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marlo marquise
aesthetic perfection
gallery serpentine
out shine
burlesque showgirl / flirtacious lingerie
ice queen / jazz age starlet
life of the party dresses
The holidays are fast approaching, it’s a busy time of year, I’m going to make this short n sweet. We have a beautiful issue ahead, sparkling, shining, intriguing, flirting, and seducing you in. The lovely Marlo Marquise graces our cover, and becomes our only twice appearing cover model. That sure shows time is flying! This is our three year anniversary issue! Also joining us again is Daniel Myer, this time talking about the new Haujobb album with partner in crime, Dejan Sa-
mardzic. Let’s see what else do we have this issue, Voltaire talks in depth about his new album and various other creative endeavors, Sam Rosenthal of Projekt Records writes on the digital dilemma in music, Daniel Graves of Aesthetic Per-
fection answers our seven deadly questions, a designer spotlight on the famous al-
ternative couture design company and Sydney shop Gallery Serpentine, Auxiliary Magazine’s top 20 albums of 2011, and tons of fashion and photos to sink your teeth into. Now hurry, flip the page and enjoy! I’m going to scurry off and focus on throwing a huge three year anniversary party! As always, thank you for your support (through three whole years!).
Sincerely, Jennifer Link
Auxiliary Magazine. auxiliary = alternative, supplementary, to provide what is missing, to give support. We have always had a love for the different, the unique, the creative. But from all sides we’ve heard what we love is on its way out, is suffering, is dying, is dead. Today an alternative aesthetic is seen more than ever. Yet the core, the base, the scene; everyone is telling us is in a sad state. Reality is what you make it.
Our goal is to provide high quality fashion editorials, photographs, and articles; unique reviews and insights on the best media out there; and to create discussion and passion about alternative subcultures. There is a lot of amazing and creative stuff happening. We hope to find it, highlight it, and encourage it to grow.
That is why we’ve created Auxiliary Magazine; an online and print magazine dedi-
cated to fashion, music, and lifestyle with a darker aesthetic. There are no other boundaries than that. That is the strong point of alternative culture; and we hope to include it all.
That is a lot of ground to cover. So contribute! Send us your fashion, your music, your events, your opinions, your projects, your ideas. This magazine isn’t for a select few, we don’t know it all, this magazine is for you and what we all love.
Editor in Chief
Jennifer Link
Fashion Editor
Meagan Hendrickson
Music Editor
Mike Kieffer
Associate and Copy Editor
Zach Rose
Associate Fashion Editor
Tasha Farrington aka Pretty Deadly Stylz
email :
issue 19 : december/january 2011/2012
ISSN 1948-9676
Photographs / Illustrations
Saryn Christina
Joey Buczek
Zach Rose
Ema Suvajac
Paul Collins
Zelko Nedic
Brent Leideritz
Ron Douglas
Jennifer Link
photographs on 5
Jennifer Link
Lime Crime photo Eye of Ra Photography
photograph on 15
illustration on 32
Michael Maglio
photographs on 33
Jennifer Link
email :
Aaron Andrews
Gia C. Manalio-Bonaventura
Tasha Farrington
Aaron Fleisher
Meagan Hendrickson
Mike Kieffer
Arden Leigh
Jennifer Link
Paul Morin
Zach Rose
Sam Rosenthal
Adam Rosina
Vanity Kills
Graphic Design
Logo Design
Melanie Beitel
Layout Design
Jennifer Link
editor’s letter
mission statement
4 di gi tal di l emma
Sam Rosenthal of Proj ekt Records
5 snowbound
beauty pi cks to make your own
wi nter wonderl and
6 frostbi te
beauty l ooks fi t for an i ce queen
12 detai l s
a hi gh gl amour l ook
13 The Human Centi pede 2
thi s ti me wi th more shock and gore
14 ti me capsul e post-apocal ypti ca
15 seven deadl y questi ons
Dani el Graves of Aestheti c Perfecti on
16 Hauj obb
Dani el Myer and Dej an Samardzi c are back wi th a brand new al bum
18 top 20 of 2011
19 musi c revi ews
Ski nny Puppy, The Cure, and more...
vol tai re : 22
hauj obb : 16
gal l ery serpenti ne : 34
aestheti c per fecti on . marl o marqui se : 15 . 27
l i ngeri e . i ce queen . j azz age . party dresses : 44 . 6 . 38 . 52
21 qui ck pi cks
We Were Promi sed Jetpacks, Tycho,
i Vardensphere, Hi gh Pl aces, and more...
22 Vol tai re
on hi s new al bum, wri ti ng, and fi l mmaki ng
26 ask arden
advi ce on rel ati onshi p strategi es
27 the Pi nUp
Marl o Marqui se
32 bl ack theorem
33 styl e
dark future
34 desi gner spotl i ght
Gal l ery Serpenti ne
38 j azz age
the 20s and art deco i nspi red desi gns 44 fl i rt
pl ayful seducti ve l i ngeri e
52 l i fe of the party
festi ve dresses for the hol i days
62 must
versati l e j acket
63 where to buy
Photographer : Saryn Chri sti na
Fashi on Styl i st : Marl o Marqui se
Makeup : Eri ka Di ehl
Hai r : Eri ka Di ehl
Model : Marl o Marqui se Let us know what you think! Share with us your thoughts on the issue, current events, or whatever is on your mind! email :
No part of this publication may be reproduced in any form or by any means, elec-
tronic or mechanical, without the permission in writting from the publisher, except small excerpts for review purposes. Submitted work, reviews, ads, and photo-
graphs are copyrighted by their respective owners and fall under previous declara-
tion. Copyright Auxiliary Magazine 2011.
december/january 2011/2012 AUXILIARY AUXILIARY december/january 2011/2012
As an early proponent of MP3s and music download,
Sam Rosenthal, the man behind goth/folk/neofolk label Projekt Records and founder/songwriter of the legendary goth formation, Black Tape For A Blue Girl reflects on issues that not only concern musicians, but concern every creative. AUXILIARY december/january 2011/2012
Ah, so what is to be done about this new Digital Dilemma? I’ve run Projekt Re-
cords ( since the early 80s, we have 266 releases out. This is an immediate disclaimer to address one of the memes hurled my way. It goes, “You have to get with the times. Making money off recorded music is yesterday’s business. That’s over. Find a different way to monetize your music.” You know, I understand change; I’ve seen a lot of change over the last 28 years. A lot! In order to stay in business, I keep up.
However, what those CEOs and “fans” who live by this meme are really saying is, “I want to listen to your music, but I don’t want to pay for it. I am going to pass the responsibility for compensation down the road to some other customer. You need to find some new way to make a living off THAT person’s enjoyment of your art. Oh, but keep making music, because I want it for free.” We’ve got a problem here. FREE has become the price point that many people want to pay for music. How-
ever, free is not a price point that works for creative endeavors. There are costs to making art. Equipment. Studio time. Paying musicians... And what about the hours we spend creating? Time taken away from “a real job” earning a real income. My rent still needs to be paid, my utilities, my son’s sneakers. For some reason, some people think that artists (and musicians in particular) should work for free. Where’s the logic to this? Well, there is no logic. This is a justification for wanting something for themselves, without considering the results of their action. Do you think people can create your favorite TV show for free? Your favorite movie? Your favorite Thai meal? Will the supermarket give you a box of cereal when you are hungry but don’t have the money to pay? Sure, we’d all kinda love a free meal or movie, but we are realistic that one can’t just walk off with the things you want... and yet... with music people feel it’s different.
I think the artists you love deserve fair compensation for their effort/creation. What’s all this Occupy Wall Street stuff about? It’s people who feel the system is gamed against them, who have a desire to bring attention to the problem. We have a problem here. When I find ten versions of my latest album for free on file-sharing sites, torrents, or The Pirate Bay, it is kind of sickening. Artists put their hearts and soul into their work, and while we DO want you to experience what we create, we also want to get respect and compensation for our effort. Henry Rollins wrote in the LA Weekly, “There is one thing that many who down-
load music for free will never understand, and that is how damn hard it is to write songs, record them, and get an album released. It really doesn’t matter who the band is, big or small, great or terrible, it is hard, hard work. This is the part that rubs me raw at times, when I think of someone downloading a record for free. It’s not the money lost, it’s the crass disrespect to the time and life force expended. Music holds some of the greatest myths, mysteries, and heart-wrenching stories ever told. From the players who left the building years ago to the ones driving overnight to the next crap gig somewhere in the world right now, they deserve respect, support, and payment in full, alive or dead.” Amen, Brother Henry!
Getting paid for my work is a sign of respect. Expecting me to work for free is an insult. People write, “Fuck you! If you take your music off Spotify and want to get paid, I’ll listen to some other band, I’ll never buy from you again.” This is not some brave new world. It’s the same old word of greed and selfishness.
Spotify (and the other streaming sites) claim they are legal alternatives to piracy. If you ask me, Spotify is just a few steps above illegal downloads. They operate with a flawed business model; they have no pathway towards compensating artists respectfully. Music is the chum, for Spotify to line their pockets. On payments received prior to Projekt pulling out of Spotify, we earned $.0013 per stream. To bring in $12 (the ticket to a movie here in NYC) we need 9,230 streams. Now I realize that not every stream equals a lost sale, but just for comparison, Projekt earns around 60Вў on a 99Вў iTunes download, 20 downloads pay for that movie ticket. You can see why downloading is a more viable solution.
There’s another meme that’s making the rounds, “It’s all about exposure!” Expo-
sure is this commodity that fans and streaming website CEOs use to explain why artists should be happy with “Free” or “Almost Free”, Spotify gives musicians “Exposure”! I am sorry, I am not buying it. If exposure equals increased sales, then shouldn’t sales be up in the music business? Shouldn’t all the illegal torrents and illegal downloads generate more sales of music? Frankly, there is already plenty of exposure going on out there! Yet it has not led to more sales. It has led to more people wanting more things for free. Yes, certainly the economy is part of that. And part of it is this new Digital Dilemma. In comments in response to pulling Projekt’s music from Spotify, there are people who write, “Now that I am using Spotify, I am never going to buy mu-
sic again.” (See this article for documentation:
permalink/2011/111115cannibal) Really, this is not a complex economic theory. Getting music for free decreases people’s willingness to purchase music. I agree with this comment, “The income from Spotify is so poor that any gains from peo-
ple converting from illegal free downloading are massively outweighed by the losses from people stopping their purchase of downloads and CDs.” As a fan of music, the idea of having every song ever recorded at my fingertips, on demand, is really exciting. “Wow, I’d love to listen to a track off David Bowie’s Diamond Dogs. Right now!” I understand the excitement about that kind of service. How-
ever, as a music creator, I see that Spotify is not a model that provides a viable payment to the artist. If a day comes where everyone listens via streams, and nobody buys physical CDs or digital downloads, there will be almost no money going to the creators.
On Star Trek, the computer has everything on demand. Very cool. Yet somebody is feeding the crew, buying their uniforms, giving them shore leave, and paying for the fuel. That’s a socialist system, which works in fantasy. The reality is the Earth is a Ferengi trading outpost. We all have to earn a living to survive. We have to look at this realistically, rather than as if we live in Utopia. I make something and I want to get paid (a price that I decide upon) for it. This is a realistic expectation in a capitalist system. Personally I am intrigued by the Buddhist belief of interbeing. That everything inter-is. You cannot disconnect any part of the system, we all are tied together. What I’m saying is we each need to think about the world we want to live in. Is your world based on an ego-driven belief that your actions have no ef-
fect on others? That your only concern should be getting the best for yourself? Or can you envision a world where the artists you love receive fair compensation for creating ephemeral objects that enrich your life? Life is about choices, and I ask that you put some thought into this dilemma; contemplate what kind of world you would like to live in. And thanks for buying music and supporting art.
If you’re interested in this subject, and want to read more, check out Sam Rosenthal’s blog page:
by Sam Rosenthal
by Vanity Kills
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december/january 2011/2012 AUXILIARY december/january 2011/2012 AUXILIARY THIS EDITORIAL
To achieve these looks try KMS California Hair Play Dry Wax, Hair Play Makeover Spray, Free Shape Hot Flex Spray, and Hair Stay Dry Extreme Hairspray with Make Up For Ever cosmetics.
photographer Saryn Christina
makeup artist Matthew Richards
hair stylist Jeanna Kier
models Courtlyn Cann and Alexandra Mathews
AUXILIARY december/january 2011/2012
december/january 2011/2012 AUXILIARY december/january 2011/2012 AUXILIARY AUXILIARY december/january 2011/2012
Full Sequence picks up in the final moments of its predecessor, only to pull back to a man watching the film on a laptop, indicating Six has decided to go the ever-popular meta route. The man, Martin (Lawrence R. Harvey) is a near mute, mentally challenged (it’s never made clear if he’s actually retarded or merely traumatized into near-catatonia as a result of child-
hood sexual abuse) man-child who has sexually fix-
ated on the original Human Centipede. He’s watched it countless times with lip-licking intensity, and has even made a scrapbook devoted to it, which serves as his blankey, sexual partner, and only friend. He’s also been fixing to craft a human centipede of his own, and has been clumsily kidnapping strangers to facilitate this, holding off construction until he’s rounded up the desired number (quadrupling the original’s three to make a 12-person centipede). His ridiculously flawed relationship with his insane mother (Vivien Bridson) comes to a head, and finally he murders her, setting out to make his fantasy a reality. Martin finds his final victim and “head” to his centipede in the form of Ashlynn Yennie (as herself), one of the female leads of the original film, and, all the pieces in place and household tools in hand, Martin sets about linking by Adam Rosina
While The Human Centipede (First Sequence) might not have lived up to the hype, The Angriest Critic looks at take two which delivers more shock and gore, to see if it does.
his victims together with a knowledge of anatomy and medicine comparable to a three-year-old’s. And that’s the entire last half-hour: creating, torturing, and killing the human centipede, all in graphic detail.
You certainly can’t fault Tom Six for where he goes in this later third of Full Se-
quence. We demanded it, and he was only too happy to oblige. This film is as ex-
plicit in the creation and ensuing agony of the centipede as the last was vague. It’s a sustained eight minutes of knocking out teeth, slashing, and sewing buttocks and severing tendons, all with a documentary-like attention to detail. Once patched together (with exacto knife cuts and roofing staples in place of the last film’s pre-
cise surgery), we’re treated to watching the pitiful thing eat. Martin procures some laxative (who knew it came in injectable form?) and forces the centipede to engage of a symphony of Hershey-squirts from ass to mouth to ass, and so on. The last fuck who commits unspeakable acts in the name of gratifying his sexual obsessions, but Harvey’s perfor-
mance makes it clear that his evolution into this was so utterly out of his hands, so much so that explicit conformation by other characters of Martin’s child-
hood trauma seems almost superfluous. When he lov-
ingly combs the hair of his newly created “pet”, his face lights up adoringly and you know this is the clos-
est thing this man can come to loving another living creature. When a victim dies, he weeps inconsolably like a child, and it’s utterly tragic. It would be easy to hate Martin as written, but Harvey makes it impos-
sible to feel anything but sadness and compassion for this misshapen and mentally scarred “thing”.
Human Centipede II (Full Sequence) got all the ex-
pected hyperbolic criticism from film commentators (who predictably missed all of its gloriously sick co-
medic value) and was savaged by the censors. The BBFC outright refused to give it a classification, and only after the excising of two and a half minutes (in-
cluding an entire scene of Martin wrapping his dick in barbed wire and raping the centipede) would they allow it to be shown at all. Ever the pussies, Ameri-
can distributor IFC Films, by all appearances, simply released the British cut for the film’s VOD release (which, let’s not forget, is a for-
mat virtually without content limits). But even slashed to ribbons, Full Sequence is not a bad film. Not a great one, but not nearly as disappointing as its predecessor, as Six (somewhat maliciously) seeks to correct the last film’s flaws and play to its strengths. With an improved sense of visual style (sure, he’s cribbing early Lynch and Aronofsky cinematography, but it’s not nearly as pedestrian as the last go-
around) and a commitment to delivering on the promise of the “human centipede” concept in as graphic as possible detail, Six has significantly one-upped himself. Add Lawrence Harvey’s splendidly pathetic performance to the mix, and you have a film that pushes itself over the hump from passable to genuinely worthwhile. But don’t take my word for it. Go watch Human Centipede II (Full Sequence) on VOD now, and see if it lives up to the hype.
Though Tom Six’s The Human Centipede (First Sequence) was supposed to be last year’s instant shock classic, it was a film that ultimately could not live up to the hype. It failed to deliver on the gore front, giving scant illumination to the particulars of its central medical procedure (sewing three humans together, mouth to anus) or its revolting implications (perpetual analingus and consuming shit for sustenance). Furthermore, if the film were to be saved by technical flair, Six dashed that possibility with his bland, albeit competent, direction. The only place the film did succeed was it’s comedic moments, made possible by lead Dieter Laser’s (great fucking name) drooling, scenery chewing riff on Nazi “Angel of Death” Dr. Mengele. But in the end, it wasn’t up front enough with the gory goods for horror fans, and too outlandishly weird and perverse for pretty much anyone else, and as such was only regarded as a mere cinematic curiosity. When asked about the film’s flaws, Six referred to it as a mere dry run to see if people would accept the human centipede concept, and promised that it’s follow up would take audiences to depths of depravity and on-screen bloodletting previously unseen. Little more than a year later, Six delivers on this promise with Human Centipede II (Full Sequence), which indeed takes the concept of bad taste to shocking new lows.
film only hinted at this stomach-turning aspect of the amalgamated creature with actors’ eyes and muffled screams. Not here. Full on liquid feces as far as the eye can see (and right on the camera lens, for good measure). Some time later, cue mass slaughter of the centipede (after its rebellious split into two units) and to top it all off, Martin gets a funnel shoved up his ass and a real centipede dropped in it by a dying Yennie (because it’s symbolic, I guess... fuck, I don’t know). After a while, you can’t help but feel Six is shouting, “Is this what you want? Choke on it, fuckers!,” with sadistic ferocity. Either that, or his preoccupations do run com-
pletely on the scatological end of things. It’s probably safe to assume both.
Though extreme in its atrocities (and technically exquisite in its special effects makeup), Full Sequence would be fairly forgettable were it not for the fantastic performance of Lawrence R. Harvey. Harvey already has the physical advantage of being a Fellinian wet dream of grotesqueness, all bulbous eyes and swollen gut, perpetually glazed in flop sweat (no insult to the actor himself, who is by all accounts a swell guy, but hell, he knows what he fucking looks like), but his tal-
ent lies in conveying an extreme depth of character with as much dialogue as is expected of the average mime. We pity Martin. True, he’s a horrendously twisted The Human Centipede 2
author & makeup artist Mishka
photographer Brent Leideritz
hair stylist Mishka
fashion stylist Jade Sardon
model Meluxine BEAUTY
the TREND : a high glamour look
Party season always calls for high-
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Luminous skin is the key to keeping this look fresh and updated. Always start by using mois-
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On the eyes, start with eyeshadow primer to cre-
ate a clean base for your shadow to stick to and to prevent creasing. Using a firm brush, layer shadows in shimmery silvers and charcoals to achieve depth on the eyes, blending right up to the eyebrows (if you dare), and keeping the inner corners lighter to balance. Next, use a creamy black pencil in the waterline and blend it out with the charcoal color on the lower lash-
line to define. Thicken your lashes with volume-
building mascara and add a few individual false lashes to the outer corners of the eyes to make your eyes pop.
Magenta and rich purple hues on the lips fin-
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Makeup artist Mishka is truly a painter, an artisan of human skin, known throughout Australia and abroad for her unique point of view and attention to detail. Mishka’s interest in makeup artistry that lead to her professional training and certification at the Media Makeup Academy came from an early age love of drama, acting, and film. With experience as a MAC makeup artist, Mishka is now co-owner of Twenty Four b and owner of Makeup by Mishka.
On the face, Studio Moisture Cream, Studio Sculpt Foundation, Prep + Prime Transparent Finishing Powder, Sculpt Powder Blush, and Iridescent Powder in Silver Dusk all from MAC Cosmetics. On the eyes, Prep + Prime Eye, eyeshadows in Carbon, Idol Eyes, and Silver Ring, Eye Kohl in Smolder, Opulash Optimum Black Mascara with false Lash #4 all from MAC Cosmetics. On the lips, Lipstick in Rebel and Lipglass in Clear both from MAC Cosmetics.
december/january 2011/2012 AUXILIARY AUXILIARY december/january 2011/2012
Si x- St ri ng Samurai
Lance Mungi a
1998 / Fi l m
What qual i t y gi ves t hi s fil m a pl ace i n t he l i st more t han anyt hi ng el se i s i n how bi zarre i t i s. A Buddy Hol l y-esque warri or on hi s way t o t he rock ut opi a Las Vegas fight s agai nst a bunch of goons wi t h hi s musi c, hi s cool ness (presumabl y), and hi s sword. A pret t y cool homage t o a number of B-movi es and genres i t ’s wort h a wat ch i f onl y t o make fun of i t and enj oy t he soundt rack, and hel l i f you end up l i ki ng i t t hen t hat ’s al l t he bet t er.
A Boy and Hi s Dog L.Q. Jones
1975 / Fi l m
Thi s fil m fol l ows a young man as he j ourneys across a nucl ear wast el and wi t h hi s t el epat hi c si deki ck dog named Bl ood who i s l ovi ng referred t o several t i mes as Dogmeat. Thi s movi e i s j ust st rai ght up funny somet i mes, wi t h i t s crude humor and ri di cul ous charac-
t ers. Not t o ment i on t hat i f you are a fan of t he Fal l out game seri es you wi l l no doubt appreci at e t hi s movi e t hat i nspi red many as-
pect s of t he game. Kamandi: The Last Boy on Earth
Jack Kirby
1972 / Comic Book
Just because this series borrows heavily from the Planet of the Apes doesn’t mean that it doesn’t possess its own merit (I say this while staring at the destroyed statue of liberty and anthropomorphized animals on the first and second issues’ covers). Taking place in one of the seemingly infinite number of DC Uni-
verses, this story follows Kamandi on his adventures across a world that is dominated by animals. Though it is a blatant rip-off of Apes, it goes beyond these implications to become a creative force of its own.
Brave New World
Aldous Huxley
1932 / Book
Though classified most often as a dystopian novel this piece shows a world that has suc-
cessfully coped with a apocalyptic catas-
trophe and has rebuilt society stratified into a caste system, with a great emphasis on technology and thought control. Works like this and 1984 are examples of the height of dystopia and post-apocalyptic representation because they not only entertain but ask im-
portant questions about what one is willing to give up for a utopian ideal. Crystalis
1990 / Video Game
Released in 1990 this NES game takes place in the distant future of post 1999 apocalyp-
tica where a nuclear blast has forced civiliza-
tion back to an agrarian structure. You play a nameless hero who must stop Draygonia, a tyrannical overlord, from orchestrating the extinction of humanity. This game is old and it shows but it’s a great display of what a post-apocalyptic world might be like after the nuclear dust settles. It is fun to play, the story is surprisingly complex, and it’s… a bit repetitive but hey it works.
Desert Punk
Usune Masatoshi
1997 / Manga
Centered on the great Kanto Desert, Desert Punk follows a gun fanatic, ironically called a “handyman”, who through quick wit and ingenuity survives the harsh environs and brutal inhabitants of the Skeleton City. An-
other great example of how comedy can be integrated into a bleak setting, this manga manages to present the desert world with a cheery light where Mad Max style murder is undercut by heroism and gadgetry.
A quick rewind to unearth those media artifacts that may have slipped through the cracks of your radar but should not be missed.
The post-apocalyptic genre is all about the human condition and has been popular for over a century. Entertaining audiences and satisfying futurists, post-apocalyp-
tic is a social statement at root, making one think about where the world is, and where it is going, the choices we make as a society and where those consequences (if any) will take us. 14
by Aaron Fleisher
Daniel Graves of Aesthetic Perfection reveals how he sins.
interview by Mike Kieffer
People magazine puts you on their cover, shortly thereafter young teenage girls deem you aesthetic perfection and therefore the new heartthrob. Explain your reaction and future actions.
Daniel Graves : I think I’d just be really confused and frightened. Teenage girls are insane, I’d probably have to be a hermit and never leave the house at that point.
Three separate friends ask you to help them move for the next three weekends, do you help out or come up with excuses? If you do indeed decide to help out, what excuses would you have used?
DG : If all three were really good friends, I’d begrudgingly help them. I’d com-
plain a lot, but I’d help. If we weren’t tight I think I wouldn’t even bother making up excuses. I imagine I’d just tell them that carrying a couch up a flight of stairs for a casual acquaintance is not how I picture a perfect weekend.
On tour, all your equipment gets stolen in St. Louis, later that night you are at a show and you see the local opening act using it, what are the following events?
DG : I’d offer them Draino in the guise of cocaine, pour sugar in their gas tank, and pay the sound guy to make them sound REALLY bad.
You are only allowed one form of media entertainment for the rest of your life, what would you choose and why?
DG : If I had to choose one form of media entertainment, I’d choose music. No witty explanations necessary, music is just superior to everything else!
A breakout band from India by the name of Aesthetic Perfection becomes the new rage across the world, they offer you enough money to retire if you change your band name and claim you did it because they are better than you. Do you accept the offer and follow their demands?
DG : There is no way I’d do that. For one, I don’t particularly care about money. For two, retiring sounds very unpleasant indeed. I can’t even go on vacation with-
out going stir crazy, I need to work, otherwise I lose my mind. For three, I have no interest in bowing down to the will of douchebags.
A future self comes back in time and says, “You can be rich and famous if you tour for three straight years with only three days off, but...”, then he disappears, what do you do?
DG : I don’t care about fame, but I’m happy to tour for three years straight. Let’s do it!
You can live a day in the life of one artist you’ve remixed, who would it be and why?
DG : I actually wouldn’t want to be anyone else but me. No doubt!
Daniel Graves is the founder and sole creative member of the electro-indus-
trial band Aesthetic Perfection. This past November All Beauty Destroyed was released, the bands third album and first to be released by Metropolis Re-
cords. With this release, Graves has carved out a highly addictive album full of witty lyrics, powerful vocals, and smashing beats.
AUXILIARY december/january 2011/2012 december/january 2011/2012 AUXILIARY time touring and hanging out with my “hero” but Ar-
chitect is still a very low profile project. I do shows here and there, but the sales are low and I just wish I could play out more and especially get out of this little scene called “industrial music”. [winks]
Daniel, what does Dejan bring to your partnership that’s unique?
DM : Not to sound cheezy, but Dejan brings out the best in me. DS : Thanks. [smiles]
Is there a theme to New World March?
DM : Not exactly a theme, more a concept of the sound and atmosphere. DS : A lot of the songs on there are more angry than anything we have done so far as Haujobb. It’s kind of more “direct” than, let’s say Solutions for a Small Planet or Polarity.
What were you exploring in the technique of this album? You’d said you’d like this to be a less soft-
ware based album, did you keep that approach until its completion?
DS : Well, it actually IS a software based album, though we experimented with hardware synths a lot. In the end it doesn’t matter. The approach was it to be a less software-based sounding album. We did things like trying to create drum sounds that seem to be from an old drum machine, or when mixing, doing things that sound engineers did in the 80s to get, “this spe-
cial sound”. Just limiting our software to a “classic” arsenal. DM : I actually learned a lot on the tour with Recoil, that it doesn’t matter, what you are using, to create the sound. Alan works only with software and so does Paul and they create depth and atmosphere like they never stopped using hardware. So it’s just a matter of knowing your gear and knowing, what you do.
What is unique about Haujobb compared to your other projects? What aspects of that can we hear in the music?
DM : Unique is the combination of me and Dejan. We are two very different people. I am a sucker for music, I listen all the time and work all the time on music. And I create a lot of crap. [laughs] And Dejan turns on the computer once a week and creates magic.
Is there a hierarchy to your musical endeavors? Does one project always get the most attention?
DM : Whenever I work on something it’s one hundred percent. New World March has been remixed so that every single track receives one remixed version. Why pick this approach as compared to Vertical Mixes where some songs get multiple treatments and some get passed over?
DS : It was a spontaneous idea, like most ideas are. I think it’s cool to hear the album in a totally different way.
The remixes have a more laid back and atmospheric feel as compared to making the songs more club friendly. Why did you pick these remixes/remixers?
DM : I always want to work with friends and people I appreciate. I could have asked other people, that I did mixes for, maybe to get more attention and maybe a one hundred percent club hit. But we don’t care for trends, etc. Are there plans for touring as Haujobb?
DS : Yes, but nothing set yet, with the exception of the festivals we will be playing.
What do you see in the band’s future?
DM : Back to old strength and popularity. [winks]
DS : Change the world. Ok, change the music world... ok, ok change the electronic music world... well, at least change the industrial music world. [winks]
Daniel, last time we interviewed you you’d settled in Leipzig and planned to get away from the nomadic lifestyle. Have you done this and do you think its reflected in your music?
DM : Yes, I did indeed. And since Dejan moved here it’s a little easier to enjoy the city.
DS : But I don’t think it’s reflected in his music [laughs] never...
DM : True. [smiles]
“ Unique is the combination of me and Dejan. We are two very different people. I am a sucker for music, I listen all the time and work all the time on music. And I create a lot of crap. And Dejan turns on the computer once a week and creates magic. ”
december/january 2011/2012 AUXILIARY In 1993 Daniel Myer, Dejan Samardzic, and Björn Jünemann founded Haujobb releasing two industrial albums before Jünemann’s departure. The duo of Myer and Samardzic have continued on since and ushered Haujobb through a musical evolution away from their initial sound and explored the realm of electronic music trying sounds including drum & bass, IDM, ambient, techno, trance, and elec-
tronica. In 2003 they issued their last full album of new material, Vertical Theory, and became slowly quiet until 2009 when they remixed their reissued Homes & Gardens single with the promise of more on the way. This year Myer took a break from his other recent projects (Architect and Covenant) to focus on reuniting with Dejan as Haujobb on their all new full length release, New World March. We got the chance to interview the creative team of Daniel and Dejan to ask about Hau-
jobb, working together and the brand new album.
It’s been eight years since Vertical Theory came out and for the most part Haujobb has been quiet. Why such a long hiatus?
Daniel Myer : It’s very simple actually. I moved away from Bielefeld and it was kind of tough, working apart. We were still working on music together but it took forever to get things done. When Dejan also moved to Leipzig the whole thing became new dynamics. We focused on the album, started to focus. Was there any difficulty in working on this album so that the Haujobb sound was identifiable and current?
DM : No. We knew what we wanted and like I said before, we were focused on the sound.
Dejan Samardzic : Current? We don’t care about such things.
Dejan, what have you been working on in that time?
DS : Not much actually, I am very slow. [winks] I made demos all the time, not only for Haujobb, but nothing too serious. Just like free painting or so. I started visiting Daniel in Leipzig regularly years ago. That was the time when we started working on demos for a new album. It was around 2006 I remember. But almost nothing of this has found its way onto New World March.
You’ve seen some success and acclaim as Architect in the last few years, with a fantastic album, Consume Adapt Create, work remixing other artists including Alan Wilder’s (former Depeche Mode) Recoil project and an opening slot on his tour. What’s gotten you back to Haujobb and collaborating with Dejan?
DM : Haujobb is our baby. We started to make music together. And the “success” with Architect is not really something, that is measurable. [winks] It was a great Daniel Myer and Dejan Samardzic are back with a new Haujobb album, New World March, eight years after their last full length. Not focusing on club hits, but still aiming to return to the popularity they’ve had in the past, New World March is distinctly Haujobb. With this brand new material, Myer and Samardzic prove they still have it.
interview by Aaron Andrews
AUXILIARY december/january 2011/2012
AUXILIARY december/january 2011/2012 Apparat Devil’s Walk Emotionally rich, intimate, and personal, this quiet journey reflects its Berlin and Mexi-
can settings making the bleak sound sunny. Minimal instrumentation from a variety of instruments ground the quiet and engaging words.
Covenant Modern Ruin Covenant returned with a new member and a killer single, “Lightbringer”, to lead off a powerful album. Finding new depth to their musical style they have a new and improved level of sound that should sustain them through another decade.
Crystal Stilts In Love with Oblivion Dark neo-psychedelic music that sounds like Joy Division in an argu-
ment with Phil Spector. Displacer Night Gallery The enjoyment of this album is its ability to entrance the listener and let their imagina-
tion go wild.
Ghost & Writer Shipwrecks Each song here is a well told story captivating the listener every time, plus the music is top notch synthpop.
God Module SГ©ance A perfect blend of creepy electro-industrial and pop elements, these songs get stuck in your head for days.
Haujobb New World March With the end of the world coming in 2012, we’ll be playing this album as it all goes down.
IAMX Volitile Times This album was like a fine wine, the longer it sat around our music players the better it got. Who knows a few more years and this could be the album of the decade.
John Maus We Just Become the Pitiless Censors of Ourselves Sounds like a long-lost cassette recording of an obscure, extremely lo-fi synthpop band from 1983.
Krystal System Nuclear This heavy electro industrial album coming from the French underground emits enough powerful energy to fuel millions of people. M83 Hurry Up, We’re Dreaming Exploring both sides of M83 with its mixture of dreamy ambient songs and powerful dream pop, the epic double album is appropriately an exploration of dreams in both their essence and emotion.
Necro Facility Wintermute Industrial with a dose of pop worked wonders on this album. Necro Facility went from a follower to a leader with this album.
Nicolas Jarr Space is Only Noise Experimental electronic that defies categories, each song creating its own strange living space.
ohGr unDeveloped Nivek Ogre and Mark Walk made a highly addictive album, arguably some of the best music either have been associated with.
Selebrities Delusions A perfect example of how to pull influences from 70s postpunk, 80s synthpop, and new wave yet still sound current and fresh.
Skinny Puppy hanDover Listen deep and this album comes to life. The originality and attention to details makes this puppy amazing!
Slug Guts Howlin Gang Angst-ridden, old school, badass goth/postpunk with basement vocals a la The Birthday Party.
SONOIO Red No stranger to the music world, Alessandro Cortini’s solo project SONOIO’s latest album, Red, is an excel-
lent modern alternative rock/electronic-industrial album.
Sons & Daughters Mirror Mirror What if The White Stripes and The Kills had been more influenced by The Cure and Gang of 4?
Tim Hecker Ravedeath 1972 Hypnotic ambient electronic that weaves noise and beauty into one seamless whole.
Top 20 of 2011
* l i st ed i n al phabet i cal order
musi c revi ews
Hauj obb - New Worl d March rel eased by Tympani k Audi o on 11 November 2011
dat a : 8t h al bum . 24 t racks . 109:11 run t i me . www.hauj obb-musi
revi ewed by : Aaron Andrews genre : EBM, i ndust ri al, IDM
Aft er a l engt hy hi at us Dani el Myer and De-
j an Samardzi c have ended t hei r si l ence as Hauj obb rel easi ng t hei r first al bum of new mat eri al i n ei ght years. Hauj obb’s musi c fal l s somewhere bet ween t he synt hpop of Meyer ’s Dest roi d proj ect and t he experi ment al sounds he craft s as Archi t ect. New Worl d March pi cks up where 2003’s Vert i cal Theory l eft off, wi t h a subdued t one and songs t hat wi l l not see a whol e l ot of cl ub pl ay. It draws on di verse el ement s of el ect roni c musi c di spl ayi ng i nfluences from EBM, IDM, i ndust ri al, t echno, and ambi ent mel di ng t hem i nt o a sound di st i nct l y Hau-
j obb. New Worl d March i l l ust rat es Hauj obb’s mel odi c sounds and Myer ’s vocal s are sweet, somet i mes subdued, and l ack t he obvi ous hooks of some of hi s more pop l eani ng works. The l ead si ngl e t o New Worl d March, “Dead Market ”, i s t he most aggressi vel y composed of t he al bum, and l i st eni ng t o t he whol e rel ease t here i s an epi c ci nemat i c feel t o i t. Sweepi ng synt h part s ri se and fal l ami dst t he preci se i nst rument of Myer ’s vocal s, wi t h an organi c backi ng t hat i ncl udes pi ano, st ri ngs, and t he most ri chl y ful l sound const ruct i ons t hey’ve managed yet. Whi l e t here are movi ng part s i n t he songs t here i s a st ark chi l l t o t hei r musi c t hat has been an at t ract i on of Hauj obb t o me ever si nce Ni net yni ne, t here i s a bl eakness t hat I t hi nk t he cover art descri bes pret t y wel l. The bonus versi on of t he al bum has 12 remi xes t o mat ch t he 12 ori gi nal s and t he end resul t i s t hat you get t o rel i st en t o New Worl d March fil t ered t hrough t he creat i vi t y of t al ent s such as Thi s Morn’ Omi na, Dyft, Ankl ebi t er, Somat i c Responses, and Xabec. The experi ence of hear-
i ng a second draft t o New Worl d March l i ke t hi s has a great novel t y t o i t and i s somewhat uni que.
recommended tracks : Dead Market, Li t t l e Worl d, Membrane, Crossfire
i f you l i ke you may l i ke : Covenant, Assembl age 23
grade : overal l 7 - musi c 8 - l yri cs 7 - recordi ng qual i t y 8
Shi v-r - Thi s Worl d Erase
rel eased by Met ropol i s Records on 11 Oct ober 2011
dat a : 2nd al bum . 13 t racks . 56:20 run t i me . www.shi
revi ewed by : Mi ke Ki effer genre : el ect ro-i ndust ri al
Shi v-r ret urn wi t h t hei r second ful l l engt h, fol l owi ng t he success of 2010’s Hol d My Hand. Members Pet e Crane (Vi rul 3nt ) and Lee Bul i g (Kong) have cont i nued t hei r hard work over t he past year forgi ng t he i dent i t y for Shi v-r, whi ch i s becomi ng recogni zabl e and memorabl e. Thei r dark i magery and t op-
not ch uni que al t ernat i ve fashi on have pushed t hem beyond bei ng a generi c band. Now t hat t he brand exi st s t he product t hei r pushi ng has t o meet some expect at i ons. Ri ght from t he first t rack off Thi s Worl d Erase you are submerged i nt o a dark, creepy, t ough as nai l s soundscape. The heavy beat s and screechi ng synt hs form t he pl ayground t hat Vi rul 3nt ’s command-
i ng vocal presence bul l i es around i n. Thi s persona creat ed i s not t o be fucked wi t h and I’m gl ad not t o hear a second vocal t rack compet i ng for domi nance, i s i t now uni que t o onl y have one si nger? The songs l i ke “God i s Art ” and “Hol l ow Mask” shoul d dest roy any dance floor i f pl ayed at t he ri ght hour and ri ght t rack, t hey are sharp and hard t racks and woul dn’t work wel l aft er say, Si st ers of Mercy. Be-
si des t hese ki l l ers t here’s al so t he non-dance floor fri endl y songs l i ke, “Thi s Worl d Erase” and “Li ngeri e”, whi ch shoul d st i l l be pl ayed at t he cl ub but onl y duri ng t he openi ng hour t o set t he mood. A casual l i st en doesn’t real l y do t hi s al bum j us-
t i ce, Thi s Worl d Erase sound one hundred t i mes bet t er cranked up t o ear bl eedi ng l evel s. Shi v-r does an excel l ent j ob of l et t i ng t he fan feel i n cont rol of t he worl d around t hem and t hat t hey are bet t er t han a Lady Gaga fan (i ndi rect l y).
recommended tracks : Pharmaceut i cal Grade, Li ngeri e
i f you l i ke you may l i ke : Combi chri st, Aest het i c Perfect i on
grade : overal l 8 - musi c 8 - l yri cs 8 - recordi ng qual i t y 9
The Cure - Besti val Li ve 2011
rel eased by Sunday Best on 5 December 2011
dat a : 32 t racks . 142:00 run t i me . www.t
revi ewed by : Paul Mori n
genre : al t ernat i ve, got h, post punk
Anot her Cure l i ve al bum? Yep. A doubl e al -
bum at t hat, cl ocki ng i n at al most t wo hours of musi c, and i t ’s from t he Isl e of Whi t e fes-
t i val, where 60s i cons l i ke The Who and Ji mi Hendri x spawned cl assi c l i ve performances and al bums. Have The Cure become Gen X’s versi on of cl assi c rock? I’m l eavi ng t hat one al one, but t hey sure have been at i t a l ong t i me, because I remember spendi ng my hard earned money on The Cure decades ago, and despi t e bei ng t ol d repeat edl y t hat t hi s t our woul d be t he l ast t our, t hey are st i l l at i t. So, t he mi l l i on dol l ar quest i on i s: What have we here? The t rack l i st -
i ng i s The Cure-by-numbers; a great est hi t s package from t he 80s era Cure wi t h a few surpri ses (“Gri ndi ng Hal t ” and “Push” are i ncl uded, but sadl y “Charl ot t e Somet i mes” i s not, guess I have t o go see t hei r recent recreat i ons of Fai t h for t hat ). As for t he performance, The Cure have never sounded bet t er or t i ght er; t hey are spot -on duri ng t he pop songs (mi nus a few not es mi ssed on “One Hundred Years” and “Cl ose t o You”), and punch everyt hi ng ri ght t hrough t he roof when t he songs spi ral out of cont rol i n fit s of passi on, as on “A Forest ”, “10:15 Sat urday Ni ght ”, and “Ki l l i ng Anot her” (whi ch was apparent l y renamed when I wasn’t l ooki ng). Al l of t hi s makes t he al bum ni ce, but not essent i al unl ess you’re one of t hose fans (you can put t he razor bl ades down; i t ’s good), or unl ess you consi der one l ast t wi st: Al l of t he proceeds go t o chari t y (The Isl e of Wi ght Yout h Trust ). So, keep i n mi nd t he ages here, t he years of bl ood, sweat, bl ack eyel i ner, and t ears, and t hen do i t for t he ki ds.
recommended tracks : Pl ay For Today, Hot Hot Hot!!!, Di si nt egrat i on
i f you l i ke you may l i ke : The Cure, The Smi t hs, Joy Di vi si on
grade : overal l 6 - musi c 10 - l yri cs 10 - recordi ng qual i t y 10
december/j anuary 2011/2012 AUXI LI ARY 20
music reviews
Ski nny Puppy - hanDover
rel eased by SPV on 25 Oct ober 2011
dat a : 11t h al bum . 11 t racks . 50:00 run t i me . revi ewed by : Aaron Andrews genre : i ndust ri al, experi ment al, gl i t ch
Si nce 2009 we’ve wai t ed for t he SPV l abel t o figure out i t s i nsol vency i ssues al ong wi t h t he fat e of an unrel eased al bum from Ski nny Puppy. The band di dn’t st umbl e t hough; a 2009 t our for t he al bum st i l l went on wi t h an apt name change t o The In Sol vent See Tour and t here have been rel eases from bot h ohGr and Downl oad. Two years l at er t hi ngs have final l y been sort ed out over at SPV and t he band have, revi si t ed, revi sed, and rebui l t t he unrel eased mat eri al i nt o hanDover. HanDover i s a soni c successor t o 2007’s Myt hmaker, di spl ayi ng t he bands evol vi ng sound as t hey change and i n-
novat e. HanDover does somet hi ng di fferent by bui l di ng a bri dge bet ween ol der Puppy mat eri al, l i ke The Process and Too Dark Park, and t he new st uff. At first i t was di fficul t t o hear i n t he mi dst of songs seemi ngl y bel ongi ng on ohGr al bum but wi t h a few l i st ens you st art pi cki ng a di fferent vi be. Ogre backs away from hi s l at est vocal t ri cks and t he sl i ght camp of hi s sol o work and del i vers some fant ast i c performances on “AshAs”, “Ickt ums”, “Cul l orbl i nd”, and “Vyri sus” t hat mi x t he new and ol d. “AshAs” i n part i cul ar i s not e wort hy for t he raw emot i on Ogre spi t s i n t ri but e t o a depart ed fri end. There are darker moment s i n t he songs “Poi nt ”, “Brownst one”, and “Noi seX”. Whi l e gl i t chy, “Noi seX” i s t he cl osest t he band has got t en t o t he ambi ent i nst rument al s t hat used t o be a st apl e on t hei r pre-breakup re-
cords, i t ’s been a mi ssed aspect t o t hei r rel eases and I hope i t makes a ret urn. Thi s seems l i ke t he most t rue mi x of Ski nny Puppy (past and present ), t he i ndi vi dual pursui t s of i t s members and a t rue t o t hemsel ves experi ence. There have been some di sappoi nt ment s from t hese guys who used t o do no wrong but hanDover doesn’t feel l i ke one. It ’s a l i nk i n t he chai n of Ski nny Puppy’s evol ut i on and a pret t y good one at t hat. It makes me l ook forward t o t he next one even more.
recommended tracks : Ickt ums, Cul l orbl i nd, Wavy, Gambat t e, Noi seX
i f you l i ke you may l i ke : Front Li ne Assembl y, ohGr, Downl oad
grade : overal l 8 - musi c 8 - l yri cs 8 - recordi ng qual i t y 9
Encephal on - The Transhuman Condi ti on
rel eased by Art offact Records on 28 Oct ober 2011
dat a : 1st al bum . 12 t racks . 64:07 run t i me . www.encephal
revi ewed by : Hangedman
genre : EBM, i ndust ri al
I’ve seen t hi s Ot t awa, Canada based band l i ve a coupl e of t i mes i n recent years and have oft en wondered why t hese guys are not produci ng al bums. The very fact t hey have such a st rong l i ve show has al ways suggest ed bi gger and bet t er t hi ngs t o come. Thi s i s not a dude-wi t h-a-l apt op ki nd of band, t hey have presence and passi on and final l y we have a ful l al bum. Thei r hi t “Responder” feat ured on t he Dependant Records Sept i c VI compi l at i on was a hi t i n 2006, and t he Drowner EP produced by t he band i n 2009 was an excel l ent t ease, but not t he ful l -on si nk your t eet h al bum a band of t hi s cal i ber shoul d be put t i ng out t here. Then 2011 nears i t s cl ose and we’re gi ven t he gi ft t hat i s The Transhuman Condi t i on. For t he offici al first al bum, t he rel ease i s encouragi ng. Encephal on has al l t he el ement s of a great band, wel l -rounded vocal s, bot h mal e and femal e, excel l ent l yri cal narrat i ve, t i ght i nst rument al s, and a sound t hat i s t hei r own. Overal l, t hi s band has a st yl e t hat i s pure new i ndust ri al, wi t h pi nches of synt hpop, and i ndust ri al rock added i n smal l doses. The vocal s are not severe and st i ngy l i ke some of t he harsher i ndust ri al act s on t he market and t herefore t he st ori es i n t hei r songs are cl ear and compl i ment ary t o t he excel l ent l y mast ered t unes. Despi t e t he fact t hi s i s offici al l y al bum number one, t he band has a l egacy t hat spans a few years gi vi ng t hem t he experi ence and expert i se t o l aunch out of t he st art i ng gat e wi t h an excel l ent and very l i st enabl e al bum.
recommended tracks : Ri se, Dayl i ght, Garden, The Ki l l i ng Hori zon
i f you l i ke you may l i ke : Imperat i ve React i on, Fract ured
grade : overal l 7 - musi c 7 - l yri cs 8 - recordi ng qual i t y 8
Oneohtri x Poi nt Never - Repl i ca
rel eased by Soft ware on 5 November 2011
dat a : 6t h al bum . 10 t racks . 40:54 run t i me . www.poi nt
revi ewed by : Paul Mori n genre : experi ment al el ect roni c
It ’s ambi ent. It ’s wei rd. It ’s confusi ng and i t ’s confoundi ng. At t i mes i t ’s soot hi ng, at t i mes i t ’s j arri ng, and at t i mes i t ’s bot h si mul t ane-
ousl y. It apparent l y uses sampl es from a DVD of commerci al s from t he 80s and 90s (accord-
i ng t o t he Soft ware websi t e). It ’s made by a producer named Dani el Lopat i n. It can be abusi ve and annoyi ng, cl i ppi ng and chai ni ng odd mi cro-sampl es t oget her t o produce ot herworl dl y sounds. It drones. It soars. It sounds l i ke t he backdrop t o a Davi d Lynch fil m; t here i s somet hi ng bot h unset t l i ng and peaceful around every corner. It sounds l i ke gl i t ch, IDM, mi ni mal i st t echno, and ambi ent el ect roni c, but i t i s al so uni que and seems t o draw di rect i on pri mar-
i l y from where i t s own cut -and-past e sounds l ead. It i s probabl y best descri bed as experi ment al. It doesn’t have any l yri cs, but i t does have si ghs, whi spers, and ot her vocal expressi ons. It has very few beat s ot her t han t he i nt ernal rhyt hms creat ed by t he repet i t i on of t he sampl es. It ’s pecul i ar. It i s movi ng. It ’s ki nda creepy. It has a real l y wei rd cover desi gn of a skel et al figure i n a mi rror. It ’s short, and t he pi eces are short, cl ocki ng i n wi t h a t ot al t i me of around 40 mi nut es and an average t i me of around 3 or 4 mi nut es per t rack. It get s bet t er on repeat ed l i st ens, reveal i ng subt l e l ayer aft er l ayer. I suggest usi ng headphones. What ever i t i s, what ever you want t o cal l i t, and what ever st range aest het i c i t ’s aspi ri ng t o, i t ’s real l y i nt erest i ng, and i t i s one of t he best rel eases of t hi s year.
recommended tracks : Repl i ca, Sl eep Deal er
i f you l i ke you may l i ke : The Fi el d, Aphex Twi n, Dead Voi ces On Ai r
grade : overal l 9 - musi c 9 - recordi ng qual i t y 9
AUXI LI ARY december/j anuary 2011/2012
Hi gh Pl aces
- Ori gi nal Col ors
rel eased by Thri l l Jockey on 11 Oct ober 2011 genre : i ndi e el ect roni c
A hodge-podge of el ect roni ca l eani ng t owards t he mi ni mal i st/ambi ent t echno and experi ment al ends of t he spect rum, general l y keepi ng t hi ngs mel l ow and mi d-t empo, Ori gi nal Col ors t hrow i n a l i t t l e bi t of everyt hi ng whi l e fol l owi ng a general di rect i on of art sy and avant -garde. Unusual sounds bl i p, cl i p, echo and t hud around Mary Pearson’s dead-pan but ghost l y et hereal vocal del i very, openi ng t he door t o some t rul y unexpect ed and uni que sounds. The end resul t, el ect ro-pop t ransmi ssi on from al i en worl ds. 8/10 - PM
qui ck pi cks
Aestheti c Perf ect i on
- Al l Beauty Destroyed
rel eased by Met ropol i s Records on 8 Nov 2011
genre : i ndust ri al, aggrot ech
Dani el Graves, poi nt man of Aest het i c Perfect i on, has gi ft ed us t he i roni cal l y t i t l ed Al l Beaut y De-
st royed rel eased i n November. Thi s i s a fant ast i c, somet i mes di verse, but purel y AP offeri ng and i f you can get your hands on t he l i mi t ed doubl e di sc edi t i on, you’l l get a ful l 18 t racks i ncl udi ng some excel l ent remi xes by cl ub favori t es such as XP8 and Al t er Der Rui ne. The t hi ng I l ove about t hi s al bum i s t he range of vocal s Graves appl i es t o hi s cl ub recep-
t i ve beat s and synt hs. There i s t he di st i nct i ve t hroat y agro-screech, modul at ed voi ces, femal e flouri shes, and st rai ght up unadul t erat ed sung by Graves hi m-
sel f, and he’s good at al l of i t, maki ng t hi s a sol i d and excel l ent rel ease. 8/10 - HM
Tycho - Di ve
rel eased by Ghost l y Int ernat i onal on 15 Nov 2011
genre : ambi ent t echno, i ndi e el ect roni c
Di ve i s t he l at est offeri ng i n a l ong l i ne of shoegaze and IDM i nspi red el ect roni c “chi l l wave” t hat t races i t s root s t hrough Ul ri ch Schnauss and Boards of Canada t o Bri an Eno and Tangeri ne Dream. Pret t y, drowsy, i nst rument al pi eces soar i nt o ri chl y t ext ured spaces sat urat ed i n del ay and reverb. The mi nus si de i s t hat at t i mes i t ’s cheesy (onl y sl i ght l y removed from an 80s TV or movi e score) and pedest ri an, but i f you’re l ooki ng t o get away from everyt hi ng and everyone for a l i t t l e whi l e, you won’t find many bet -
t er pl aces t han t hi s. 6/10 - PM
Vari ous Arti st s - Gol d Panda DJ Ki cks
rel eased by St udi o !K7 on 31 Oct ober 2011
genre : t echhouse, experi ment al, t echno
The DJ Ki cks seri es del i vers a mast erpi ece by Gol d Panda. If your t hi nki ng t hat t hi s i s goi ng t o be a t ypi cal DJ mi x al bum t hat ’s ful l of cl ub dance hi t s you are mi st aken. Composer, performer, and pro-
ducer Gol d Panda (Derwi n Schl ecker) weaves an i nt el l i gent mi x of t echhouse, dubst ep, and t echno, whi ch pushes t he boundari es of t hei r genres. The fine l i ne of experi ment al i s danced around t hrough-
out, chal l engi ng t he l i st ener t o ret hi nk what t hey are accust omed t o. Thi s al bum has not l eft my car ’s CD pl ayer si nce I got i t t wo mont hs ago and I don’t sus-
pect t hat i t wi l l for a whi l e l onger. If you have ever l i st ened t o t echno (as a whol e) i n t he past, I urge you t o check t hi s out. 8/10 - MK
We Were Promi sed Jetpacks
- I n the Pi t of the Stomach
rel eased by Fat Cat Records on 4 Oct ober 2011
genre : post punk, post -rock
Ti mi ng i s everyt hi ng. If t hi s record had been re-
l eased around t he same t i me BRMC, Int erpol, and The St rokes were maki ng Joy Di vi si on a househol d name, i t woul d have been heral ded as a mast erpi ece of t he genre (what ever genre t hat may be). As such, i t comes a l i t t l e l at e on hi st ory, but i t i s a sol i d re-
l ease nonet hel ess, j am packed wi t h exci t i ng mo-
ment s t hat ri val t he cl assi c al bums ment i oned by aforement i oned post punk revi val i st s wi t h spl ashes of emo, shoegaze, and post -rock doodl es on t he si de. 7/10 - PM
i Vardensphere - APOK
rel eased by Met ropol i s Records on 8 Nov 2011
genre : t ri bal i ndust ri al
A year has passed si nce Bl oodwat er, and i n t hat year i Vardensphere di d a doubl e t our wi t h Combi chri st and have cont i nued t o gai n not ori et y. They al so pi cked up new members Yann Faussuri er and FrГ©-
dГ©ri c Scarfone from Iszol oscope and Memmaker, and t oget her t hey came up wi t h APOK, t hei r first re-
l ease on Met ropol i s Records. The addi t i ons of Yann and Frédéri c bri ng al ong a more i nt ense sound t o t he al bum, creat i ng dark soundscapes t hat Iszol oscope di d so wel l on t hei r l ast al bum. APOK i s not t o be mi st aken for anyt hi ng but an i Vardensphere al bum, t here are st i l l t he heavy t ri bal el ement s t hat fans l ove, i t ’s j ust wi t h added bonuses and a sl ew of guest vocal i st s. In a word APOK i s epi c. 9/10 - MK
Just finishing up a tour for his new album, Riding a Black Unicorn down the side of an Erupting Vol-
cano while drinking from a Chalice Filled with the Laughter of Small Chil-
dren, we had the chance to talk to Voltaire about his music, his writing, his filmmaking, his geeky side, and even his love life.
photographer Paul Collins
interview by Gia C. Manalio-Bonaventura
AUXILIARY december/january 2011/2012 LI FESTYLE
Hey, Vol tai re. I want to thank you for tal ki ng to us. I know that you just wrapped up your US Bl ack Uni corn Cabaret Tour as wel l as a few i nterna-
ti onal shows i n Scotl and and Whi tby and have jumped i nto your next project, so we real l y appreci ate your ti me.
Can we tal k about the tour a bi t? It was descri bed as, “A Vi l l ai nous Vaude-
vi l l e of Bawdy Burl esque, Musi c, Mi schi ef, and Mayhem.” The ti tl e al one i s so much fun. How di d the tour go?
Vol t ai re : It was great! I real l y fel t l i ke i t needed t o be more t han a coupl e of bands on t our, i t needed t o be an event. So I brought al ong wi t h me a coupl e of t he fin-
est bands I know i n t he dark cabaret genre, Hel l bl i nki Sext et and Thi s Way t o t he Egress. And we had l ocal burl esque t al ent at t he shows. So i t was a bi g t hemed ni ght of dark cabaret and burl esque. Lot s of peopl e came out al l dressed up and al l i n al l we had a fant ast i c t i me.
As I’m wri ti ng thi s, I’m l i steni ng to Ri di ng a Bl ack Uni corn down t he si de of an Erupt i ng Vol cano whi l e dri nki ng from a Chal i ce Fi l l ed wi t h t he Laught er of Smal l Chi l dren. Once agai n, I have to congratul ate you on an amazi ng al bum and I agai n l ove the cabaret styl e. Can you tel l us a bi t about what went i nto maki ng i t?
V : I had worked wi t h Bri an Vi gl i one of t he Dresden Dol l s on my previ ous al bum Hat e Li ves i n a Smal l Town, so when I was ready t o record t hi s al bum, I asked hi m i f he woul d j oi n me agai n. So he pl ayed al l of t he drums. I asked Mel ora Creager of Rasput i na i f she’d pl ay t he cel l os and she ki ndl y j oi ned us. So at t hi s poi nt I real i zed I had t he maki ngs of a supergroup! [l aughs] When i t came t i me for bass, I i nvi t ed Davi d J. of Bauhaus t o cont ri but e t hose part s. The rest of t he musi ci ans are amazi ng New York Ci t y-based pl ayers. It ’s real l y a great l i ne up!
Am I correct that both the new al bum’s ti tl e and artwork came from a fan?
V : Part i al l y. The t i t l e came from a fan. There was a young man named Al ex who post ed on my Facebook page, �Vol t ai re’s musi c i s t he audi o equi val ent of ri di ng a bl ack uni corn down t he si de of an erupt i ng vol cano whi l e dri nki ng from a chal i ce fil l ed wi t h t he l aught er of smal l chi l dren.’ When I read t hat, I knew i t had t o be t he t i t l e of t he al bum! [l aughs] Once I announced t he al bum t i t l e, a fan and very t al ent ed art i st named Dani el Kranz sent me a pai nt i ng he di d depi ct i ng t he t i t l e. It was amazi ng! I had al ready commi ssi oned Daarken, a wel l known fant asy art i st t o pai nt t he cover, but Dani el ’s pi ece was so great t hat I used i t for t he art on t he di sc i t sel f.
I know that the ful l al bum i s avai l abl e for l i steni ng on your YouTube musi c page, The Lai r of Vol tai re. I al so know that you are an i ndependentl y pro-
duced arti st meani ng that al l costs for creati ng an al bum, promoti on, di stri -
buti on, etc., fal l s on you. So why put al l the tracks onl i ne for free? Al though I wi l l tel l you that l i steni ng to them has prompted me to go out and buy the CD so maybe I’ve answered my own questi on.
V : It defini t el y smacks of me sl i t t i ng my own t hroat! [l aughs] For sure! But t hi ngs are changi ng very rapi dl y i n t he musi c worl d. There are now more peopl e who’ve grown up downl oadi ng musi c for free, usual l y i l l egal l y, t han t here are peopl e who grew up buyi ng CDs l i ke my generat i on di d. It ’s a scary, scary worl d ri ght now for musi ci ans because maki ng musi c, recordi ng i t, and sel l i ng i t on CDs i s how we feed our fami l i es and how we pay our rent. Yet t here are mi l l i ons of peopl e out t here now who feel t hey shoul d never have t o pay a musi ci an for hi s effort s, ever! I don’t have any of t he answers but I do underst and t hat anybody who wi shes t o l i s-
t en my musi c but has no i nt ent i on of payi ng for i t, can! They can go t o Pandora or Grooveshark or l i st en t o i t on any of t he count l ess YouTube pages of users who’ve upl oaded my musi c i l l egal l y. I’m not sure I want t o spend t he rest of my l i fe fight -
i ng t he t sunami of i l l egal upl oads so i nst ead I’m t ryi ng an experi ment and t hat i s t o host i t for free, but t o do i t mysel f. I hope peopl e wi l l come t o t he art i st ’s page t o l i st en t o t he musi c. Whi l e t here, perhaps t hey can see my vl ogs and we can get t o know each ot her and hopeful l y, some peopl e wi l l do t he ri ght t hi ng and buy t he al bum. I honest l y don’t know how i t wi l l pan out. It ’s compl et el y unchart ed t erri-
t ory. The al bum cost me upwards of t went y t housand dol l ars of my own money t o record and four sol i d mont hs of my l i fe. Whet her t hi s works out and I can afford t o make anot her al bum remai ns t o be seen, I guess.
Let’s tal k about The Lai r of Vol tai re and your i ntroduci ng your vl og. Qui te possi bl y the best part about i s that the first broadcast comes from a quai nt bed and breakfast, not the vi sual I usual l y have when I thi nk Vol tai re. But i t’s not so much about the establ i shment, but the fact that the reason you posted from there rather than your i ntended “set” was that you were keep-
i ng a promi se to your fans that you woul d broadcast as soon as you got 1,000 subscri bers, whi ch happened to be on a pl ane on your way to Engl and. I have al ways admi red how much appreci ati on you have for your fans and have seen i n person how down to earth and approachabl e you are. Is one of your favor-
i te parts of performi ng the abi l i ty to get off stage and hang out wi th the crowd as i f you are al l l ong l ost fri ends?
V : It al l comes down t o appreci at i on. The bot t om l i ne i s t hat I’m compl et el y aware t hat I have t he j oy and t he l uxury of bei ng an art i st and musi ci an because t here are peopl e who care for what I do. Every t i me someone buys a CD, I get t o l i ve anot her day. So when peopl e buy a t i cket t o come t o my show, I want t o meet t hem! I don’t know what backst age l ooks l i ke. I spend pret t y much t he whol e ni ght, when I’m not on st age, at my merch boot h meet i ng and t al ki ng wi t h t he peopl e who came out and support ed t he show. It seems odd t o some art i st s, I guess. But t he fact i s t hat t hese are t he peopl e who keep me i n busi ness and I owe a debt of grat i t ude t o t hem. So yes, I do my best t o be avai l abl e and rel i abl e t o t he peopl e who support my work.
In recent years, you have real l y been expandi ng your tal ents and fan base, rel easi ng country and ki ds al bums. Are these creati ve i deas that were stewi ng i n your brai n your whol e career?
V : No, not real l y. In fact, I have no i dea what I wi l l do from one record t o anot her. I pret t y much j ust st art wri t i ng songs i n what ever st yl e or mood i nt erest s me at t he moment and when t here’s a bunch of t hem, I put out an al bum. I got t he i dea t o make an ol d school count ry al bum aft er l i st eni ng t o some Johnny Cash one ni ght i n a karaoke bar and t he ki d’s CD was t he cul mi nat i on of havi ng done a coupl e of songs for t he Cart oon Net work show The Gri m Advent ures of Bi l l y and Mandy and songs for t he popul ar onl i ne game Advent ureQuest Worl ds. I fel t t hat I had a growi ng number of younger fans and I di dn’t feel wri t e gi vi ng t hem a copy of Zombi e Prost i t ut e! [l aughs] I fel t i t was t i me I made an al bum for t hem. But yeah, t he di rect i on t hat records t ake are pret t y much on a whi m.
You al so make many appearances at sci -fi/fantasy and comi c/ani me conven-
ti ons. I’ve seen you do a few shows at the NYCC and see that your fol l owi ng there i s just as i ntense and devoted as i n any goth cl ub. Why do you thi nk us sci -fi/comi c geeks tend to flock to you?
V : I t hi nk i t ’s for t he same reason I go down easy at got h cl ubs… because t hey know I’m one of t hem! I mean, bel i eve me when I say t hat I coul d not have wri t t en a song l i ke, “Sexy Dat a Tango” or “The U.S.S. Make Shi t Up”, wi t hout havi ng wat ched count l ess hours of St ar Trek! And t he song, “Cant i na”, coul d never have been wri t t en i f I di dn’t know t he back st ory of every monst er who ever wal ked i nt o t he Mos Ei sl ey Cant i na! [l aughs] I wri t e songs t hat I find amusi ng as a got h, a fan of horror, a st eampunk, and a fan of sci -fi, so by ext ensi on, t hose songs t end t o go over wel l wi t h ot her fans of t hese genres… ot her geeks t o put i t more si mpl y. At Dragoncon l ast year, I was i nt roduced as “The Ki ng of t he Geeks”! [l aughs] I qui t e l i ke t hat!
In fact, I thi nk so many peopl e, young and ol d, goth and not, l ook up to you and are i nspi red by you. You’ve real l y gone after what you want i n l i fe and have worked hard for i t, combi ni ng a l ove for what you do wi th dri ve and ambi ti on, somethi ng I often find l acki ng i n soci ety today. What advi ce do you have for any aspi ri ng arti sts out there or even those ki ds who just feel margi nal i n soci ety?
V : You j ust have t o get out t here and do i t. What ever i t i s t hat you l ove, be i t wri t -
i ng or musi c or fil mmaki ng, t here’s no reason you can’t be doi ng i t for a l i vi ng. But t he hardest part i s j ust get t i ng st art ed for many peopl e. They t hi nk t hey wi l l never succeed so t hey never even t ry. They t hi nk t hat peopl e who are famous or success-
december/j anuary 2011/2012 AUXI LI ARY ful are different from them somehow. They’re not! They’re just like you and me! The only difference is that they believed in themselves and got to work. I got an email from someone the other day that said, �what advice would you give someone who wants to start writing songs?’. I replied, �Start writing songs!’ [laughs] Seri-
ously, people wait around for someone to come along and dub them an artist. It doesn’t work that way. You just have to do what you love because you love it. And after you’ve been doing it for a while, the world will recognize that you are a musi-
cian, or artist or writer or what have you. You have to become the person you want people to see you as. It’s really that simple. On another note, what keeps me going, and maybe people will find this helpful, is that I know that no matter how new I am at something or how bad I think I might be at it, I remind myself that I can’t possibly be the worst! [laughs] Seriously! I console myself with the knowledge that somewhere in the world there is somebody doing it worse than me!
I had let my friend borrow What is Goth? and she liked it so much, I wanted to buy it for her so I was looking for it. As you know, it’s now out of print and going for a couple of hundred dollars. And then Paint it Black followed in its stompy footsteps. Could you ever have imagined that either one would reach this status?
V : I think it’s pretty crazy! And like a fool, I don’t have a copy of either book because I sold all of mine and when I went to buy more, they were out of print! So I know what you mean. I tried to get one from eBay and they wanted over a hundred dollars for what was a sixteen dollar book! It’s nuts! But maybe what’s even more nuts is that the publisher isn’t banging down my door to make more of them! You’d think that with an obvious demand for it, they’d want to make more. Go figure. I have a novel or two in me and I have to say that I do find it encourag-
ing that there is a demand for these books that I’ve written. Maybe it will carry over into what I write next.
For a while, I was talking to you casually about publishing another non-fiction book of that type. Any chance that may happen in the near future?
V : Back when I wrote those two books, the publisher had asked me to write a third one. I felt that I had said what I wanted to say about the topic and it was a struggle to come up with more to write about. We eventually decided I’d write a book called, “How to pick up goth chicks: The Dating Guide of the Damned”. But to be honest, my heart just wasn’t in it. If felt like a one punchline joke and I feared I’d have to fill the book with, well, filler to get it done. I just didn’t feel good about it and in the end, I simply didn’t write it. I don’t like the idea of turn-
ing down book deals, but I feel less good about putting stuff out there that I know isn’t my best work.
The Deady books have also been a huge success, leading to multiple licensing agreements with the likes of Skelanimals, AdventureQuest Worlds, and Dis-
ney and Minstyle of all people. Your guest artists have included Roman Dirge, Clive Barker, and Neil Gaiman. Way back in 2004, before Toy2R picked up interest in your design, what was your goal for the Deady character? What originally inspired him?
V : The first time I drew Deady was for some t-shirt designs I made for Hot Topic. One said, �Deady loves kids… well done with a little barbecue sauce!,’ and one read, �Just because I’m adorable doesn’t mean I won’t rip your face off!’. I have a tendency to fall in love with the characters I create though, so shortly after, I found myself thinking a lot about Deady, daydreaming about what misadventures he would have and where he was from, so I decided that making a series of graphic novels would be the best way to tell his story. I didn’t really have a plan beyond wanting to spend time drawing and writing about Deady. As you mentioned, the guest artists and writers in the series were completely out of this world! I mean, Clive Barker and Neil Gaiman? It’s like a dream! But to be honest, I don’t feel the books found a very large audience. I always felt that because of the level of guest artists involved, that Deady was the most famous character no one ever heard of! [laughs] I also had a plush toy deal and there were Deady plush toys in every amusement park in America as well as claw and crane machines every-
where. These days, I make mostly Deady vinyl toys. And every Friday the 13th, Deady and I appear in the online game AdventureQuest Worlds. But outside of my small fan base and the AdventureQuest players, I’m not sure anyone out there knows anything about Deady still! I guess I’ll probably feel that way until there is a Deady cartoon on Adult Swim! [laughs]
I also want to congratulate you on all the success your films have been receiv-
ing, especially on the Chimerascope Short Film Series. I want to make sure fans know about Vol-Terror-Vision where they can see all your work. You have a very interesting creative process and vision for this facet of your cre-
ativity. Can you tell us a little about that?
V : I started making stop-motion films when I was ten years old with a super eight camera. Back then I would just make some monsters and animate them and the stories would just sort of develop right in front of the camera. When I was seventeen, I ran away from home and went to New York City where I found a job animating TV commercials. I was extremely lucky to be working as a stop-motion animator at that age, but the work was different. I was always working from a storyboard and with lots and lots of client and producer supervision. When I turned nineteen I got my first directing job animating a station ID for MTV. It was short and weird and very free form. I really enjoyed working that way and I wanted for all of my jobs to be like that so I mostly left commercials to focus on making station IDs for MTV, Sci Fi Channel, and other networks because it offered me a lot of creative freedom. Eventually the popularity of computer animation killed the stop-motion business and I had to find something else to do for a living; that ended up being music and comic books. Now, after a fifteen year break from work-
ing in the film and TV business I’m back to making films for the love of it. But I make them the way I used to when I was a child. I just make some monsters and animate them. There’s never a script or storyboards. In fact, I write the narrations when the films are done based on what the actions on the screen imply! So far I’ve made five films in this experimental series of films I call the Chimerascope series. They are short, weird, shot in stop-motion animation and narrated by singers. The singers I’ve worked with so far are Deborah Harry of Blondie, Richard Butler of the Psychedelic Furs, Gerard Way of My Chemical Romance, Danny Elfman, and most recently Gary Numan.
In 1984 you left New Jersey for Greenwich Village. In What is Goth? You say, �I immediately knew something was different when I found tourists following me around and taking photos. I had instantly gone from being a social pariah to being the center of attention... and I liked it.’ I moved to the same area just a few years later and I completely understand what you meant in that state-
ment. But New York is a little different now. And you’ve traveled all over the world, especially recently. In fact, I see you are planning a trip to Australia and New Zealand. So do you still feel like you belong in New York? What is it about the city that speaks to you?
V : You’re absolutely right! It’s very gentrified now. Even the East Village and Lower East Side, both previously havens for artists, musicians, and junkies, are now full to the bring with bankers and wine bars. But there’s something about New York I just love! Part of it is the drive people have here. It’s a great place to be a workaholic! [laughs] People are always on the go, working hard on their dreams. You have to be. Like the song says, �If I can make it there, I’ll make it anywhere!’. It’s no joke! New York will eat you alive! But then there’s also the architecture, the dark, Gothic buildings, the spires, the gargoyles on the Chrysler building. The city’s always looked to me like the setting for a dark fairytale. And that’s what my “ Whatever it is that you love, be it writing or music or filmmaking, there’s no reason you can’t be doing it for a living. But the hardest part is just getting started for many people. They think they will never succeed so they never even try. They think that people who are famous or successful are different from them somehow. They’re just like you and me! The only difference is that they believed in themselves and got to work. ”
AUXILIARY december/january 2011/2012 life in this city has been; it’s been nothing short of Gothic fairytale.
I keep hearing people say that the goth scene is dying, even in the big cities, New York being no exception. Do you believe that is the case? Or maybe I could ask you, how would you describe today’s goth scene?
V : I’m not sure I know. I’m a goth and I love the genre, but it’s just one part of who I am. I’m so entrenched in the worlds of sci-fi, horror, steampunk, etc, and I travel so much, often to conventions, that I’m not out every night like I used to be in New York back in the day. Anyway, for so many years, the goth scene here really went sort of techno. You know, everyone listened to electronic music, EBM as they call it, had colorful yarn in their hair, and danced with glow sticks. The scene really sort of lost me there for a while. Anyway, between my insane touring schedule and the fact that I’d rather be working, I don’t make it to the clubs much anymore unless I’m performing.
Of course, there are all the opportunities in New York that you may not have elsewhere. For example, shopping for a diseased brain at Obscuria on the show Oddities. You seemed perfectly at home in that store.
V : [laughs] It’s a peculiar little shop! It’s only a couple of blocks from my place. I do indeed shop there so being on the show was definitely sort of a natural. I bought most of the props for my film X-Mess Detritus there. It’s definitely one of the gems in New York City. I also like Evolution in Soho where I buy bones and taxidermied animals and Waves LLC in Chelsea where I got a lot of the old, vintage radios for my latest film.
Now you know I couldn’t finish without asking you some questions about fash-
ion and style. Your own style has evolved over the years. I can’t see a skully sweater or a top hat without thinking of you. How would you describe your personal wardrobe?
V : I’m not sure I can. There is indeed that ubiquitous skull sweater of mine! [laughs] I’ve gotten a lot of use out of that one! And on stage I wear a bea-
ver top hat, that’s true. But on a day-to-day basis, I try to think as little as possible about what I’m wearing. The less I have to think about what I’m wearing, the more room I have in my head for what I’m working on. I have incredibly few clothes and they’re pretty much all black.
What is the one piece of clothing that you cannot do without?
V: My underwear. I just can NOT go commando! [laughs] I find it terribly uncomfortable. Socks, too! Must have them!
In What is Goth?, you explain different goth styles. Do you have a favorite? Are there some that you think should go out of style?
V : Absolutely! Well, you might have guessed that I could completely do without the whole cybergoth thing! [laughs] I honestly have always felt that those people were fooling themselves. There’s really nothing Gothic that I can see about their clothing, their music, etc. But hey, I’m not here to tell people what they can or can’t do. That is definitely not my place. As for me, I’m just an old school, dyed-
black in the wool goth with heavy Victorian leanings when it comes to fashion. [laughs]
So finally, on a more personal note, you have always been a huge hit with the ladies. But you’re a married man now and I remember you telling me once, �When I have a woman in my life, she is the only woman for me.’ How have things changed with touring and your work now that you have tied the knot to the beautiful Jayme, who has an amazing style of her own?
V : Being married has really cleared a lot of the nonsense off of my plate. When I’m single I spend way too much time looking for affection, whether it be long term or just for the night. It takes up a lot of my time and energy and it detracts from my work. Being married has given me the peace of mind to focus on other things like my work and spending time with my family. I’ve never been one to fool around on tour behind my girlfriend’s back, despite what my song, “On the Road”, implies. [laughs] So when I have been in relationships I’ve always gone on tour and behaved myself. But it’s frus-
trating and confusing to be on a stage and be the recipient of so much love from strangers, then to go back to the hotel room by yourself. Jayme comes to so many of the shows that it fixes that problem. I get the thrill of being on stage and get that kind of mass adoration and then I go back to the hotel and have completely-guilt-free sex with my wife! It’s the best of both worlds!
Voltaire, as always, thank you so much for your time and we all really look forward to seeing what comes next. Thanks for having me!
Find more on Voltaire at, more on his films at
voltairenyc, and his blog at
december/january 2011/2012 AUXILIARY 24 25
Q : I i ni ti ated contact wi th an ex, after dri nks asked hi m to cuddl e me to sl eep, but i t l ead to sex. Shoul d I assume i t i s nothi ng more than sex, or ask hi m for an answer? Or just stay i n contact (conti nui ng sex or no sex) unti l someone breaks? How do I cl ai m power or show val ue after putti ng mysel f out there l i ke thi s wi th hi m?
A : Wai t wai t wai t wai t wai t wai t wai t. You had dri nks wi t h your ex and t hen asked hi m t o cuddl e you t o sl eep, and you di dn’t expect t hat you were goi ng t o have sex wi t h hi m?
Honey. If a guy i s i n your bed, i n your bedroom, or even i n your apart ment aft er you’ve had dri nks t oget her, especi al l y when he’s someone you’ve al ready sl ept wi t h, you shoul d expect t hat he i s goi ng t o t ry t o have sex wi t h you. If t he pl an i sn’t t o absol ut el y, posi t i vel y have sex wi t h a guy, t hen he has no busi ness bei ng any of t hese pl aces. Don’t i nvi t e hi m up, don’t ask hi m over, don’t l et hi m i n your room, how do you cl ai m power af t er i ni t i at i ng an unpl anned hook up?
how do you know you’ ve f ound t he ri ght one, when you’ re st i l l f ocused on your ex?
Q : My ex was very hot, and l eft me very cruel l y. I’ve met gi rl s I l i ke si nce then, but can’t commi t because they’re not as hot. I keep pi cturi ng runni ng i nto my ex and bei ng l aughed at, l i ke i f I end up wi th someone l ess hot, my ex “won”. What do I do?
A : You’l l know you’ve found t he ri ght gi rl t o dat e when you don’t gi ve a fuck what your ex t hi nks of her.
Bri ngi ng t oget her her experi ence i n neuro-
l i ngui st i c programmi ng, psychol ogy, pi ck-
up art i st ry, and t he fet i sh i ndust ry, Arden Lei gh, t oday’s freshest voi ce on women’s dat i ng and rel at i onshi p st rat egi es, answers your quest i ons. submi t your quest i ons t o : askarden@auxi l i arymagazi
Ask Arden
photographer : Ron Douglas
and for god’s sake don’t ask him to cuddle you to sleep! Know your goals. Think your moves through from beginning to end. Don’t let someone else determine your agenda for you. (I mean, unless what you want is to be seduced, but then you have to trust the intentions of the seducer. Or not care about them.)
I don’t know what your goal is with this guy, whether you want to get back to-
gether with him or just have a booty call or just save some face for yourself, but I would refrain from contacting him at all for a while. In your head, decide that what you did was completely planned from the beginning and that you were using him as a booty call for some sexual fulfillment with no attachment. Pretend you were just trying to get your rocks off and that you succeeded.
If what you want is to get back together with him, or have some kind of a connec-
tion with him that’s deeper than just occasional sex, wait a while to contact him and then suggest coffee or drinks at some point. If the incident comes up, tell him, “Yeah, I’m sorry about that. I wasn’t thinking things through and it wasn’t really fair of me to use you like that. We have a much more meaningful friendship than that, given our history, and I shouldn’t have been so hasty with you. I hope we can put that behind us and move forward in a better way.” That way, you establish that he can’t just have you as a booty call in the future, while still pretending that everything that happened was your idea, and that he didn’t manipulate you into it (and therefore won’t be able to manipulate you into it again).
If what you want is just to use him as a booty call... well then just call him again when you want a booty call. Clearly it worked the last time, so just don’t worry about it. Just make sure not to call him in between or make any contact that’s dra-
matic or confrontational, or he’ll decide that the sex isn’t worth its cost.
If what you want is to just save face, forget the whole thing and move on. Go date someone else and pretend it was never a big deal. Which, really, it shouldn’t be.
the PinUp
Auxiliary’s playful take on the sexy centerfold pin up. Flip the page, cut out, and tac on your wall!
photographer Saryn Christina
fashion stylist Marlo Marquise
makeup artist, hair stylist, and hats Erika Diehl
wardrobe Antiseptic Fashion
model Marlo Marquise location House Of Virtue
AUXILIARY december/january 2011/2012 Marlo Marquise
december/january 2011/2012 AUXILIARY With roots as a model and burlesque performer, Marlo Marquise is always expanding her creative horizons, she recently relocated to Los Angeles from New York City, starting the studio and production company House of Virtue with Billy Vahan of Antiseptic Fashion and a couture fashion line, Marquise Lapin.
interview by Jennifer Link
munity. Our December event is a benefit that supports World AIDs Day with partial proceeds going to donation for AIDs testing and research, followed by our January event with lectures on sex, relationship advice, feminism, and topics of the like. We are really loving the option of philanthropy and possibly looking into turning into a non-profit organization. We are House Of Virtue after all! Just with an alternative spin on “Virtue”.
At the House of Virtue grand opening event in November, for you what was the highlight of the night?
MM : Besides the fact that we had some of our favorite international performers (Ophelia Overdose and Miss Evilyn), and showcased some of our favorite photog-
raphers (Allan Amato, Eternal Exposure), the highlight of the night was the fact that so many people from our industry came out to support us and what we are try-
ing to bring to the community. The love and support was overwhelming. It means a great deal to me when in all these ego driven industries, we can put that aside and go support those who we feel are doing something positive for everyone.
In a recent interview you talked about authenticity in the fetish community and modeling, or often a lack thereof. Your work, even the simplest of photos, has a feeling of depth behind it. Do you do research when developing a new performance or preparing for a larger scale photoshoot? What are you dig-
ging into right now?
MM : First off, I really appreciate the compliment. This is a hard job and it takes blood, sweat, and tears to make it work. Every compliment makes it all worth it. Research is a huge part of my job as a performer and model. I obviously go for a mix of vintage verses modern. My modeling and performing is all my own personal style as well. I’m constantly, every day researching European Vogue archives, and looking up all of the original burlesque and sideshow performers whether I am working on a project or not. It’s a way of life. I’m here to learn from the greats and make a spot for myself through their guidance. This is my passion. Right now I’m working on shooting a lot more high fashion mixed with fetish and erotica, and I just started training as a sword swallower among other things. It’s all very exciting! I just really love being a Jane-of-all-trades.
You’ve been adding new elements to your performances, what are you work-
ing on currently and how are you going about learning these new techniques and deciding which to pursue?
MM : As mentioned before, I started lessons on sword swallowing. I have had the pure pleasure, luxury, and honor to be mentored by the infamous Todd Robbins. I take all of my sideshow skills very seriously. I now do two of the most dangerous acts in the genre, fire eating/breathing/body transferring and sword swallowing. You should only learn from the best. Have respect for your art and it will respect you and keep you safe. I have yet to perform on the West Coast, but I have a few venues and shows in the works!
You’ve also just started a fashion line, Marquise Lapin, what styles and gar-
ments can we expect to see from it? Will all the pieces be one-of-a-kind and handmade by yourself?
MM : Marquise Lapin is a life long dream for me. I originally went to fine art and fashion school. Marquise Lapin was born when I wanted certain garments and ac-
cessories for myself that I couldn’t find anywhere. They simply did not exist. Of course my second thought was to take matters into my own hands and just make it myself! The best way to describe the style is in my mission statement for the company, �Marquise Lapin, a gothic couture Los Angeles, CA based designer la-
bel, incorporates the dark sultry avant-garde with a vintage fetish curve, providing a palatable glamorous yet edgy style for the average Jane, and the fashion fanatic. Bringing you high-end quality pieces, Marquise Lapin symbolizes the relation-
ship between an underground taboo community and lifestyle with the mainstream, vibrant glamour of accepted high-end fashion. Marquise Lapin seeks to combine the new and old fetish fashions with vintage, modern, and macabre glamour to create a unique design in every stitch. A couture style that is more affordable, but deliciously sleek and daringly diverse.’
I already have a taste of Marquise Lapin on etsy and behind the scenes I have my interns helping me create my clothing designs at the moment. There will be a lot of leather and lace, but also the option of faux leather for all my vegan friends out there. The company will also include designs for both men and women.
Recentl y you moved to LA from New York Ci ty, now that you’ve been i n LA for a bi t, what di fferences are you noti ci ng from l i fe i n New York Ci ty? What sparked thi s change of l ocati on? And have you noti ced a di fference i n the creati ve energy of both ci ti es?
Marl o Marqui se : LA and NYC are very si mi l ar and very di fferent. I l i ve i n down-
t own LA so i t real l y remi nds me of my east vi l l age nei ghborhood i n Manhat t an. Bot h areas are very young and creat i ve. New York i s very fast pace and LA i s t he compl et e opposi t e. That i s t he bi ggest adj ust ment I’ve had t o get used t o! I’m j ust a go, go, go workahol i c ki nd of woman, so i t ’s very hard t o be i n such a l ackadai-
si cal envi ronment now. Los Angel es seems more fine art focused, and New York Ci t y i s more about t he t heat re as far as creat i vi t y goes. Basi cal l y what made me commi t t o rel ocat i ng was t hat i nst ead of j ust performi ng and model i ng, I want ed t o produce l arge event s and st art desi gni ng cl ot hi ng. LA has bi gger and bet t er venues, I can t hrow event s i n my l oft, and downt own LA i s t he most effici ent area for maki ng garment s and st art i ng compani es of t he l i ke. It j ust made sense! I was t ravel i ng back and fort h for a year before deci di ng. I do however consi der mysel f bi coast al, and al ways a New Yorker at heart!
You just opened a studi o and producti on company, House of Vi rtue, i n LA wi th Bi l l y Vahan of Anti septi c Fashi on, how di d thi s project come about and a year from now what do you hope i t has become?
MM : The year before movi ng t o LA I was produci ng an event i n NYC cal l ed “Shame & Ecst asy”. It was a fet i sh/burl esque based show, whi ch I want ed t o t urn i nt o an event. I st art ed feat uri ng runway i n t he show, event ual l y branchi ng out i nt o gal l ery hangi ngs for phot ographers, et c. I t hen real i zed t hat t he part y and event scene was much more popul ar i n Los Angel es. Peopl e i n t hi s ci t y j ust l ove t o go out and have a great t i me. Bi l l y Vahan and I were good fri ends for qui t e a whi l e and aft er I flew hi m out t o do a runway show i n Shame & Ecst asy for Ant i sept i c Fashi on, we real i zed how wel l we worked t oget her. We bot h want ed t he same t hi ng, and i t j ust was i n more demand i n Los Angel es. Now House Of Vi rt ue i s a product i on company t hat t hrows event s, and a phot o st udi o where we have al ready had hi gh profil e phot ographers, model s, and publ i cat i ons rent our ecl ect i c space. A year from now, I see House Of Vi rt ue t hrowi ng event s i n San Franci sco, San Di ego, Chi cago, Mexi co, Canada, Europe, and we mi ght see t he ret urn of Shame & Ecst asy. Just t o name a few! Our fut ure i s i n our descri pt i on, �We at House Of Vi rt ue keep our pat rons updat ed wi t h current and fut ure event s, gi veaways, and i mport ant i nformat i on on fashi on, ni ght l i fe, chari t i es, cul t ure, art, l i fest yl e, and communi t y.’ House Of Vi rt ue Pro-
duct i ons t hrows mont hl y event s t hat bri ng you a ni ght of fet i sh fasci nat i on and sophi st i cat ed sex. Cel ebrat i ng and support i ng a pl et hora of al t ernat i ve l i fest yl e, and underground l i vi ng.
We j ust st art ed provi di ng event s t hat real l y gi ve back t o our i ndust ri es and com-
Ant i sept i c Fashi on Si ma Leat her Harness wi t h hat by Eri ka Di ehl.
Ant i sept i c Fashi on Al ci ppe Corset and Col l ar wi t h mat chi ng past i es.
Ant i sept i c Fashi on Al ci ppe Corset and Col l ar wi t h mat chi ng past i es and Chrysei s Open Front Bel t Ski rt wi t h Bust l e pai red wi t h hat by Eri ka Di ehl. december/j anuary 2011/2012 AUXI LI ARY name : Marlo Marquise
nickname : Bunny, Miss Marlo, The Dark Diamond of Burlesque
birthday : January 4th
birthplace : New York
eye color : brown/black
hair color : black
turn-ons : Attention to aesthetics, intelligence, sense of humor, ambition.
turn-offs : Dishonesty, no sense of humour, bad fashion sense, lack of ambition.
why do you model? : As an artist I thought, why not start with the basics? Use what I was given. I am living art.
how did you get into modeling? : All through high school and college I had friends use me for photography projects. A lover one day convinced me to make a profile on Model Mayhem, and I got immediate responses. At first it was a hobby, and after a few years it became a job that I love.
favorite musical artist : I can’t pick just one. I’m a music lover who grew up with a musician for a father. I love music from the 1920s all the way to present day. I’m quite fond of the 1940s and 1990s in particular. Nirvana versus Billie Holiday.
favorite movie : Metropolis by Fritz Lang
favorite tv show : The Munsters or Twilight Zone
favorite book : The Delta of Venus by Anais Nin, a book that every woman in her right mind should own.
favorite cocktail : 1940s recipe for a champagne mint julip. You have my heart if you can make one of those beauties!
favorite article of clothing : I’m a fashion lush. I can’t pick one piece, however I would never be able to part with my vintage stockings or lingerie. I’m a girly girl. I actually don’t own one pair of pants, only dresses, and that is a fact that you can check with any person who knows me personally. I’m the type of person that buys unique pieces,
I don’t own two of anything.
favorite fashion designer : Alexander McQueen, Vivienne Westwood, Betsey Johnson... I could go on and on.
favorite fashion style : 1930s vamp/1940s fitted pencil skirts and jackets/modern couture fetish wear like latex and elaborate corsets. In a reference I could describe my favorite style is close to the look of Rachael in Blade Runner. Modern, dark, yet classically vintage and futuristic. favorite star/icon : I have so many strong females I look up to. Mae West, Gypsy Rose Lee, Anais Nin, just to name a few. favorite club/club night/place to go out : I adore the Edison in Downtown LA, a 1930s themed original private power plant. They have great absinthe, and vintage cocktail recipes!
anything you’d like to say to our readers? : No matter what your profession is, always be an individual. Never lose your sense of self, be professional, follow your dreams, and treat others as you would want to be treated. Be passionate, and never give up. I’ll tie it up with a quote from one of my favorite hard working women in history, Mae West. �Personality is the glitter that sends your little gleam across the footlights and the orchestra pit into that big black space where the audience is.’
For more visit,, and
Marlo Marquise
DISCLAIMER: The vi ews expressed i n t he f ol l owi ng pi ece are Adam’s, and Ad-
am’s al one. As much as we at Auxi l i ary Magazi ne ref use t o condemn hi m f or hi s bel i ef s, we must at t empt t o remai n pol i t i cal l y neut ral and t hus cannot endorse t hem. Inst ead, we merel y present hi m wi t h a pl at f orm f rom whi ch he mi ght voi ce hi s opi ni ons i n pri nt, l est he ascend a cl ock t ower wi t h a hi gh powered ri fle and espouse t hem i n a l ess soci al l y-accept abl e manner. Just ki ddi ng(?)!!! Wi t h t hat i n mi nd, enj oy. Or rage. As al ways, he doesn’t gi ve, and we quot e, “a t ap-danci ng, cri ppl e-f ucki ng shi t ”.
It ’s nearl y one i n t he morni ng on November t he 5t h, and I si mpl y cannot sl eep. Coffee’s pl ayed i t s part i n t hi s, and I’m t ryi ng t o remedy t hat wi t h onl y t he finest mal t l i quor (Dogbi t e: For when shame i s merel y a di st ant memory), but i t ’s not j ust t hat. There’s been an el ect ri ci t y i n t he ai r, t hese l ast few weeks. A dangerous surge t hat ’s st i rred feel i ngs of anxi et y and el at i on t he l i kes of whi ch I haven’t known i n years. It seemed t o have real l y st art ed wi t h t he t ragedy of Scot t Ol sen.
For t hose not fol l owi ng t he st i l l -growi ng Occupy movement, Scot t Ol sen i s an Iraq war vet eran-t urned-act i vi st who, at a recent Occupy Oakl and prot est, was hi t i n t he head wi t h a proj ect i l e ori gi nat i ng from behi nd pol i ce l i nes. Tear gas grenade? Fl ashbang grenade? Beanbag pel l et? No one can say for sure. Foot age from t he scene i s underst andabl y chaot i c, as al l assembl ed began t o flee when t he pi gs drew down on t hem wi t h everyt hi ng t hey had t hat di dn’t guarant ee a ki l l shot. Scot t suffered severe t rauma t hat l eft hi m i n cri t i cal condi t i on for days, and ot hers were i nj ured as wel l. As Scot t ’s fri ends begged pol i ce and emergency per-
sonnel t o ai d t hei r downed fri end, t hey were met wi t h onl y chi l l i ng i ndi fference, event ual l y forci ng t hem t o escape t o a nearby hospi t al. From everyt hi ng I t hought I underst ood about t he Occupy movement up unt i l t hi s poi nt, I coul d onl y assume t hi s was t he l ast we’d see of i t i n Oakl and. Bet ween t he medi a’s port rayal and my own preconcept i ons about post -mi l l enni al “prot est s”, I envi si oned a random assort ment of fil t hy hi ppi es, hi pst ers t ryi ng t o appear al l “count ercul t ural and shi t, Remember, Remember...
by Adam Rosi na
bra”, and t he odd wannabe Crass-hol e l ooki ng t o earn some punx rawkz poi nt s. Basi cal l y noi semakers and pussi es, not hi ng more. Occupy Oakl and refused t o yi el d t o such cyni ci sm. On November 3rd, t hey went i nt o ful l -on ri ot mode, smashi ng st orefront s of t he l ocal branches of Bank of Ameri ca and Wel l s Fargo, assembl ed at t he Port of Oakl and (fift h busi est i n t he count ry) and shut t hat fucker ri ght down. Not cont ent wi t h al l t he gl ori ous chaos t hey’d al ready sewn, t hey t hen deci ded t o t ake over a l arge abandoned bui l di ng. The pi gs, t hi nki ng t hey’d l et t he ki ds have enough fun, arri ved i n t hei r finest ri ot gear t o i nqui re (wi t h rubber bul l et s and st i l l more grenades) what al l t he fuss was about. And t hen t hi ngs got awesome. The prot est ers, pret t y damn t i red of t he cops t ryi ng t o ki l l t hem i n t he “l east -l et hal ” way possi bl e, ret al i at ed by l i ght i ng t he god-
damn barri cades on fire and pel t i ng t hem wi t h bot t l es, flami ng debri s and Johnny fucki ng Cash. That ’s ri ght, report s l eaked out t hat, ami d t he barrage of t ear gas and bi l l y cl ubs, t he prot est ers ent renched i n t he bui l di ng t aunt ed t he pol i ce by howl i ng t he l yri cs t o “Fol som Pri son Bl ues” wi t h a shamani st i c exuberance. The aft ermat h? 103 arrest s and t he remai ni ng prot est ors, i nj ured among t hem, were dri ven back t o t hei r pri mary encampment. But t he pol i ce ret reat ed as wel l, wi t h t hei r own i nj ured i n t ow, and wi t h t hi s, t he prot est ors were gi ven reason t o rej oi ce. For i f i t bl eeds, you can ki l l i t.
I’d l i ke t o poi nt out t hat I’m NOT TALKING ABOUT ACTUAL MURDER wi t h t he above Predat or reference (sophi st i cat ed as fuck, ri ght?). I�m t al ki ng about ki l l-
i ng an i dea. In our count ry, t he pol i ce are percei ved as unt ouchabl e. No mat t er how unj ust or aggressi ve t hei r act i ons, t hey are not t o be t ri fled wi t h. Thi s i s especi al l y t rue of modern Ameri can prot est ers, heavi l y i nfluenced by t he hi ppi e generat i on’s commi t ment t o non-vi ol ent resi st ance and paci fist i c t act i cs (agai n, hi ppi es: fuck you wi t h a whol e ki t chen suppl y warehouse ful l of kni ves), who t end t o scat t er l i ke scared vermi n at t he first si gn of crowd cont rol. Somet hi ng about t he l ast few weeks has changed t hat, and Scot t Ol sen’s become t he t urni ng poi nt. The Occupy prot est s have been home t o a great many’s first experi ence wi t h di rect act i on, and by ext ensi on, l aw enforcement brut al i t y. For t hose among us whose l i fe experi ence hadn’t i ncl uded a few bri sk j ogs t ryi ng t o out run t he odd Officer Sadi st McFat ass, seei ng a war hero t ake a grenade t o t he face and al most di e for merel y st andi ng up for a j ust cause fli pped a mass psychi c swi t ch. The message i s cl ear t o t hem as i t has been t o some of us for ages: al l bet s are off, and t he pol i ce aren’t above t aki ng t hei r j ackboot s t o even t he most respect ed ci t i zen i f i t means get t i ng us al l back i n l i ne and prot ect i ng t he pol i t i ci ans hol di ng t hei r l eash and t he corporat e mast ers hol di ng t hei rs. “If t hey’re not pl ayi ng by t he rul es, why shoul d we?”, went t he t hi nki ng on t hat ni ght i n Oakl and. But how does t hi s al l rel at e back t o my l ess-t han-caut i ous opt i mi sm i n t hese wee hours of t he morn (now qui t e drunk) on November t he 5t h? The reason for t he exci t ement coursi ng t hrough me i s t hat, aft er years of devol vi ng i nt o a bi t t er, arm-
chai r anarchi st (I prefer “gent l eman anarchi st ”; i t sounds more respect abl e, and l ooks much ni cer on a busi ness card), I bel i eve “i t ” mi ght final l y happen. No, I’m not so del uded t hat I expect Ameri ca t o mut at e i nt o a pi rat e ut opi a where we al l l i ve some Durden-esque dream, danci ng naked among t he charred remai ns of sky-
scrapers. But I can hope for real change. The ki nd we don’t ask ni cel y for, but t ake. And wi t h t he brave exampl e of t he Oakl and prot est ers i n mi nd, who have shown ri ght eous fury not seen i n mai nst ream Ameri ca act i vi sm i n over hal f a cent ury, perhaps we can remi nd t he robber barons, professi onal l i ars, and t hei r t hugs of one si mpl e fact: t here are far more of us t han t here i s of t hem, and WE ARE PISSED. I hope for no fol di ng, no ret reat. But even i f al l fai l s, i f we are dri ven back, i f mal ai se and compl acency set s i n agai n, and t he mast ers and t hei r dogs assume absol ut e cont rol once agai n, I’m grat eful, above al l t hi ngs, for bei ng remi nded t hat I CAN feel hope. I’l l never regret put t i ng i t al l on t he t abl e t hi s ni ght and t he j oy i t bri ngs me t o bel i eve j ust once more. If onl y for me al one, t hi s wi l l be a November t he 5t h t hat shal l never be forgot.
Adam apol ogi zes for the strai ghtforward and seri ous nature of the above pi ece. Rest assured, he wi l l return to hi s tradi ti onal l i terary stompi ng grounds of meta-stupi di ty, grade school -l evel sati re and hi ghbrow di ck jokes i n the next i nstal l ment of Bl ack Theorem!
Looking forward to future fash-
ion that combines a dark aesthetic with elements of campy 90s NYC club kid chic. Sometimes confused with cyberpunk, cyber futuristic (or cybergoth) mixes colorful and often UV reactive clothing with a simple black palette to create a stark contrast. Colorful accessories are added to an outfit by adding faux fur boot covers, wearing cyber locks or foam hair falls, or wearing deco-
rative face respirators. The other side of cyber futuristic fashion replaces straight hemlines with asymmetrical layers, sleek and sophisticated materials, metal details, and the use of latex. De-
scribed as a subculture all their own, industrialists, goths, and ravers my scratch their collective heads over the dark cyber fashion movement, yet its consistent evo-
lution has inspired designers such as Plastik Wrap, Dane, Cyberdog, and Robotic Kitty. No matter what the definition of cybergoth, the hybrid theme of fashion is that of the future.
1 Aquarius Short Skirt II from Cryoflesh and Eclipse Top II from Cryoflesh
2 Chainmaille Bracelet Duplicate Duets in black/
aluminum by Elemental Art Jewelry
3 Metal Grille Cyber Goggles from Cryoflesh
4 Starburst Top from Cryoflesh
5 Subterra Belt from Cryoflesh
6 Chainmaille with glass Celtic Diamond necklace in black and lime by Elemental Art Jewelry
7 Chainmaille Ring Glistening Bloom by Elemental Art Jewelry
8 Egg Bag in midnight blue by Plastik Wrap
9 8” Neptuno boots by New Rock
styled and written by Meagan Hendrickson
photographed by Jennifer Link
model Jenn Kay
AUXILIARY december/january 2011/2012 photographer Zelko Nedic
fashion stylist Gallery Serpentine
makeup artist Emma Lee Court and Renee De Bono
makeup Illamasqua
hair stylist Ambo Ars
models Miroslav Naskovic, Sophie J. Wilde, Susy Natal, James Heathers, Lauren Kyle, and Jeremy Ansley
AUXILIARY december/january 2011/2012 It’s safe to say that upon handing yourself over to the whimsical couturiers behind Australia’s celebrated Gallery Serpentine, you’ll soon forget all about the outmod-
ed notion of, “being dressed to the nines”. Instead, you shall be whisked right past 10 and into a world of instantly recognizable style that is off the charts. No sur-
prise there, since this Sydney-based “Home of Australian Corsetry and Alternative Couture” prides itself on being an “Antidote to the Mundane”. After all, nothing lights up a room like a Gallery Serpentine pointed waist cincher fashioned from black aston brocade, a distinguished pinstripe kirtle skirt that drapes just right, or a high-collared undertaker inspired coat. But that’s just one small piece of a greater fantastically fashionable puzzle. If you heart’s desire lies in transforming your entire wedding entourage into a horde of airship pirates, the brand’s alternative bridal salon, can help you satiate your steamiest matrimonial appetites. And if you wish to be plucked from the banality of day-to-day life by the way of sartorially minded old-school carnival magic, where tunes and togs collide: Dark Fashion Theatre beckons with promises of delivering a tantalizing, multi-performer road show unlike that which you’ve ever seen, letting you fulfill those, “I’ve run away with a really well-dressed circus,” fantasies you’ve always harbored. At least for one night.
Writer Vanity Kills and editor Jennifer Link had the pleasure of interviewing Stephanie Calkin of Gallery Serpentine.
Jennifer Link : Gallery Serpentine has had multiple designers and guest de-
signers throughout its 15 years, can you give us a mini history lesson, who were some of the highlights and who is still working with Gallery Serpentine today?
Stephanie Calkin : Annette Magus, my sister, was the sole designer when her first label, Magus, morphed into Gallery Serpentine in the early years after she came back from Camden in London where she had a great following. She developed the corsetry during this period when you couldn’t buy a corset in Australia. She continues to contribute her signature romantic neo-Victorian styles and also what I’d categorize as “practical goth” or “corporate goth” daywear. For me I was mak-
ing “deadtech” creations utilizing circuitboard screen prints and wiring diagrams with used computer parts and often pictures of Einstein. It was great to have this recognized with a color spread in a local Sydney gay publication and getting the cover of another local paper and having the winner of the Miss Geek competition in the USA wearing one of my deadtech corsets.
Once GS started growing and we were employing some creatives who in the main came out of the theater costume background an acceleration of dramatic designs came through. Basically nearly everyone who has ever worked here has ended up contributing designs whether it is the production team or the retail team. We used to have very intense staff design meetings every few months and design sheets were rampant pieces of paperwork wherever you went upstairs in our old shop in a Victorian terrace. Shannon Mullane is still with us after about eight years, she originally started as a work experience student and is now Production Manager and has designed some great new styles for us.
Other guest designers are USA steampunk legend, Evelyn Kriete and Sydney’s own Robert from Red Rabbit & Ensign who really helped us kickstart our GS Gentlemen ranges. Our new Dapper Bastard ranges are being spurred along by a Victorian style strong man and scientist, Abbadon/James Heathers.
Vanity Kills : What, if any, significant changes has Australia’s goth/industrial scene undergone since Gallery Serpentine’s initial launch in 1995?
SC : Massive changes! Kind of feels like the rise and fall of the Roman Empire sometimes! It was very dark, very beautiful, and very DIY in the years when we first started. There was an incredible buzz around the subculture and the clubs. Now it seems that there is less of that hardcore element in terms of lifestyles and more of a merge across different scenes, integration happening a lot with the steampunk/lolita/candy goth/cosplay genres/rockabilly/50s/burlesque scenes. The commonality that is still there is high visibility in costuming, hair, makeup, and style. Musically it’s been interesting to see the first dark alt stage happen this year at DefQon1 with Shallow Nation (Sydney alt club winning a stage) as EBM gives way to hard dance. Part of the reason I created Under the Blue Moon Festival back in 2004 was that I wanted there to be a visual documentation of just how darkly beautiful the goth subculture and its attendants was, as I could see that nothing lasts forever and that our alternative artistic precinct of Enmore-Newtown would be changing as gentrification took over the inner city.
JL : How has the clientele for the Gallery Serpentine Sydney store changed over the last 15 years? SC : At first we only ever had the “true goths” in our very dark little store then the re-enactors found us and those not so up their own hand sewing behinds who got what we were about. Then it went into weddings for those same groups and then the theater found us along with the odd celebrity and musician. We’ve definitely seen more customers who are musicians, singers, circus folk, cabaret, burlesque performers. “Normy” culture found us more accessible I guess when we moved to our new store beside the iconic Enmore Theatre, maybe because we didn’t have any taxidermied bats on the walls and also there’s been a growing awareness that our clothes are generally realistically romantic and wearable at the same time. JL : Your Sydney store has become iconic, a place many from around the world dream of visiting, who’ve been some of the most notable and remem-
berable people to visit? SC : It’s good to hear that perception as when you are working inside the creation of GS everyday it’s easy to lose that perspective. I remember Alice Cooper, who had split his pants during rehearsal at the Enmore Theatre and wandered over to get some sort of replacement from us. That meant I was on my knees in front of him pinning the pants in tighter but he was going to go and do his own hand sew-
ing on them of straps and buckles. The charismatic Jeff Martin from The Tea Party got very excited when he found us, as he’d been searching for clothes like ours for ages. So he got a few pieces when he was on tour. Marilyn Manson’s band has been in a couple of times when MMs been on tour and Róisín Murphy found a hat our pattern maker had made that was perfect for her stage outfit when she played with Moloko. Tara Moss (author, ex model, TV presenter in Australia) has also done some interesting spooky neo-Victorian things with our clothes for her book launches. One of my favorite artists is Zoog, from the band Angelspit, who used to come into the store on a weekly basis and provide much entertainment, he also contributed during one of his weekly sessions in the store the lyrics and move-
ments to Goth Yoga which became a live stage show at Lunarmorph Alt. Fashion Show & Under the Blue Moon Festival and will be released as a DVD in 2012 just in time for the apocalypse.
VK : What do you consider to be the best-selling item in your Sydney store during the holiday season? SC : For the party girls I’d have to say that The Giselle skirt is the hot cake, in-
spired by the ballet of the same name but with very cheeky overtones it rocks at NYEve with a pair of killer heels. The accessory that will go this year is the Steam Croft belt as it’s been designed for festivals, parties, clubs. Girls you don’t need to carry a bag of doom everywhere this summer!
With a few new endeavors on the horizon, the famous fashion design company and Sydney, Australia boutique known for their corsets and alternative couture, Gallery Serpentine, is still going strong after 15 years.
i nt er vi ew by Vani t y Ki l l s & Jenni f er Li nk
december/j anuary 2011/2012 AUXI LI ARY Gal l ery Serpent i ne
VK : In the last few years, steampunk’s popularity seemingly air-ship rock-
eted into the stratosphere causing alt fashion aficionados to stock up on gold, copper, brown, and brass garments faster than you can say “difference en-
gine”. This phenomenon was appropriately reflected by the addition of the black on gold variation of your widely recognized dead tech print to your ar-
senal of wares. Do you foresee this bold, new colorway to surpass the original silver on black dead tech in terms of sales and notoriety?
SC : I’m really surprised but yes the steamtech version of our seminal deadtech print is taking flight on its own high speed dirigible! We are relaunching in this vein a lot of our older alchemical prints to create alchemical steampunk as a flavor. By mid 2012 I expect to have a lot of new signature designed fabrics that will be a “lust have” for our corsets, bags, vests, cravats, etc.
VK : It has been said that, “Steampunks are goths that discovered the color brown.” What are your thoughts on such a statement?
SC : Hate to say it but I would never have thought we’d be wearing brown five years ago… but I do think that steampunk is drawing in a whole new group of people just as gothdom did in the era before. Steampunk favors the imaginative and is pulling from sci fi, re-enactment, cosplay, academia, and the geeks who make stuff. At some level I think it is a renaissance of crafts, people making stuff it is a good thing!
VK : What is the key to successfully rocking a military inspired piece such as The Baroness jacket without looking like you’re trying your hardest to cosplay Napoleon?
SC : [laughs] Considering that the inspiration for The Baroness was the image of fighting Russian aristocracy, the woman with a bandolier and an engraved rifle type of thing... but ok if you want to, �tone it down for the street,’ rather than stag-
ing a stylish corporate takeover, then skinny wet look pants, keep the Eliza cravat shirt underneath.
VK : Fill in the blank: “___ is an absolute must have for the modern dandy.”
SC : An Akubra top hat and silver topped pumpkin head cane.
VK : Assisting couples in making their offbeat nuptial dreams come to life by providing Edwardian, Victorian, or even circus ensemble options for the big day plays a major part in your company’s range of products and services. What Gallery Serpentine styles are most sought after by brides and grooms to be? Which themes are most beloved by your clients? SC : Couples are still going for a very past era inspired look that is heavily corset based for the brides and Jack the Ripper meets Sherlock Holmes for the grooms. Our Antoinette skirt and Victorian skirt are most popular and the gents are heading towards Tesla vests and Dante Cravat shirts with Hi Collar Frock Coats or Under-
takers if the weather allows. The steampunk theme is starting to come through for weddings.
VK : Amidst today’s difficult economic climate, many consider well-made corsets to be an “investment piece”. As Australia’s largest corsetiere, could you provide Auxiliary Magazine readers with any care and maintenance tips that will potentially prolong the life of their cinching garments? SC : Corsets don’t like water in the same way we do, so washing them as you would normally do even if it’s hand washing isn’t going to keep them happy. Lightly hand sponge the lining with minimal water and a gentle disinfectant or even better a natural antimicrobial oil like clove or lime that is diluted. For exter-
nal stains we always recommend dry cleaning but again not too frequently. Also you can keep hassling us to hassle our perfumier who created The Corset Cleanser for us, it acts as a natural dry cleaner. If you can hear me Cult of Scent, you vaga-
bond perfumier, get back from Singapore and get brewing!
VK : What are a few of your personal favorite Gallery Serpentine styles to wear? SC : On a day when I’m running around I like to wear froufrou bloomer tights, new Assym Suki skirt in red tartan over the top, and a Scifi Villian style top called Eliza Dread, matched with platform tartan Demonia boots. Other days I really like AUXILIARY december/january 2011/2012 FASHI ON
“ [ Aust ral i a’ s al t ernat i ve scene] was very dark, very beaut i f ul, and very DI Y i n t he years when we f i rst st art ed. Now i t seems t hat t here i s l ess of t hat hardcore el ement i n t erms of l i f est yl es and more of a merge across di f f erent scenes. The commonal i t y t hat i s st i l l t here i s hi gh vi si bi l i t y i n cost umi ng, hai r, makeup, and st yl e. ”
t o wear more romant i c st yl es l i ke The Draped Ki rt l e set, Lol a Corset, El i za Cravat Shi rt, and a t ai l coat.
VK : As the December sun scorches Sydney, how do you manage to stay cool wi thout sacri fici ng personal styl e? SC : ...go i nt o deni al around Oct ober and wi sh for t he next Ice Age, pay some money i nt o t he “weat her met er” and cross fingers and t oes. If t hat fai l s t hen opt for cot t on versi ons of our st yl es and mesh shrugs. VK : What are some subtl e ways to add Vi ctori an flai r to one’s wardrobe wi thout commi tti ng to ful l -on hi stori cal garb? SC : Get yoursel f one of our underbust corset s i n bl ack Ast on brocade t hat you can mi x and mat ch wi t h everyt hi ng and i f you want t o have a speci al event out fit t hen base i t around a Vi ct ori an ski rt or our new Duchess ski rt. JL : As a major contri buti ng force i n the Sydney al ternati ve scene, asi de from a vi si t to your Sydney store of course, what other desti nati ons, cl ubs, and events woul d you recommend to a first ti me vi si tor to Sydney l ooki ng to real l y get a feel for i ts uni que and vi brant scene? SC : Cl ubs, dark al t based... I’d head t o Shal l ow Nat i on, Di e Maschi ne, Purga-
t ory (j ust up t he road from GS), and Bl ack Cherry for t hat rockabi l l y-burl esque crossover. Hi ghl y cost umed fet i sh-got h crossover head t o Hel l fire. Try and be i n Sydney for PussyCat Cl ub i f you are i nt o t he al t l esbi an cabaret and burl esque scenes and for a vi sual di spl ay of hi gh t ea t ry t o be here for one of Li set ’s Got h Pi cni cs i n Newt own Park. JL : Gal l ery Serpenti ne has performance and theatri cal el ements, putti ng on events and festi val s. Can you tel l us a bi t about your newest project Dark Fashi on Theatre and how i t wi l l di ffer from Under the Bl ue Moon and Lu-
narmorph? SC : It wi l l combi ne el ement s of bot h but on a t our fri endl y scal e and focus on t he musi c of St udi o Serpent i ne, our el ect roni c musi c st udi o. We’re exci t ed t o be worki ng wi t h St even Hopel y who has brought t he pl ays of t he Grande Gui gnol t o l i fe and i s wri t i ng more of t hem speci fical l y for DFT. The fashi on el ement wi l l be j ust as ext reme as at Lunarmorph but each ni ght wi l l focus on a smal l er number of desi gners so t hat t he fashi on-t heat er-musi c combi nes bri l l i ant l y. VK : Recentl y, members of the musi cal act Shi v-r have been spotted donni ng vari ous Gal l ery Serpenti ne desi gns on stage. Care to shed some l i ght on your worki ng rel ati onshi p wi th the aforementi oned act? SC : We l ove Shi v-r, t hey are part of t he al t musi c scene here and we got t o know t hem t hrough Angel spi t. They’d been i n t o buy a Marqui s mal e corset for a pho-
t oshoot and we j ust got t al ki ng about t hei r pl ans. I showed t hem a desi gn we were worki ng on for st eampunk funni l y enough because i t sounded l i ke somet hi ng t hey woul d be i nt erest ed i n due t o i t s severi t y and androgynous flavor. They l oved i t and so we set about maki ng a Shi v-r versi on ahead of t he st eampunk versi on. We’ve sponsored cl ot hi ng for t hei r l at est Thi s Worl d Erase al bum art work and fil m cl i p and because t hey are so desi gn ori ent ed i t ’s been a meet i ng of t he mi nds. VK : What’s next for Gal l ery Serpenti ne?
SC : Dark Fashi on Theat re, Got h Yoga DVD rel ease, and an economi cs meet s art and fashi on shoot t hat wi l l be an expl orat i on of t he crazy fiscal t i mes we are current l y l i vi ng i n.
december/j anuary 2011/2012 AUXI LI ARY 36 37
20s Style Felt Flapper Headband with peacock feather and chain accent by Pooka Queen, Hand Full of Crystal Necklace by Sweet Romance paired with Art Deco Rhinestone Chandelier Pendant Necklace and Vintage Style Black Scrunch Gloves from Unique Vintage and Deco Style Marcasite Hinged Cuff Bracelet from Blue Velvet Vintage.
AUXILIARY december/january 2011/2012
photographer Zach Rose
fashion stylist Meagan Hendrickson
makeup artist Leana Christine Artistry
hair stylist Jason Tuttle
models Paige Carson and Anatomy
jazz AGe
december/january 2011/2012 AUXILIARY THIS PAGE
Black Angora Ruffled Hat from Unique Vintage, worn in hat Deco Silver Hair Pins by Sweet Romance, Multi Chain and Frayed Bow Necklace from Unique Vintage paired with 20s Style Titanic Dress in black by Nataya and Deco Inspired Pearl and Rhinestone Bracelet from Blue Velvet Vintage.
december/january 2011/2012 AUXILIARY THIS PAGE
Cream Chiffon Jacket by Nataya from Blue Velvet Vintage paired with Avant Garde Felt Hat with pheasant feather by Pooka Queen, Deco Compass Pendant on black chain by Sweet Romance, Black 6 Line Seed Tassel Necklace from Unique Vintage and Deco Style Marcasite Hinged Cuff Bracelet from Blue Velvet Vintage.
Black Angora Ruffled Hat from Unique Vintage, worn in hat Deco Silver Hair Pins by Sweet Romance, Multi Chain and Frayed Bow Necklace from Unique Vintage paired with 20s Style Titanic Dress in black by Nataya and Deco Inspired Pearl and Rhinestone Bracelet from Blue Velvet Vintage.
AUXILIARY december/january 2011/2012
Fractal Series Cream and Black Hat with vintage button detail by Pooka Queen, Black Chiffon and Lace Tiered Peplum Blouse from Blue Velvet Vintage paired with Long 8mm Pearl Necklaces in Cultura and Tahitan by Sweet Romance and Vintage Style Black Scrunch Gloves and Silver Metal Rhinestone Art Deco bracelet from Unique Vintage.
AUXILIARY december/january 2011/2012
december/january 2011/2012 AUXILIARY THIS PAGE
20s Style Felt Flapper Headband with peacock feather and chain accent by Pooka Queen, Hand Full of Crystal Necklace by Sweet Romance paired with Art Deco Rhinestone Chandelier Pendant Necklace and Vintage Style Black Scrunch Gloves from Unique Vintage and Deco Style Marcasite Hinged Cuff Bracelet from Blue Velvet Vintage.
june/july 2011 AUXILIARY photographer Ema Suvajac
creative director Pretty Deadly Stylz
fashion stylist Pretty Deadly Stylz
makeup artist Carrie Tibbs
hair stylist Rachelle Gill
model Madaline Zanni
Beatrice Bra and Beatrice Pantie by With Love Lingerie and Plastik Wrap Bustle Skirt bustle piece paired with Blackiris Designs Trio Geometric Necklace, Black Rox Ring, and Sugar Rox Rings.
AUXILIARY december/january 2011/2012
december/january 2011/2012 AUXILIARY THIS PAGE
With Love Lingerie Beatrice Babydoll with Blackiris Designs Silver Crystal Lace Cuff and Sugar Rox ring.
Flir t
december/january 2011/2012 AUXILIARY THIS PAGE
With Love Lingerie Beatrice Slip paired with Blackiris Designs Chandelier Party Necklace & Tranquility Bracelet and Wintergarden Dew Drop Bangle.
Plastik Wrap Nikita Zipper Shrug and With Love Lingerie Beatrice Slip and Bloom Pantie paired with Wintergarden Pocket Poseys Brooches and Vampire Tears Bangles in grey and white.
AUXILIARY december/january 2011/2012
With Love Lingerie Deco Bustier and Deco Thong paired with Blackiris Designs Black Swirl Bracelet and Star Cluster Knuckle Ring.
AUXILIARY december/january 2011/2012
december/january 2011/2012 AUXILIARY THIS PAGE
Plastik Wrap Twilight Jacket and With Love Lingerie Femme Bra paired with Blackiris Designs Fairy Goddess of Forest Noir Necklace and Sugar Rox Ring.
With Love Lingerie Beatrice Babydoll and Beatrice Pantie with Blackiris Designs Silver Crystal Lace Cuff and Sugar Rox ring.
AUXILIARY december/january 2011/2012
Plastik Wrap Bandage Top paired with Blackiris Designs Sugar Rox Rings and Wintergarden Fireside Blossom Brooch and Traffic Light Bangle.
december/january 2011/2012 AUXILIARY THIS PAGE
Spin Doctor Departed Dress, Lip Service Hosiery Chevron Pantyhose, and Iron Fist Heavy Metal Platform paired with RockLove Jewelry Haute Macabre Lariat, RockLove Jewelry Faceted Dome Ring, Iron Fist Manslayer Hardshell Clutch, and Express Felt Floppy Hat.
AUXILIARY december/january 2011/2012
photographer Joey Buczek
fashion stylist Jennifer Link
makeup artist Jodie McGuire
hair stylist Tasha Wagner
models Queenie Lafeenie and Marie Christina
Queenie Lafeenie’s hair style Carly Kostiw
extras Eric Gacek and Tasha Wagner
photography assistant Michael Hanlon
paintings Hugo Rodriguez
location Hugo Rodriguez’s Carriage House Studio
december/january 2011/2012 AUXILIARY THIS PAGE
On left, Rose Mortem Deirdre Hooded Dress Cloak and Hell Bunny Victorian Kimono Obi Belt paired with RockLove Jewelry Jessabella Triple Chain in Heart and RockLove Jewelry Acanthus Shield Ring. On right, Iron Fist Sabotage Faux Fur Coat, Iron Fist Lacey Days Chiffon Top, and Rose Mortem Lorna Skirt paired with RockLove Jewelry Black Buffalo Horn Rose Stud Earrings.
life of the party
On left, Alley Cat Faux Fur Coat, Carla Skirt, and American Nightmare Platform all by Iron Fist. On right, Hell Bunny Imma Coat and Iron Fist Kiss of Death Red Dress paired with RockLove Jewelry Prince Albert Medallion, Acanthus Shield Ring, and Black Buffalo Horn Rose Stud Earrings.
AUXILIARY december/january 2011/2012
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Iron Fist Alley Cat Faux Fur Coat, Iron Fist Manslayer Hardshell Clutch, and RockLove Jewelry Maltese Cross Necklace in Red Rhodalite Garnet.
december/january 2011/2012 AUXILIARY THIS PAGE
On left, Hell Bunny Victorian Kimono and RockLove Jewelry X-Long Tentacle Necklace. On right, Iron Fist Carla Dress, Iron Fist Mesh Up Heel, and RockLove Jewelry Jessabella Triple Chain in Heart.
On left, Spin Doctor Polaris Dress and Iron Fist Mesh Up Heel paired with RockLove Jewelry Jessabella Triple Chain in Fleur De Lis. On right, Rose Mortem Morgana Gown and RockLove Jewelry Queen Victoria Medallion in Garnet/Rhodalite.
AUXILIARY december/january 2011/2012
On left, Rose Mortem Cosette Dress, Iron Fist Manslayer Tall Boot, and Iron Fist Sweet Skull O Mine Small Bag paired with RockLove Jewelry Maltese Cross Necklace in Red Rhodalite Garnet, Prince Albert Medallion, and Imperial Crown Ring. On right, Bowed Over Bow Back Dress, Black Heart Leggings, and American Nightmare Platform all by Iron Fist.
AUXILIARY december/january 2011/2012
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On left, Spin Doctor Departed Dress, Lip Service Hosiery Chevron Pantyhose, and Iron Fist Heavy Metal Platform paired with RockLove Jewelry Haute Macabre Lariat, Iron Fist Manslayer Hardshell Clutch, and Express Felt Floppy Hat. On right, Spin Doctor Jessica Green Dress, Iron Fist Black Heart Leggings, and RockLove Jewelry Imperial Crown Ring.
Rose Mortem Cosette Dress, Iron Fist Manslayer Tall Boot, and Iron Fist Sweet Skull O Mine Small Bag paired with RockLove Jewelry Maltese Cross Necklace in Red Rhodalite Garnet, Prince Albert Medallion, and Imperial Crown Ring.
AUXILIARY december/january 2011/2012
december/january 2011/2012 AUXILIARY THIS PAGE
On left, Gypsy Dreams Sequined Tank, Venus In Furs Pants, and Hands Off Flat all by Iron Fist paired with RockLove Jewelry Brass & Bronze Dark Teal Bee Leather Lariat. On right, Hell Bunny Vonnie 50s Dress, Iron Fist Lacey Days Velvet Blazer, and RockLove Jewelry Black Buffalo Horn Rose Stud Earrings.
author Pretty Deadly Stylz & Meagan Hendrickson photographer Steve Chokas of SPCPhotography
fashion stylist Pretty Deadly Stylz
makeup artist Linda Radan
hair stylist Linda Radan
model Danielle
When cooler nights have you yearning to be wrapped in warmth, the STRUT jacket by Victory & Vice, the new line by Futurstate’s designer Laura Stewart, is just what Jack Frost ordered. The perfect winter jacket is a must and versatility is the name of game when it comes to outerwear. The STRUT jacket infuses some sass into daywear, while transforming into grown up sophistication for a night on the town. The tailored yet raw undertones give the jacket a fresh feminine urban attitude. This season slip into a jacket with its own personality, sleek lines, and no excess baggage.
Victory & Vice STRUT Jacket, Andy Hall tee, Nanopod Custom (Anatomical) Heart of Glass necklace, and Kims Jewels ring.
Versatile Jacket
STRUT Jacket by Victory & Vice
AUXILIARY december/january 2011/2012
where to buy
Hell Bunny
Iron Fist Clothing
Kims Jewels
KMS California
Lime Crime
Lip Service
Make Up For Ever
New Rock
Plastik Wrap
Pooka Queen
RockLove Jewelry
Rose Mortem
Spin Doctor
Sweet Romance Designs by Shelley Cooper
Unique Vintage
Victory & Vice
With Love Lingerie
Andy Hall
Antiseptic Fashion Blackiris Design
Blue Velvet Vintage
Elemental Art Jewelry
Gallery Serpentine
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