hi s al bum. Fol l owi ng t hat i s “Ameri cans”, whi ch st art s somewhat normal, and t hen al l of t he sudden t hi s wei rd 60s sci -fi sampl e bl ast ed me, went al l warpy and now t here are chi mes, i t ’s a bi t al l over t he pl ace, I am confused and a l i t t l e scared. “He She” i s a short t rack, neat and wel l done. “Insi de Worl d” remi nds me of st andi ng i n an art gal -
l ery wat chi ng some vi deo art, t he sounds are swi rl i ng around my head and t here i s a chi me pat t ern faded deep i nt o t he background. “Zebra” pi cks up t he pace a bi t and i t ’s get t i ng i nt ense i n here, al t hough I st i l l feel l i ke I am i n a st eri l e room wi t h no di rect vi ew t o t he out si de worl d. There i s a l ong si l ence before “Al ong” and now i t sounds l i ke ai r rushi ng down a concret e t unnel. “Probl em Areas” i s a bi t j arri ng t o st art and ki nd of bores me. “Cryo” pl unges me back i nt o t he mel anchol y not hi ngness, I am happy agai n. “St i l l Li fe” i s pret t y ki l l er, al t hough t he sharp sampl es coul d be a bi t smoot her. “Chrome Count ry” compl et es t he al bum, and i s very ful l and sat i sfyi ng. R Pl us Seven i s an enj oyabl e experi ence and shoul d be l i st ened t o at l east once. - Mi ke Ki effer
recommended track : St i l l Li fe
genre : el ect roni c experi ment al
si mi l ar arti sts : Ti m Hecker
8/10 : musi c 8 : recordi ng qual i t y 10
i Vardensphere - The Methusel ah Tree rel eased by Metropol i s Records on 11.12.13 As a DJ I have al -
ways had a speci al affini t y for i Varden-
sphere. I was pri vy t o t hei r very first al bum vi a a mut ual fri end i n Edmon-
t on, Canada, and feel t hi s band’s ri se has not onl y mi rrored my enj oyment of new i ndus-
t ri al, but cont ri but ed t o i t l i ke no ot her new art i st i n t he new i ndust ri al spect rum. As such, I have been t hri l l ed t o see t hem ri se t o great hei ght s and each and every rel ease of t hei rs i s ant i ci pat ed wi t h much j oy. The Met husel ah Tree i s i Vardensphere’s l at est ful l l engt h al bum and t rue t o form t he band i nnovat es on a si gnat ure sound t hat l aunched t he proj ect. The Met husel ah Tree rei nforces t he band as a pi oneer of t he “t ri bal noi se” genre, arguabl y an i ndust ri al off-
shoot t hat deserves i t s own cat egory, i ncorporat i ng heavy acoust i c drums, vocal s, and earl y-musi c-l i ke sampl i ng. Indeed t he al bum begi ns on a t rul y neo-
fol k not e wi t h t he spi ne chi l l i ng t rack “Mot her of Crows”. The anci ent vi be of t hi s song and a handful of ot hers l eans on t he et hni c acoust i cs of t ri bal noi se. Admi t t edl y i t ’s a bi t of a swi t ch i nt erspersed wi t hi n t he band’s cust omary i ndust ri al el ect roni c sound. Al ong wi t h t he dramat i c acoust i c overt ones, t here are t racks wi t h heavy el ect roni c sampl es t hat we’ve become enamored wi t h i n i Vardensphere’s sound si gnat ure. i Vardensphere has al ways been a dance floor fri endl y band and al t hough t hi s al bum moves more i nt o experi ment i ng wi t h t he t ri bal noi se genre, t here are el ement s t hat remai n firml y root ed i n t he cl ub. Overal l, anot her t rul y great i Vardensphere al -
bum. - Hangedman
recommended track : Mot her of Crows
genre : i ndust ri al, t ri bal noi se
si mi l ar arti sts : Prospero
8/10 : musi c 8 : l yri cs 9 : recordi ng qual i t y 9
Accessory - Resurrecti on
rel eased by Out of Li ne on 09.27.13
Accessory has been around for a l ong t i me now, rel easi ng t hei r first al bum i n 1997, and t hey have al ways flown un-
der t he radar i n my neck of t he woods. I cont ri but e t hi s t o t he l ack of or spot t y support from Nort h Ameri can l abel s. Thei r l ast al bum 2011’s Underbeat di d get support, but as of now t hei r new al bum Resurrect i on does not. But t hankful l y we l i ve i n t he i nt ernet age and everyt hi ng i s accessi bl e. Accessory comes at us agai n wi t h some hard hi t t i ng dance beat s, not real l y st rayi ng t oo far from t hei r formul a. Resurrect i on comes as a doubl e di sc, where t he second di sc has a few ori gi nal songs wi t h a host of remi xes. Thi nk of i t Archi tect - Mi ne
rel eased by Hymen Records on 09.17.13
If I had t o appl y a one word descri p-
t i on t o t he overal l vi be of Archi t ect ’s l at est offeri ng Mi ne I woul d use t he word “chi l l ”. I’m t al ki ng cool chi l l i n an awe-
some way. Indeed, t hi s al bum i s chock ful l of t he subl i me el ect roni c sound Dani el Myer i s famous for. Of al l hi s proj ect s I l ook forward t o Archi t ect t he most and wi t h Mi ne I am not di sappoi nt ed. In t he under-appreci at ed worl d of IDM i t ’s al most a shame t hat such preci sel y craft-
ed musi c remai ns i n t he underground. And yet, fans of Archi t ect woul d have i t no ot her way. IDM fans pri de t hemsel ves on t hei r aural mat uri t y and know t hat wi t h somet hi ng l i ke Mi ne we have somet hi ng t rul y speci al. Unl i ke some IDM where t he beat i s i r-
regul ar, wi t h Myer i t ’s smoot h and consi st ent. In t he i nt ro pi ece we’re t hrust breat hl essl y i nt o t he ai r on a eeri e drone, and t hen suddenl y t here i s t he over-t he-
cl i ff moment when t he beat breaks and t he al bum’s si gnat ure i s est abl i shed. On t he t rack “Rhyt hm Ma-
chi ne” t here’s a spooky dub el ement t hat harkens t he deep freeze doom of new dub art i st s l i ke Toront o’s Jonah K. And l et us not forget Myer ’s ext ensi ve use of vocal s i n t he al most t ri p-hop feel of “Immat eri al ” among ot her t racks. Despi t e t ouchi ng on al l t hese vari ous pi eces, t he al bum keeps a sol i d consi st ency and ranks as a t rul y enj oyabl e addi t i on t o t he Archi -
t ect di scography. - Hangedman
recommended track : Al t i t ude feat. Comadust er
genre : IDM
si mi l ar arti sts : Di spl acer
8/10 : musi c 8 : l yri cs 9 : recordi ng qual i t y 9
october/november 2013 AUXILIARY TrentemГёller - Lost released by In My Room on 09.23.13 Following two ac-
claimed studio al-
bums, remixes for clients that read as a who’s who in alternative music and a round of sold out touring, Tr-
entemГёller retreated to his studio to make his third album, Lost. Released on his own imprint, In My Room, the Danish pro-
ducer has created an exquisite new volume for his li-
brary of work. Anders Trentemøller is someone who has an ear for sweet melodies, moving basslines and unique flourishes that other electronic musicians just wouldn’t think of. Trentemøller has been develop-
ing and evolving his touring performance with a live band since 2007, something he not only seems to love but has inspired the organic feel in both 2010’s Into The Great Wide Yonder and Lost. Featuring col-
laborations with Low, Jonny Pierce (The Drums), Marie Fisker, Kazu Makino (Blonde Redhead), Jana Hunter (Lower Dens), Ghost Society and Sune Wagner (The Raveonettes) Lost is diverse and every song is a new facet of it. There’s bits and pieces from indie, post punk, goth, shoegaze, psychedelic rock and classical music, and they all function so natu-
rally together on this album that it’s easy to forget how many inspirations there seem to be. Lost moves track to track, influence to influence, without effort; all the while sounding like a Trentemøller album. That’s really a feat, to keep the unique personality with all that’s going on. Trentemøller is someone who isn’t stuck on repeating himself or making an easily discerned genre of music. Here he’s embraced a large variety of inspiration and that’s what makes Lost so diverse, original and beautiful. - Aaron An-
recommended track : The Dream
genre : indie rock, synthpop, house
similar artists : Moderat
8/10 : music 8 : lyrics 8 : recording quality 9
Youth Code - Youth Code released by Dais Records on 09.03.13 I just found this band because of buzz from a fellow DJ. Wow, it is awe-
some! The LA duo of Ryan William George and Sara Taylor, Youth Code, has gotten a lot of buzz and a quick rise to attention. They make ebm/
industrial music that sounds in line with some of the best of the Wax Trax catalogue. It’s raw, harsh and reminds me that in the beginning of industrial music bands like Throbbing Gristle, Einstürzende Neu-
bauten and Skinny Puppy started by making music with the same abrasive DIY approach. Youth Code’s punk, hardcore and metal roots are written all over the way they approach music. There’s more focus on the energy of the roughness and message than in making a slick and tightly produced club song. Distorted vocals, analog and gear based electronics along with samples from film and life make up an album of rapid all electronic industrial music where no song lasts longer than 4 minutes. I’ve struggled with how much I like it. I love the classic sound and its raw fury but I kept asking myself over and over, “why doesn’t this feel tired and done before?” The best answer I have is that Youth Code is sincere. They are approaching this sound in a way that is not contrived and are from a background of music that’s much more than trying to be Nitzer Ebb. It feels like they are inspired to make music that is this. I really love what it is and I’m eager to see the evolution of this project. - Aaron Andrews
recommended track : First & Last
genre : industrial
similar artists : early Skinny Puppy, Front Line As-
sembly, or Twitch era Ministry
8/10 : music 8 : lyrics 8 : recording quality 8
as a bonus disc as I found nothing really remarkable on it. Now the first disc is where all the magic is. Right from the start you are engrossed with upbeat catchy as hell EBM. The album is pretty much the same as Underbeat except with a few modern dub-
step breakdowns tossed in to keep things current. Overall Accessory manages to keep Resurrection feeling light and focused on a party type of vibe, even if the lyrics might not reflect it. This is a club album and there are so many dancefloor crushers to choose from considering everything sounds great on a thumping sound system. This album is a must for any industrial DJ and a must for any club goer who likes to dance to songs they know and love. - Mike Kieffer
recommended track : Outrun the Gun
genre : EBM
similar artists : Rotersand
8/10 : music 8 : lyrics 6 : recording quality 9
Covenant - Leaving Babylon released by Metropolis Records on 09.10.13
One of the things I love about Cove-
nant is I can always go back to some of their early records and still find some-
thing fresh about the content therein. There is a comfort with this band as they always seem to be able to innovate without losing a purity to their musical “brand”. This makes Covenant timeless, with mu-
sic that continues to be some of my overall favorites in the industrial synthpop genre. Leaving Babylon is the band’s 10th full length album and like nearly every single one of their releases to date, it’s an amazing addition to the band’s repertoire. My chief impression from this album is the maturity and nos-
talgia the music expresses. There’s lots of hallmark Covenant smoothness on Leaving Babylon but if you follow the progression of the band’s sound over the years, I can’t but help get the feeling that this album comes from a place of deeper emotion and reflec-
tion. Covenant has always had this amazing ability to keep industrial pop relevant, and as us scenesters all get a little older year by year it’s a true pleasure to see a band mark this evolution in their music, lyr-
ics and emotional maturity. Perhaps I’m hearing a lot of nostalgia in this album and it’s reminding me of those sweet days when industrial pop changed my world. Leaving Babylon is a sounding board for anyone who wishes to reflect back on the glory days while still remaining a fresh and amazing addition to the genre. - Hangedman
recommended track : Not To Be Here genre : industrial synthpop
similar artists : Legend
9/10 : music 9 : lyrics 10 : recording quality 9
Ginger Snap5 - Snapped By You released by skyQode on 09.25.13
Coming from the Ukraine, Romeo So-
roka’s project Gin-
ger Snap5 has been sneaking around the underground for some time now doing remixes for what seems like everyone. Their remixes always stood out from the others because of the intense and powerful trance like synths. While remixes are good and all, original content is what will make a name for you, and with the release of Snapped By You, we final-
ly get a chance to see what this project is capable of. Snapped By You does have plenty of signature synths which are combined with hard hitting beats, well performed vocals, interesting well thought out lyrics, and catchy pop hooks. The thing that stands out is of course the synths and there is so much, you might think you are stuck at a rave, and the non-
stop high energy beats just fuel these thoughts. The album might seem obnoxious, but really it has this underlying calm tone throughout, that while the pace is high your anxiety is not. The only problem I see is that it is a bit difficult to separate the songs from one another without really listening to the album over and over. Overall Snapped By You is worth checking out, it is well written and well executed. It is nice to see Ginger Snap5 with a proper album and I hope to see more of them in the future. - Mike Kieffer
recommended track : Wrong
genre : electro-industrial, trance
similar artists : Steelfrout
8/10 : music 7 : lyrics 8 : recording quality 9
interview by Diamond Bodine-Fischer
photographer Rick Rodney
Dissatisfied with some of the present sounds of EBM and industrial, Sara Taylor and Ryan William George are staging a sonic revolution as Youth Code. They talked to Auxiliary about their first self titled album Youth Code, their first tour, the ups and downs of hype, and where they expect Youth Code to go in the future.
AUXILIARY october/november 2013 The Los Angeles industrial duo Youth Code, comprised of Sara Taylor and Ryan William George, has been stirring things up lately. The pair formed in 2012, just released their first album and returned from their first tour, but already have cre-
ated a flurry of attention, both positive and negative. Taylor and George have been playing music for years, their first project together draws heavily from classic industrial and mixes in synth melodies and EBM stylings. We talked to the pair as soon as they arrived home from their first tour.
You guys just formed in 2012, but there has been a lot of hype already; obvi-
ously. Do you feel like that is starting to fade? Is it translating into fans and converting people who had doubts about Youth Code before?
Sara Taylor : I think the hype aspect of it is exciting and hopefully continuous, and I think it’s been turning people into fans. But I’m not completely sure, hype is something I can’t be overly concerned with. We make music because we like do-
ing this project together. If people continue to like what we do, rad. If not it’s not the end of the world for us. I personally think we’re just getting started. Ryan William George : I think hype is dangerous and it leads to burnout. That’s why I try and ignore the internet as much as possible when it comes to our band. Keeping my head down and continuously working on music and lyrics. Hype fades but good work will endure. Though you have a really unpolished, classic industrial sound, like something from early the Wax Trax days, with some more melodic synth, EBMy aspects, and thrashy punk as well, there is still something unique in your sound, was this combination and final sound planned, or did it come about more by chance?
ST : Ryan and I both share a love for EBM as well as punk and hardcore, so I think what we’ve created is a natural blend of things we are influenced by and enjoy. It was never planned out, it was just electronic music done by kids who are punks. RWG : We wanted our debut to spit fire, no frill or fluff. We knew we needed to represent our personal attitudes and distaste for most current “industrial/EBM” music. We’ll be slowly introducing melody by the way of pads and string lines down the road but tastefully and true to the YC style we’ve created. What influences did you pull from for this particular project?
ST : Everything from EBM, to power electronics to punk, hardcore and even metal. RWG : What Sara said. Our influences are all over the place, but wouldn’t sound out of place on a mix tape that you would get in High School. We’ll file it all under the umbrella of “outsider music”. When did you realize that what you were experimenting on together was a viable creation that you wanted to record and go out performing with?
ST : It all sorta happened for us. I agreed to a Vacation Vinyl employee showcase without us having songs, and then we wrote the material five days before the show-
case. People were pumped so we continued on. I don’t think it was ever a thought out experiment. It was more a chance of forcing us to do something together.
RWG : We booked a show before we even had songs. It’s pretty backwards. We had 34
Youth Code
the urge to fill a void we felt was lacking in our local scene. Turns out it was kinda lacking all over the world. Plus, we both feel that the genre as a whole got discarded and forgot about pretty fast and we saw a lot of untapped potential in that sound. It jumped from electro postindustrial, or whatever, to future pop and industrial metal REALLY fast. There’s some serious uncharted territory left to explore sonically. There has been a lot of buzz around your project, but that buzz seems to have grown with your self titled first album, how do you guys feel the album’s reception has been?
ST : People either love it or hate it, which is fine by us. When people hate it they just have really dumb uninformed things to say like, “oh you’re ripping so and so off,” or, “you’re a hipster,” which is the dumbest retort you can make to anyone. When people love it they are very, very supportive and almost get defensive on our behalf. I think that overall it’s been positive. You can’t ever pay attention to people if they aren’t being constructive about what they criticize.
RWG : Yup, it’s a love it or hate it thing, and that fucking rules. I’m proud to say we stirred the pot and it’s just another example of why this style of music needs another shot. A lot of people don’t even have a reference point for what we’re do-
ing. People are like, “what is this euro techno shit with screaming?” It’s like, have you ever heard Klinik, Wumpscut, or X Marks the Pedwalk? Come on, man! When you’re not crafting chaos, what do you find yourselves listening to?
ST : I listen to an insane melting pot of music. My tastes go from Lady Gaga to Deathpile. I seriously have the hardest time with this sort of question because I can’t pinpoint a certain style of music that I find myself listening to, I just like music in general. RWG : I get hooked on a couple records and listen to them for a month straight. It drives Sara crazy but I don’t give a fuck.
Your sound is more reliant on particular pieces of gear than a lot of acts, what are some of your favorite pieces of gear to use?
ST : I really like the EMX because it’s a simple yet effective way to craft the base of our song. From there we’ve been picking up pieces of gear that are of interest to me but I’d say that is the base line of where everything comes from. RWG : I don’t really have a favorite. I like to jump between pieces of gear a lot to keep my ears fresh. We just picked up the new Volca Bass from Korg which is like a TB 303 and we also snagged a Shruthi-1 from Mutable Instruments that has some sick FM sounds. Needless to say, we’ve got bass lines coming out of all ends at the moment. Is there anything you don’t really use, but are particularly fond of or fasci-
nated by?
ST : I love contact mic to abrasive things like sheet metal or steel poles. That would be cool to use live but so far it’s been strictly hardware. Maybe in the future we’ll be able to set something like that up, but since it’s only two people I think we’re stretching ourselves out quite a bit for performance as we don’t use computers. RWG : I really want to get my hands on the DSI tempest, MS20 mini and an mpc for live. Like Sara said, contact mics on metal through pedals will be something we mess with down the road. There’s a lot of collaborating in Los Angeles, more than any other city I’ve seen, artists come together from all genres and all mediums regularly. Who have you guys been working with?
ST : We haven’t really been working with anyone except for Jeff Swearengin. He helped us with mixing and mastering and has been very helpful and supportive as far as things go with this project. We sort of hole up in our house during the cre-
ative process and don’t really let anyone else in. I think we’d like to do some splits with some people in the future, but we haven’t really collaborated at all. RWG : We’ve worked with Juan (Silent Servant) a little which taught us a lot. But we’re both so busy, nothing really came from it. Jeff Swearengin is the man. He’s taught us so much. His help has been tremendous.
What are some of your projects that are not related to Youth Code you guys have worked on recently and how do they differ from Youth Code?
ST : I’m singing with Sissy Spacek now which is a noise grind project, so it’s nothing like Youth Code at all. It sounds more like slamming your face repeat-
edly against concrete. I’d like to do something more pop based in the future, but I’m not fully sure how I would convey that to the world or if it would even be released, ha!
RWG : I’m full on Youth Code at the moment. There’s so much happening for us right now that I can’t focus on anything else. Is there anybody you really want to work with?
ST : Probably Bill Leeb or Rhys Fulber. Rhys did a lot of cool production work with Fear Factory and I always thought it was awesome that a metal band brought 35 october/november 2013 AUXILIARY in an electronic artist to do their production. I’m sure there’s a list of a million singers I’d want to do a song with or something. RWG : Leeb. For sure. Without a doubt. Or Al [Jourgensen]. I need to know how to get our drums as sick as Ministry.
How was this tour?
ST : Tour was amazing. We got to spend a little over three weeks in a minivan with Night Sins, and got to play music every night and meet cool new people across the country. I would like to keep being on tour forever. RWG : Tour was fantastic. So many good people and bands. There is a lot of excit-
ing music brewing in the underground. The next year is going to be really fucking exciting for industrial music. Mark my word. How was your feedback from fans, and is it at all what you expected?
ST : Yeah, people were psyched. It was fun, our fans are fucking awesome people. I got to hang out with a lot of different heads and just chill. Nothing was too pun-
ishing and everyone was really great. It meant a lot to be able to connect with so many different people.
RWG : The consensus was, people have been waiting for an in your face band for a while. I’m very humbled and proud. We can’t wait to get out on the road again.
Any horror stories from the tour?
ST : Nah, there’s the ups and downs of going somewhere that sucks and not having the sound system to take care of what we need as a band. But it’s our first tour, it could’ve been a way bigger horror story than it was. we can do to get this out there to people is just fine with us. RWG : It’s hard to say. We have a few offers on the table but we don’t really fit in anywhere at the moment. We can play with punk/metal bands or industrial/EBM, even indie rock kids are into it. We’ll have to wait it see how it falls into place. We’re kind of on an island right now. Have you thought about your next release yet? What’s that going to be like?
ST : We piece together little bits here and there, and it’s probably going to be fuck-
ing nuts since we’ve been able to come up on a bunch more rad gear, but so far I’m just trying to do things one day at a time. RWG : The next record is going to shred. That’s all I can say. Of everything you draw from, industrial, metal, punk, even EBM, how do you think you fit into the music scene? Has any group been more quick to embrace what you’re doing? ST : I think different walks of people are getting into it, but I don’t feel accepted fully by any one scene what so ever. And that’s great. Fuck scenes. Music in gen-
eral is awesome, sectioning it off to different sects is bullshit. Just like what you like and be proud of it. No reason in pigeon holing tastes to one particular sect. RWG : We can play with so many different kinds of bands and we actually like being challenged with the odd man outness of it. The industrial scene was the first to really back us for obvious reasons but it’s turning into something else. A friend said our record release show was 50 percent goths and 50 percent hardcore kids. You can’t fuck with a mashup of people like that. It hasn’t really happened since Babyland. It’s incredible. MUSI C
AUXILIARY october/november 2013 RWG : This was the best tour I’ve ever been on. There were a couple rocky shows where the PA wasn’t up to par, like you could literally hear us screaming over it. But other than that. Smooth sailing. Sara, I know we’ve talked about touring with metal acts in the past, and Ryan, you’ve played in punk bands, how would you say this tour has been different from your previ-
ous outings with other types of bands?
ST : When I tour with other bands I actually make money! [laughs] No, It’s cool because I feel actual excitement going from city to city. You show up and all these people want to be hospitable and nice and amazing. On a tour where I’d be crew you show up like a 9-5 job with different hours. Get to venue, set up, sit there all night and do absolutely nothing except a transaction. So to be able to see the country and actually have people who want to converse with you for bigger reasons than getting an XL black shirt, is an amazing experience.
RWG : Having Sara’s experience as a tour manager helped this last tour 100 percent for both us and Night Sins. She handled ev-
erything. I’m sure it wasn’t easy and that it’s not something she wants to do in the future. But yeah, she rips and we owe her a lot. What have you learned from this tour?
ST : To always make sure every single detail is advanced light years ahead and reconfirmed even before you leave and then confirmed again the day you get there. Don’t just settle for what they nonchalantly say is going to happen. If you have a vision, make sure it is followed through to the very last detail. RWG : That we can function as a touring band and that there is a hungry audience for this style of music.
Do you have any ideas or plans for the next tour?
ST : We’re gonna try to go out and support some bands just so the audience can be broadened, and people who might not have ever considered checking us out have a chance to do so. I feel like we’re way more of a live band than recorded, so maybe that will turn some heads. We’re real new, so whatever Ask Arden
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submit your
questions to :
how do you get attention from someone who’s friend is interested in you?
Q : I like my friend but I think his friend still likes me (though we never dated). I’ve been talking to the friend, offering to answer questions, to avoid hurting him. How can I tell if my crush notices me because he’s interested and not a wingman/friendly?
A : At the end of the day, you are attracted to whom you’re attracted to. Hurt feel-
ings suck but you can’t fake what’s not there, so while you want to be kind to the friend in question, you’re not obligated to stop your other pursuits for his sake. Get your target alone and start to escalate, and pursue him the way you would any other target.
We as women at times have this terrible habit of feeling responsibility for a man’s desire for us, as though it’s our fault that we’ve caused it. Although it can manifest itself in more severe ways (rape culture, anyone?), walking on eggshells around someone whose feelings you don’t reciprocate is just another way of assuming unnecessary shame/blame. Sure, it sucks for this guy, as it sucks for anyone whose feelings are unrequited, but that’s not your fault. Just be honest with him and treat him with respect and basic courtesy. That doesn’t extend to abandoning your own desires in order to coddle him though. You have every right to pursue the man you want.
how do I go from just playing with a fantasy to a true Dominant/submissive relationship?
Q : I have a question about the difference between play-acting and really be-
ing submissive when it comes to a femdom/sub relationship. He’s a guy I’ve known for over a year, we know each other’s preferences pretty well, he has a foot fetish and I don’t mind using this as a start to dominate (since we both want a femdom/sub thing) but sometimes I get the vibe he’s just play-acting to fulfill a fantasy. I want him to want more; I know it’s possible to control his mind in a seducing manner, what cards do I play in that situation?
A : Ah, the fun of D/s relationships. It’s hard enough finding someone you can stand in everyday life, and then on top of that you have to hope that your kink interests line up as well. Not an easy feat. (Feet? Sorry, it was there.)
If you’re going to step into your authentic dominance, the part of you that wants to take control in a safe and negotiated situation, then you have to really think about what you want. Spend some time thinking about what turns you on, what things you’d like to have your lover do for you, things you’d like to do to him. Savor those things. Let those scenarios play out in your head. Let them make you blush a bit. Female dominance, in my experience, can be tricky territory to embrace, but that’s where the fun starts. We as women are often conditioned by society to hide our desire, our wantonness, but the wonderful thing about the domme is that she puts her desires out into the open. She insists on her pleasure.
I pro-dommed for years without really feeling the full extent of this. I loved pro-
domination but accepted the fact that I was a service provider, that with clients, it Bringing together her experience in neuro-linguistic programming, psychology, pick-up artistry, and the fetish industry, Arden Leigh, author of The New Rules of Attraction and today’s freshest voice on women’s dating and relationship strategies, answers your questions. by Arden Leigh
photograph by Ron Douglas
wasn’t really about me and what I wanted. I topped in my personal life back then but it was in more of a, “hey, look at this cool thing I can do,” kind of way, much in the way I suspect you’re playing now (and there’s nothing wrong with that, by the way). Later I began to really get my hands dirty in it. When the rush of dominance takes you over, it may feel like a physical high or an out-of-body experience. I’ve sometimes given lovers safewords not because I was afraid I wouldn’t be able to tell if I’d hurt them, but because I was afraid that in the moment I wouldn’t care.
So, you want him to want more. You have to find what turns him on. The foot fetish is a good start, but I suspect there’s more. You can have him keep a journal for you, you can have a conversation about it, or you can just observe him during play. The male genitalia is, after all, an easily interpreted barometer of arousal. Once you’ve found his weaknesses, make him earn them. Make him do the things that turn you on, and reward him with the things he craves. You can even condition him into arousal. An ex of mine, a male dominant, programmed me with a foot fetish by insisting that I gave him a footrub every time I wanted to have sex so that I came to associate giving footrubs with sexual arousal. Was this morally dubious? Perhaps. My subsequent boyfriends, however, have thanked him for it.
I could easily fill every page of this issue and more with advice on D/s relation-
ships, their ecstasies and their cautions, but I suspect my editor would like me to keep to my word limit. I recommend checking out a book called The Forked Tongue by Flagg, which touches on the dark impulses and cautious ethics behind psychological D/s.
And remember that while you want to make him work to please you, don’t make it impossible or he’ll give up. My ex’s foot fetish tactics eventually backfired on him as I started feeling resentful and hurt that he seemingly wasn’t interested in sex unless he got a footrub in the process, and I stopped initiating sex with him. As with any relationship, make your lover feel appreciated when he does something that pleases you.
october/november 2013 AUXILIARY Auxiliary talks with belly dancers Muise and Mahafsoun to examine belly dancing’s fusion with alternative cultures and subculture.
interview by Paige Etheridge
with special thanks to Nazeem Allayl
Freedom to Dance
AUXILIARY october/november 2013 Liberation through subculture is being celebrated with movement. The ancient art of belly dancing shimmied its way into alternative cultures and their freeing lifestyles. Then the dance transformed into a staple for many subcultural events and ceremonies. Like most subcultures, belly dancing’s intent is to bring people together. While in the Middle East belly dancing still reflects the culture’s con-
servative values, elsewhere it has turned into an expression of individuality and freedom.
The style of belly dancing that has been adopted by alternative culture is Middle Eastern Belly Dancing. Its exact origins are unknown but it’s clear various ances-
tries had a hand in what the dance became. Yet each culture shaping the dance also retains its own unique form of it. For example it is traditional for Egyptian belly dancers to wear costumes that cover the navel which is not the case in other styles. Hollywood created a glamorized sexual version of belly dancing but this art was not intended to be erotic. It was always about bringing common folk together to dance while celebrating community. Everyday people have moved their bodies together in this way for centuries. Still, it’s taken on aspects of exoticness and mystery due to Hollywood’s influence. With belly dancing’s growing popularity there has been a move away from ex-
pressing conservative aspects of Middle Eastern culture and a move toward ex-
pression of freedom. Belly dancers Elizabeth Muise and Mahafsoun both exhibit this. They both honor belly dancing and the subcultures it has become a part of while honing their art to create a style of their own.
Elizabeth Muise lives in the United States and is an artist of many mediums in-
cluding painting. Yet her artist heart lies with belly dancing and she channels her creativity into her body’s moves. Through her journey she travels and belly dances with the band Cu Dubh known for their Celtic as well as Viking battle instrumen-
tals and Boom Boom Shake in which she collaborates through dance with her husband’s love of music. Muise used to call herself a tribal fusion belly dancer to reflect her connection to nature. Currently she defines herself as a belly dance artist to show her openness to various belly dancing styles. Still, Muise generally per-
“ I see belly dance in a lot of Pagan, Wiccan, yoga, Renaissance, fairy, goth, and steampunk subcultures. It fits into these countercultures aesthetically but I think the common theme, and the most important, amongst all of these groups is freedom; artistic freedom, personal freedom, religious freedom. Belly dance is embraced by these communities as an expression of freedom. ”
forms for those interested in honoring nature, spirituality, and mother earth. Muise aims to connect her art to these subcultures and their spiritual beliefs.“Deeply connected with nature, I strive to reclaim it. We are nature. Our bodies are earth, our souls like wind. We feel the mysterious pull of our mortality and sensuality when engaged with the landscape. This reality is both internal and external. It includes ancient stories, past dreams, and the infinite space inside of us. A place where our minds escape and our bodies dwell [within] the human landscape,” explains Muise.
Muise beautifully captures the spiritual communion that can be achieved through this art form. She also eloquently presents its role in alternative culture. “I see belly dance in a lot of Pagan, Wiccan, yoga, Renaissance, fairy, goth, and steam-
punk subcultures,” says Muise. “It fits into these countercultures aesthetically but I think the common theme, and the most important, amongst all of these groups is freedom; artistic freedom, personal freedom, religious freedom. Belly dance is embraced by these communities as an expression of freedom.” While the spiritual component of belly dancing remains, this idea of freedom is a new branch from the more conservative Middle Eastern traditions.
This dance form is also used as a link to subculture’s exploration of the forbidden. “Belly dance has always been taboo due to its sensual and exotic nature,” says Muise. “It can be easily embraced by subcultures that are more open minded. Belly dancing satisfies a yearning to connect with something earthy and expres-
sive, spiritual, and sexy.” Exploring the shadows of human consciousness is a way to also discover an individual’s freedom. Speaking of forbidden, on the other end of the subculture spectrum and the west-
ern hemisphere is the belly dancer Mahafsoun. Born in Iran and currently a Ca-
nadian resident, she mixes her belly dance with goth subculture and dark alterna-
tive culture. Mahafsoun often creatively collaborates with cultures diving into the obscure parts of human mystery and desire. Like Muise, Mahafsoun delves into various art forms, including modeling. This includes many photoshoots in which she is covered in blood. Most significantly, Mahafsoun dances to show pride in her Middle Eastern heritage and as an expression of her spirituality. Yet she also takes creative liberties in order to express the subcultures she thrives in and to express the sense of freedom she gets from being part of them.
Mahafsoun previously labeled herself as a metal belly dancer. Like Muise, in or-
der to acknowledge other styles she includes in her art she now deems herself an alternative belly dancer. She describes her art of darkness and how she made it her own, “I don’t use my art as a tool to release sadness, darkness, or pain.” Mahaf-
soun continues, “I believe it could cause someone to receive those negative emo-
tions and energies. Instead I try to simply express my emotions and ideas through what I do. To release all darkness is to let go of a tool which could, if used prop-
erly, inspire you to create powerful art. I’m not ashamed to hold on to just enough of it to fuel what I do in an artistic and creative way. If I hear I touched someone in a way and made them relate or feel something deep, I feel inspired.” Mahafsoun describes how like gothic subcultures, belly dancing is a form of release and not a festering of negative or evil energy. Belly dance can provide catharsis and allow an individual to release negative energy. Metal music is also an art form that purges primal instincts and hidden aspects of an individual. Mahafsoun is a metal fan and feels at home as a dancer for this genre. She feels belly dancing and metal blend together in a type of yin and yang balance. “There wouldn’t be any reason to dance, if there wasn’t music to inspire it,” says Mahafsoun. “Metal is my preferred genre of music to dance to, because it creates balance between the gentle feminine movements and the powerful music. They contrast each other to balance the performance out. I naturally feel more comfortable dancing to alternative and metal music. I grew into it and I love it.” In a way, Mahafsoun’s growth through her expression with belly dancing represents the metamorphosis the dance has gone through in western subcultures.
These women’s creative liberties and their willingness to move through their cul-
tures and beyond them represents how belly dancing is being presented in subcul-
tures. Through this new expression of the dance it has changed aspects of its mani-
festation. While it has moved away from certain conservative aspects of Middle Eastern culture and transformed into an expression of freedom, it has retained its spiritual components and its ability to unite communities. “ I don’t use my art as a tool to release sadness, darkness, or pain. I believe it could cause someone to receive those negative emotions and energies. Instead I try to simply express my emotions and ideas through what I do. To release all darkness is to let go of a tool which could, if used properly, inspire you to create powerful art. I’m not ashamed to hold on to just enough of it to fuel what I do in an artistic and creative way. ”
AUXILIARY october/november 2013 Meet Lauren Amante, an animal lover and vegan who got her start in modeling at age thirteen. With features in many magazines, she is particularly proud to have been featured on and as the subject of photographs displayed at the Annenberg Space for Photography in Los Angeles. While she keeps busy doing everything from print work to runway and live demos as far abroad as Japan, she looks forward to being busier with a music project in the works and by trying her hand at acting. photographer Saryn Christina
makeup artist Roshar
hair stylist Lisa Yamasaki
model Lauren Amante
location Wakayama, Japan
the PinUp
Auxiliary’s playful take on the sexy centerfold pin up. Flip the page, cut out, and tac on your wall!
october/november 2013 AUXILIARY Auxiliary Magazine Presents
Lauren Amante
name : Lauren Amante
birthday : March 23
birthplace : Los Angeles
eye color : Green
hair color : Blonde
turn-ons : Confidence, creativity, intelligence, sincerity, and a passion for living.
turn-offs : Dishonesty, fear, artificiality, insecurity, and a lack of motivation.
why do you model? : I have a strong desire to create and I love to perform. Modeling is one of many forms of expression I have grown to love. It allows me to be a shapeshifter, to transform and to become different characters. To me, fashion is art. Clothing and the way someone wears their hair or makeup greatly allows a person to express themselves. We are all characters, some conservative, some edgy, some who prefer to be undefined and fashion has always allowed for that to be expressed outwardly. Helping an artist’s vision or work to come to fruition is something I really enjoy and when I’m presented with the opportunity to work with someone whose body of work I greatly admire, it can be a great honor and an exciting experience. how did you get into modeling? : As long as I can remember, I was always infatuated with the arts and performance. I began acting, singing, dancing, and painting at a very young age and it just kind of stuck. As I got into my teen years, I realized a love for beauty and fashion, and naturally gravitated toward trying out bold makeup looks and making or putting together outfits. This eventually led to taking a lot of artistic self-portraits or photos of friends I’d deck out in my crazy fashion concepts. I was part of the beginning of the era of social networking sites in high school so naturally with blogs and pages like MySpace and Facebook, it was easy to share this kind of expression. I received a lot of encouragement from strangers online, as well as creative people in my life and my acting coaches to pursue modeling, and eventually took heed to all the nudges I had been given by those around me. After my first shoot, I fell in love with modeling and I haven’t stopped since. favorite musical artist : It’s difficult to choose one, but I’m very inspired by artists such as Danny Elfman, Trent Reznor, Thom Yorke, Sigur Ros, Gary Numan, Depeche Mode, and Mike Patton to name a few.
favorite movie : Cinema Paradiso, pretty much all of Disney’s classic animated films, John Hughes’ films, and anything Miyazaki.
favorite tv show : Dexter
favorite book : Works by Philip K Dick, Albert Camus, Chuck Palahniuk, and Edgar Alan Poe.
favorite cocktail : The Big 10 Banana Mana shake from Beverly Hills Juice Club.
favorite color : Black favorite tattoo : I don’t have any.
favorite article of clothing : All and any of my cape-like flowy pieces from William Anzevino, Max Azria, and Gita Salem, my cat tights I got in Japan, and my collection of stacked platforms.
favorite fashion designer : Gareth Pugh and Alexander McQueen.
favorite fashion style : Not exactly sure how to categorize this but I love pieces that flow and have a lot of movement. Layers, capes, scarves, and gloves are a lust of mine. Lots of black. Edgy but sophisticated and classic. Completely obsessed with tights, tall shoes, eyelashes, and creative makeup. High fashion.
favorite star/icon : Walt Disney and Tim Burton, both very inspired visionaries.
favorite outdoor activity : Going to Disneyland!
favorite indoor activity : Spa days and hanging out at home and watching movies with my boyfriend and kitten.
favorite club/club night/place to go out : iPic Theaters
anything you’d like to say to our readers? : Live, really live, and realize that every moment you exist is a gift. Don’t ever let anyone take your dreams from you or tell you that they are meaningless or a folly. We are all foolishly persuaded and distracted at times to actually believe that there are rules or barriers keeping us from what we really want. The meaning of success and happiness is different to everyone and believing that you must follow a certain set of guidelines and a formula in order to find happiness or success is absurd. Know that anything and everything is possible and impossibility merely exhibits ones ability to limit themselves. The moments you feel inspired and your heart feels full exist for a reason. Pursue what you love and what brings you fulfillment and always allow yourself to be loved because, even though at times it’s hard to remember, everyone deserves those things and can create them. Thanks for having interest in learning a little about me. I wish all of you great happiness and success in your lives. Please feel free to keep in touch!
check out Lauren Amante at
AUXILIARY october/november 2013 Lauren Amante
1 Toon Town Dress by Poizen Industries.
2 Horror Gal Dress by Hell Bunny.
3 Jawbreaker Dress by Fashion Whore.
4 Cupcake Queen Ring by Fashion Whore.
5 Lasercut Acrylic Cupcake Necklace by Di Depux.
6 Sweets for my Sweet Peep Toe Shoes by Iron Fist.
7 Beadlicious in Gold by Privileged.
8 I-Sream Earrings and Brooch by Frills & Morbidity.
9 Lasercut Acrylic Popsicle Necklace by Di Depux.
10 Cupcakin & Donut Lovin Wallet in Blue available at Fashion Whore Boutique.
styled & written by Pretty Deadly Stylz
photographer Ian Compton makeup artist & model Natasha K @ Valt Models
october/november 2013 AUXILIARY Be inspired by the delicious goodness of everything candy! This season play it sweet with cute candy prints, or sour it up with some darker in-your-face foodie graffiti prints. Whether sugar or spice, don’t forget your accessories, they are your candy. Cover yourself in treats from your head to your toes: skull ice cream earrings to adorn your head, cupcake and donut coated clutches for your hands, and confectionery covered heels for your feet! Feel free to play up the spooky vibe, tis the season after all. Polish the Tricky Treats look off with a super sweet candy colored lipstick, the brighter the better, try Lime Crime’s No She Didn’t. This Halloween if you’re not feeling the monsters and ghouls, you may want to think about dressing up to celebrate the sweet treats of the holiday. 45
Tricky Treats
interview by Vanity Kills
photographer Karlie Lanni of Eye Shutter Photo
creative director Jennifer Link fashion stylist Jennifer Link
makeup artist Stefanie Contreras
hair stylist Stefanie Contreras
models Fraulein Sanzio & Blu Jay
On left, Burlesque Queen of Hearts Crown in Onyx by Janine Basil. On right, Mini Queen of Hearts Crown in Purple by Janine Basil.
Upper, Bat Hair Adornments in Purple by Janine Basil. Middle, Bones Headband in Plain White by Janine Basil. Lower, Skeleton Hands Headband in White by Janine Basil. Not to lead you directly into the arms of temptation or anything, but browsing through Janine Basil’s Pop Accessories “just to look” at glitter bone headbands, tiki brooches, or 8-bit diamond necklaces (a retro gamer girl’s best friend) might lead to an exponential shrink in closet space. True story: even the most iron resolve is useless against a host of unicorns, robots, and pandas waiting to take up residence on your head, neck, and shoes. And in the rare event of coming across the feeling of restraint settling in, enter the rainbow glitter bow crown headband. Willpower override sequence initiated. The only way to resist temptation is to yield to the magpie within indeed.
You make mention of your (no pun intended) roots in the hairstyling industry. Despite choosing not to pursue a career behind the chair, do you feel like any of your cosmetology training came in handy when you made the decision to launch a line of accessories that, for the most part, were meant to be worn in or on the hair?
Janine Basil : Actually, probably not! If anything, all it did was made me obsessed with my own hair! Any-
one that follows me on Instagram and Facebook will know that I change hair color pretty frequently. In the past, you’ve “earned your crust” as a cutting room assistant, a window dresser, and a fabric seller at a market. Which one of your pre-Janine Basil Pop Accessories gigs did you find to be the most gratifying?
JB : In terms of job satisfaction, definitely being a window dresser was the most gratifying. I got to, not only put together what was going in the window, but also often design the props and displays to go in the win-
dows as well. It was a little limited due to the kind of shop I was in, a rather old fashioned department store, but it was still a lot of fun. All of the jobs I’ve had have contributed to what I do now though in one way or another. Through working in fabric stalls and shops I learned almost everything there is to know about fabrics. Working in various retail areas I learned a lot about customer service. Being in the cutting room for a small childrenswear company I found out about production on a small to medium scale and running a business which was sending out catalogs and later, selling online. Even down to working in the warehouse of the same childrenswear company taught me about packing and the postal system. I finally feel lucky that I had to move around jobs a lot, I would have had to pay a fortune for the lessons it’s taught me.
Filling orders for all those lovely glittering crowns, star-shaped shoe clips, and bat-tastic fascinators must leave quite the trail of sparkly multi-colored dust in your work space. Any guesstimate as to how many pounds of glitter you make practical use of throughout the course of one year?
JB : I honestly wouldn’t even like to guess though, it must be a heck of a lot! I certainly do have trails of sparkly, multi-colored dust everywhere. I’m sure the inside of my vacuum cleaner bags must be really quite pretty! Thankfully though, the majority of the glitter I use is already applied to fabric. It’s the same fabric used to make ultra-glittery shoes. That way I know it’s going to be supreme quality and not rub off too much and won’t cover the wearer’s hair and face!
The Comic Sound FX headband range pays homage to appreciating the nerdier things in life. In ad-
dition to turning “Pow”, “Bam”, and “Kaboom” into wearable embellishments, what, if any, other geeky interests do you have?
JB : I’m really rather obsessed with B movies and disaster movies. I love anything from When Worlds Col-
lide to The Stuff, The Towering Inferno to Deep Impact. It comes from when I was a kid and BBC2 at 6pm would show old films. Then I started to look in the TV guide for all old films. They seemed so much more fun than modern films. And then I found The Towering Inferno one cold Sunday afternoon and I was hooked for life! Otherwise, my interests mostly lie in the crafty, designing, sewing and making side. Obviously, that’s geeky enough in itself. The adoration of all things rhinestone-studded by both the burlesque and drag communities has been well documented by a branch of science called “glamourology”. Now that we established this indisputable fact, let’s switch things up for a moment. The roles have been reversed and you’re no longer, Janine Basil, designer. Instead you’re temporarily filling the fashionable shoes of one of your burly-q or female impersonator clients. How do you envision the following: Your stage name? Your act? Your nothing-short-of-astonishing stage wear? And most importantly, what items in your online store would make the above alter-ego click “add to cart” without hesitation?
JB : I should give you a little history here. I was a very precocious child. I liked to perform and put on shows for family with friends (you know, just like the old films, “let’s put on a show!”). Sadly, that was all knocked squarely out of me when I was a teenager in a school play when I realized I could not act, sing, nor dance! I think the only reason I was allowed on the stage was because I was loud. For that reason, it’s hard to even begin to imagine me doing anything like that!
In your Internet travels, have you ever run into a Janine Basil original incorporated into a kick ass cosplay?
JB : Not all that many to be honest, but that’s probably more down to my lack of observation! I did have a fantastic photo sent to me by a model in Australia (whose name completely escapes me at the moment, which I feel terrible about!) who was dressed as The Queen of Hearts and was surrounded by tiny strawberry tarts. That was rather amazing.
What were your best (and if you dare to share, worst) childhood Halloween costume(s)? Did your family typically take the homemade route or scour the store racks for packaged styles?
JB : This might be hard to believe, but in the UK when I was a kid, Halloween just wasn’t all that big! There were some parties, but costumes wouldn’t have been much more than a witch’s hat and cape, or maybe ban-
dages for a mummy costume! I did dress up for the carnival our town would have every year though! One year I was a roller skating Martini Girl (this was the 80s). I had on my favorite white spotty rara skirt, a white shirt, my hair in a side ponytail with a blue ribbon, carrying a tray with a bottle of Martini (empty of course) and last but by no means least, my precious red roller boots! Apparently I won an award for that one. Another year I was Princess Diana (again, of course, it was the 80s!). A lovely pair of knickerbockers (did Diana ever wear them?!), a white frilly shirt and a tiara on my head. All my costumes were definitely put together with what we already had, or made ourselves. Costume shops didn’t really exist where I was. I think larger cities might have had some back then, but there were definitely none in the area we lived. We didn’t have a lot of money, so we probably couldn’t have afforded it if they did have them there!
Any last minute tips for procrastinating Auxiliary Magazine readers scrambling for an eleventh hour convention or Halloween getup?
JB : Don’t think too big! If you’ve only got a short amount of time, think about what you have in your own wardrobe already and build from there. Maybe put more effort into hair and makeup looks.
Flashing back to an earlier time when you first began showing your work online, do you recall any instances of receiving unsolicited advice from so-called “veteran” designers or other self-appointed ad-
JB : Maybe surprisingly, not a lot! I had been planning on starting an online shop for a long time so I think I had most things down to pat by the time I started. I also think my many years of experience working for small companies, in retail and in the production side of things gave me a head start. I saw what to do and what not to do. I don’t think I got everything right from the moment I started, but I probably had enough of the kinks ironed out already to get by. Research is invaluable when you first start selling online. Are there drawbacks to being an Etsy seller?
JB : Not that I can think of! It’s a nice community. It’s got very good traffic, you do still have to bring your own customers in but the more people do bring in their own customers, the more people that know about Etsy and so more customers for all of us. It’s a nice perk of being on Etsy in fact!
How did the idea to stock Geek Chic Cosmetics on your website come about? How important is forging and maintaining relationships with other indie entrepreneurs to your business?
JB : The idea was fairly obvious really as I think it fits so well with what I do. The hardest part was actually making the decision to actually do it. I wasn’t sure if selling other peoples product was something I wanted to do! I do think having relationships with other indie sellers is important. Even with the ones that sell things that have a crossover with mine, in fact maybe those are the most important. If nothing else, it makes a great support system. It’s lovely how much most of us back each other up. Most of all though, I love introducing my followers to other indie sellers they might not have seen before! The candy cane hair clips, holly fascinators, and shamrock headbands you create prove that yes, there is indeed a market for subculturally-oriented holiday adornments unrelated to October 31st. In your opinion, why do alternative fashion labels tend to ignore Christmas, Valentine’s Day, Easter, etc.?
JB : I’m not sure to be honest. I tend to not really be into any one “scene”, so what others do or don’t do doesn’t bother me too much. I just do what I like, and what I hope others will like, so I think my shop appeals to quite a few subcultures. The cynic in me might suggest that it’s partly because it’s not “cool” to like Christmas etc, but I don’t think that’s really true. It’s probably just not as appealing. I’m just happy to cater for the ones that do want an alternative accessory for the seasons!
What’s next on the Janine Basil agenda?
JB : I’m inspired by so many things, I couldn’t even begin to tell you! One of the lovely things about it just being me is I don’t really have to conform with the norms of the fashion industry, things like producing two collections a season. I can produce new items as they come to me and it’s lots of fun giving little hints about what I’m doing to my followers on Instagram. Suffice to say, whatever I do, you can bet your life that it’ll be fun and involve a lot of glitter!
AUXILIARY october/november 2013 48
AUXILIARY ONLINE CONTENT See more of this feature by searching “Janine Basil” on
october/november 2013 AUXILIARY OPPOSITE PAGE
Upper, Spike Pill Box Hat by Janine Basil. Middle, Triple Glitter Bow Crown Headband in Peacock by Janine Basil. Lower, Lightning Bolt Glitter Headband in Silver by Janine Basil.
Upper, Mermaid Shell Headbands by Janine Basil. Lower, on left, Pow Rhinestone Fascinator by Janine Basil. On right, Bam Rhinestone Fascinator by Janine Basil. photographer Le Mew Photography
makeup artist Griselda Esquivel
hair stylist Desirre Lee & Griselda Esquivel
models Candace Sandoval, Jessica Victoria & Ashlea Smith
lighting tech Armando Esquivel
locations Gallo Negro Tattoo Studio & Razzor’s Edge Hair Studio
Corsets with all the richest details and finest accessories.
Laced up
Red and black stripe garter overbust corset by Corset Connection paired with rhinestone spider fascinators by Vintage Box 1947 and lace choker. THIS PAGE
Black and purple satin sweetheart overbust corset by Corset Connection, gathered bolero, black and white stripe skirt, and purple satin lace trimmed undies paired with horn fascinator by Crypt Keeper Creations, long satin gloves, and black beaded necklace.
october/november 2013 AUXILIARY THIS PAGE
Black and white stripe draped blazer and mesh trimned wrap dress paired with horn fascinator by Crypt Keeper Creations and Vampira necklace.
AUXILIARY october/november 2013 october/november 2013 AUXILIARY THIS PAGE
Red and black stripe garter overbust corset by Corset Connection, red and black lace skirt, and red tulle bustle paired with rhinestone spider fascinators by Vintage Box 1947, lace choker, and red suede maryjane platforms.
october/november 2013 AUXILIARY THIS PAGE
Lace corset belt, black and white stripe draped blazer, and mesh trimned wrap dress paired with horn fascinator by Crypt Keeper Creations, mesh lace up fingerless gloves, Vampira ring, and Vampira necklace.
photographer Jennifer Link
creative director Jennifer Link
fashion stylist Shannon Kramp & Jennifer Link
nail stylist Samm Haney
models Sarah Wintle & Samm Haney
Pick from the best crop of the fall season.
Zephyr heels by Hades Footwear paired with Grace Wallet in Black by Fluevog, Red City Leggings by Carousel Ink, and Raven Skull Ring by Moon Raven Designs. THIS PAGE
On left, Juana La Loca heels by Hades Footwear paired with Black Filigree Art Nouveau Leggings by Carousel Ink, and Gilt Bouquet Skirt by Anthropologie. On right, Stunner Daily Miracles in Black and Embroidery by Fluevog, Black Garter Leggings by Carousel Ink, Black Chiffon Dress by Carousel Ink, H&M rings, and stylist’s own bracelet. october/november 2013 AUXILIARY OPPOSITE PAGE
Upper left. On right, Ruben Baroques in Blue Suede by Fluevog paired with Prepare Pouch Bag in Burgundy by Fluevog, Ecote wine velvet skirt from Urban Outfitters, and model’s own leggings. Upper right. Vegan Ramona Munsters in Blue Velvet by Fluevog paired with Black Redwood Forest Leggings by Carousel Ink and stylist’s own skull print dress by Living Dead Souls. Lower right. On left, Wild In The Streets black heels by T.U.K. Shoes paired with Black Victorian City by Night Leggings by Carousel Ink. On right, Zephyr heels by Hades Footwear paired with Grace Wallet in Black by Fluevog, Red Filigree Art Nouveau Leggings by Carousel Ink, and Raven Skull Ring by Moon Raven Designs.
Lower left. Jade heel in Brown by Hades Footwear paired with Black Garter Leggings by Carousel Ink, Wild Card Bloomers in Black from Five and Diamond, H&M rings, and stylist’s own bracelet.
october/november 2013 AUXILIARY THIS PAGE
Blue-Bow Kitty Anti Pop Heels by T.U.K. Shoes paired with Black Victorian City by Night Leggings by Carousel Ink and Mourning Glory dress by Gloomth.
Ruben Baroques in Blue Suede by Fluevog paired with Prepare Pouch Bag in Burgundy by Fluevog, Ecote wine velvet skirt from Urban Outfitters, Faith Slave Bracelet by Ghostlove, H&M rings, and model’s own leggings.
Burgundy Velvet Creeper Wedges by T.U.K. Shoes paired with Mary Bag in Burgundy by Fluevog, Black Night Lace Leggings by Carousel Ink, velvet dress by Blacklist by Lip Service, and stylist’s own bracelet. AUXILIARY october/november 2013 october/november 2013 AUXILIARY AUXILIARY october/november 2013 OPPOSITE PAGE
On left, Vegan Ramona Munsters in Blue Velvet by Fluevog paired with Black Redwood Forest Leggings by Carousel Ink, stylist’s own skull print dress by Living Dead Souls, H&M necklace worn as a bracelet, and H&M rings. On right, Morgana boots in Brown by Hades Footwear paired with Off White Victorian City Leggings by Carousel Ink and French Courtship Slip in Tea by Free People.
Stunner Daily Miracles in Black and Embroidery by Fluevog, Black Garter Leggings by Carousel Ink, Black Chiffon Dress by Carousel Ink, and H&M rings.
october/november 2013 AUXILIARY THIS PAGE
On left, Burgundy Velvet Creeper Wedges by T.U.K. Shoes paired with Mary Bag in Burgundy by Fluevog, Black Night Lace Leggings by Carousel Ink, velvet dress by Blacklist by Lip Service, Black Dahlia ring by Ghostlove, and stylist’s own bracelet. On right, Tanya Half Truths in Purple by Fluevog paired with Night Lace Oversize Tunic by Carousel Ink, model’s own leggings, H&M bracelet, and H&M rings.
AUXILIARY october/november 2013 october/november 2013 AUXILIARY THIS PAGE
Predator heels in Burgundy by Hades Footwear paired with stylist’s own petticoat, model’s own lace leggings, H&M bracelet, and H&M rings.
written by Jennifer Link
photographer Laura Dark
makeup artist Gray Artistry
model Odette Despairr
This season’s must-have.
AUXILIARY october/november 2013
Sometimes the best Halloween costumes are the simplest. One standout piece can make a sophisticated costume. The Bunny Leather Mask by Tom Banwell Designs is just that piece; it is stunning with the perfect mix of intrigue and simplicity. This hand crafted wet formed leather mask is for the masquerader who enjoys the finer and sometimes darker things in life. Build a costume around it or better yet just pair with an elegant black dress. Then keep it in your wardrobe, it is classic enough to be worn year round whenever the occasion arises. A mysterious leather mask is a must-have for Halloween and beyond.
Bunny Leather Mask in Black by Tom Banwell Designs.
Anthropologie . Carousel Ink . Corset Connection . Crypt Keeper Creations www.CryptKeeperCreations. . Debra Macki www.debramacki.
com . Di Depux . Fashion Whore . Five and Diamond . Fluevog . Free People www. . Frills & Morbidity www. . Gama Go www. . Ghostlove Jewelry www.ghostlove.
com . Gloomth . Hades Footwear . H&M . Iron Fist www.ironfistclothing.
com . Janine Basil . Kreepsville 666 . Kryolan Professional Makeup . Lime Crime . Lip Service . Living Dead Souls . MAC . Make Up For Ever . Miss G Designs www. . Myth Cosemetics www. . Moon Raven Designs www. . Poizen Industries www. . Portland Black Lipstick Co. . Posh Fairytale Couture . Priviledged . Sephora . Smashbox www.smashbox.
com . Sugarpill . Tom Banwell . T.U.K. Shoes . Ulta . Urban Decay . Urban Outfitters . Vintage Box 1947
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october/november 2013 AUXILIARY 67
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