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Auxiliary Magazine is an alternative fashion, music, and lifestyle magazine available online for free. APRIL / MAY 2013
audrey kitching / porcelain
darkspectre / night circus
firestarter / punk never dies
without music
douglas mccarthy / nitzer ebb
mindless self indulgence / jimmy urine
nina de lianin / in strict confidence
I think I say it every issue (and I really mean it every time) but this issue has seemed to have out done all our past issues! With this issue (even more than oth-
ers) it is clear the reason for this is our amazing team of contributors! Over our four and half years we have had the chance to work with a long list of creative people. Our current editorial team is shinning! Mike Kieffer our music editor or-
chestrated three major interviews for our music issue, IAMX, Mindless Self In-
dulgence, and Douglas McCarthy, because there is nothing without music. Tasha Farrington our fashion editor delivered a sharp and heated fashion editorial and a burning beauty editorial as things warm up and we move into spring. Dylan Madeley our copy editor has ensured the issue appears flawless. And our group of contributors (including Paul Morin, Aaron Andrews, and Vanity Kills who have been with us since the beginning; Hangedman, Arden Leigh, Dan Cosgrove, Se-
quoia Emmanuelle, Saryn Christina, Steve Prue, Laura Dark, Bailey Northcott, Jessica Rowell, Drew Fritschel, Ian Compton, Ron Douglas, and Sylvia Pereira who have become solid regulars; and Diamond Bodine-Fischer, Nina de Lianin, and Gasoline Photography some fresh newcomers) have put forth their creativity, ideas, vision, skills, and ability to kick ass to make this one epic issue. Audrey Kitching graces our cover and shares her style insights in an interview and edito-
rial that mixes color and darkness into one enchanted circus. Continue reading for an issue that is transitioning into spring, full of all things new, fresh, and inspiring. Thanks to our advertisers and supporters, to you our readers, and to our amazing contributors!
Sincerely, Jennifer Link
Editor in Chief
Jennifer Link
Fashion Editor
Tasha Farrington
Music Editor
Mike Kieffer
Copy Editor
Dylan Madeley
Logo Design
Melanie Beitel
Layout Design
Jennifer Link
Aaron Andrews
Diamond Bodine-Fischer
Dan Cosgrove
Sequoia Emmanuelle
Tasha Farrington
Mike Kieffer
Arden Leigh
Nina de Lianin
Jennifer Link
Dylan Madeley
Paul Morin
Elizabeth Rhodes
Jessica Rowell
Vanity Kills
Sequoia Emmanuelle
Sylvia Pereira
Gasoline Photography
Bailey Northcott
Saryn Christina
Steve Prue
Laura Dark
Drew Fritschel
Ian Compton
Jennifer Link
Ron Douglas
Photographs / Illustrations
photographs on 12
Jennifer Link
OCC photos courtesy of OCC
photographs on 20, 21, 23
Joe Dilworth
april/may 2013 AUXILIARY Auxiliary = alternative, supplementary, to provide what is missing, to give support. Auxiliary Magazine is an alternative fashion, music, and lifestyle magazine cover-
ing goth, industrial, EBM, electronic, punk, indie, pinup, retro, rockabilly, gotha-
billy, deathrock, witch house, grave wave, cybergoth, cyberpunk, steampunk, and many more subcultures, genres, and styles that all combine to create one Auxiliary. / email : [email protected]
Advertising / email : [email protected]
issue 27 : april/may 2013 / ISSN 1948-9676
No part of this publication may be reproduced in any form or by any means, elec-
tronic or mechanical, without the permission in writing 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 2013.
your opi ni ons on the Feb/Mar 2013 Issue
Love how colorful it was! - Luda Zadorovich via Facebook
The candy coated set [Candy Coated beauty editorial] was my favorite! Very spring, and the hair was amazing! - Emily Colbert via Facebook
Great issue! Especially liked the interview with Sascha [KMFDM interview]. - EricArcana via Facebook
It was awesome. Keep it up. I love reading your magazine! - Kellie Siwik via Facebook
share your thoughts on the i ssue, news and events, whatever i s on your mi nd!
Email [email protected], tweet at @auxiliarymag, or comment on our Facebook page.
Creative director, fashion stylist, and model for our Lady of the Manor fashion editorial, Nina de Lianin aka Divina is a woman of many talents. In addition to working as a professional performing artist and model, in 2009 she officially became a female vocalist in the German electro-industrial band In Strict Confidence having also par-
ticipated as a songwriter on their latest release Utopia. Lady of the Manor is her first collaboration with Auxiliary; she aimed to, “show alternative fashion in a very extravagant way, so I mixed simple elegance with avant garde de-
tails. The location is a lovely vintage castle where you surely don’t expect a lady with the hair of the Frankenstein’s bride.” Nina is currently working on a sexy musical theater solo project titled Education of Mary, she was this year’s face of and MC for Germany’s biggest fetish event Fetish Evolution, and she will be performing with In Strict Confidence at this year’s Wave Gotik Treffen.
Nina de Lianin
5 runway to vani ty
Donna Karen’s pastel eye
6 fi restarter
i gni te spri ng wi th these fi ery l ooks
12 grayscal e
beauty pi cks i n spri ng’s neutral
13 fi l m revi ews
Stoker and Dj ango Unchai ned
14 Dougl as McCarthy
Ni tzer Ebb cofounder on hi s fi rst sol o rel ease
17 musi c revi ews
How To Destroy Angel s, Mi sfi ts, Ni ck Cave and the Bad Seeds, Johnny Marr, The Kl i ni k, Bl ank, and more
Chri s Corner on hi s new al bum and human nature
24 Mi ndl ess Sel f Indul gence
Ji mmy Uri ne on MSI’s upcomi ng
Ki ckstarter rel ease
i amx : 20
audrey ki tchi ng : 38
dougl as mccarthy . mi ndl ess sel f i ndul gence . ni na de l i ani n : 14 . 24 . 46 porcel ai n . darkspectre : 28 . 34
ni ght ci rcus . fi restarter . punk never di es : 38 . 6 . 33
28 the Pi nUp
Porcel ai n
32 ask arden
advi ce on rel ati onshi p strategi es
33 styl e
punk never di es
34 desi gner spotl i ght
38 ni ght ci rcus
featuri ng Audrey Ki tchi ng
46 l ady of the manor
featuri ng Ni na de Li ani n of In Stri ct Confi dence
54 i t’s not compl i cated
sharp basi cs make ki ck ass styl e uncompl i cated
62 must
poi nted creepers
63 where to buy
Photographer : Sequoi a Emmanuel l e
Fashi on Styl i st : Ri o Wagner
Makeup : Emi l y El i sabeth
Hai r : Zul ei ka Acosta & Angel i na Mersol a
Model : Audrey Ki tchi ng
AUXILIARY april/may 2013
THE VANITY : To emulate this look start with a solid layer of founda-
tion, applying the product to the face and brows using an applicator sponge or foundation brush. To achieve a similar monochromatic look avoid contouring and polish it off with a matte set powder instead. If desired, you may use a highlight-
ing powder or pigment in a lighter shade to help add some sheen to the face. To ensure full-coverage of the brows use a concealer stick to individually coat the brows. Additionally you will want to use a cream foundation or concealer to mask the lips. A great nude lipstick will do the trick as well. For the eyes, start with a primer or use a cream base for the pigment to better adhere to. In this look red and white cream-based product were mixed together to create this shade. With a magenta pink form a rounded shape on the lids. Use your crease as a guideline or draw the color upward to the brow bone as shown. Then with a bubblegum pink fill in the lid. Use the same shade to line the lower lids with an angled brush. To finish it off add a bit of light pink to the inner corners of the eyes. Finding the right color mascara can be difficult, especially if you have darker lashes. Kiko Makeup Milano’s Super Colour Mascara is a great option, but for this look the same custom-made mixture was also used as mascara giving the look a bright lash line with full-coverage. The creativity and innovation of the runway reinvented for recreation at your vanity.
THE RUNWAY : This sought after trendy runway look is inspired by Donna Karan’s S/S 2013 showcase. A simple monochromatic pastel eye is perfect for spring wear!
april/may 2013 AUXILIARY 5
written by Jessica Rowell
photographer Drew Fritschel of BlueSparrow Photography
fashion stylist Jessica Rowell of J-Chan’s Designs
makeup artist Jessica Rowell of J-Chan’s Designs hair stylist Jessica Rowell of J-Chan’s Designs
model Maegan Machine
location Perigee Studios Denver
On the eyes, Shany Cosmetics Pigment 07, Pigment 03, and Pigment 05.
photographer Bailey Northcott
creative director Pretty Deadly Stylz
fashion stylist Pretty Deadly Stylz
makeup artist Dannie Page Makeup & FX Artist
hair stylist Sarah Majkut
model Zilly Lilly
Melt away residual cold and ignite spring with these fiery looks.
AUXILIARY april/may 2013
april/may 2013 AUXILIARY THIS PAGE
Stylist’s own collar paired with Tube Top by American Apparel. On the eyes, Sugarpill Pressed Eyeshadow in Buttercupcake, Flamepoint, and Love+, Ben Nye Cake Eyeliner in Black, and MAC Extended Play Gigablack Lash mascara. On the brows, Ben Nye Powder Rouge in Flare Red. On the cheeks, Urban Decay Lip Junkie Lip Gloss in Naked used as blush. On the lips, MAC Tinted Lipglass in Underage. On the nails, Zoya Nail Polish in Creamy, Essie Nail Polish in Fear or Desire, Essie Nail Polish in Jelly Apple, and Essie Nail Polish in Aruba Blue. For the hair, model’s own wig.
AUXILIARY april/may 2013
Stylist’s own bracelet paired with Tube Top by American Apparel. On the eyes, Sugarpill Pressed Eyeshadow in Buttercupcake, Flamepoint, Love+, and Afterparty, Ben Nye Cake Eyeliner in Black, and MAC Extended Play Gigablack Lash mascara. On the brows, Ben Nye Powder Rouge in Flare Red. On the cheeks, Urban Decay Lip Junkie Lip Gloss in Naked used as blush. On the lips, MAC Tinted Lipglass in Wallflower. On the nails, Zoya Nail Polish in Creamy, Essie Nail Polish in Fear or Desire, Essie Nail Polish in Jelly Apple, and Essie Nail Polish in Aruba Blue. For the hair, Goldwell Elumen Hair Color in KK and Manic Panic Hair Color in Electric Tiger Lily and Pillerbox Red.
Ridge Ring by Pamela Love paired with stylist’s own vintage top. On the eyes, Sugarpill Pressed Eyeshadow in Tako, Bullet Proof, and Flamepoint and MAC Extended Play Gigablack Lash mascara. On the brows, Ben Nye Powder Rouge in Flare Red. On the cheeks, Urban Decay Lip Junkie Lip Gloss in Naked used as blush. On the lips, Sugarpill Pressed Eyeshadow in Love+ combined with MAC Pro Longwear Gloss Coat. On the nails, Zoya Nail Polish in Dominique and Tanzy with Tanzy also on the nail underside. For the hair, Goldwell Elumen Hair Color in KK and Manic Panic Hair Color in Electric Tiger Lily and Pillerbox Red.
april/may 2013 AUXILIARY THIS PAGE
Stylist’s own necklace used as crown. On the eyes, Sugarpill Pressed Eyeshadow in Afterparty and Mochi, Sugarpill Loose Eyeshadow in Tiara, Ben Nye Cake Eyeliner in Black, and MAC Extended Play Gigablack Lash mascara. On the brows, Ben Nye Powder Rouge in Flare Red. On the cheeks, Urban Decay Lip Junkie Lip Gloss in Naked used as blush. Designs on forehead and chin, 12 Color Rubber Mask Grease Paint Palette. On the lips, Sugarpill Pressed Eyeshadow in Love+ combined with MAC Pro Longwear Gloss Coat. For the hair, Goldwell Elumen Hair Color in KK and Manic Panic Hair Color in Electric Tiger Lily and Pillerbox Red.
AUXILIARY april/may 2013
Stylist’s own necklace used as crown. On the eyes, Sugarpill Pressed Eyeshadow in Afterparty and Mochi, Sugarpill Loose Eyeshadow in Tiara, Ben Nye Cake Eyeliner in Black, and MAC Extended Play Gigablack Lash mascara. On the brows, Ben Nye Powder Rouge in Flare Red. On the cheeks, Urban Decay Lip Junkie Lip Gloss in Naked used as blush. Designs on forehead and chin, 12 Color Rubber Mask Grease Paint Palette. On the lips, Sugarpill Pressed Eyeshadow in Love+ combined with MAC Pro Longwear Gloss Coat. On the nails, Zoya Nail Polish in Dominique and Tanzy with Tanzy also on the nail underside. For the hair, Goldwell Elumen Hair Color in KK and Manic Panic Hair Color in Electric Tiger Lily and Pillerbox Red.
april/may 2013 AUXILIARY THIS PAGE
Stylist’s own bracelet paired with Tube Top by American Apparel. On the eyes, Sugarpill Pressed Eyeshadow in Buttercupcake, Flamepoint, Love+, and Afterparty, Ben Nye Cake Eyeliner in Black, and MAC Extended Play Gigablack Lash mascara. On the brows, Ben Nye Powder Rouge in Flare Red. On the cheeks, Urban Decay Lip Junkie Lip Gloss in Naked used as blush. On the lips, MAC Tinted Lipglass in Wallflower. On the nails, Zoya Nail Polish in Creamy, Essie Nail Polish in Fear or Desire, Essie Nail Polish in Jelly Apple, and Essie Nail Polish in Aruba Blue. For the hair, Goldwell Elumen Hair Color in KK and Manic Panic Hair Color in Electric Tiger Lily and Pillerbox Red. To achieve these looks try, Make Up For Ever HD Foundation and MAC Mineralize Skinfinish Natural.
1 It doesn’t take a PhD to recognize the indisputable “One Purse To Rule Them All” advantages of One Tuff Chick’s delectably roomy Love Doctor tote. First, shifting into the neutral-toned side of the bag spectrum allows for seamless tran-
sitioning from outfit to outfit. Second, we’ve simply gone cray for metallic gray! $120
2 If “lightening up for spring” entails transitioning from vampiric to ghostly-
inspired styles, allow your lipstick to follow suit. As those hauntingly gauzy, ashen gowns displace pitch black velvets in the coming months, swap the syrah purple lip shade for an unearthly lilac grey such as Chinchilla by Lime Crime. www. $16
3 Your steamiest moments of... reflection and “The Beauty of Intelligent Tin-
kering” compact mirror by COGnitive Creations were made for each other. The manufacturer suggests, “marveling at the mechanics of your own beauty,” so who are we to argue? $90
4 When Blackheart Beauty Nail Polish in Sexy Pistols teams up with a perfectly pointed stiletto nail, the outcome yields a mani sharper than surgical steel. www. $5
5 Just because plucking a floor-length funnel-necked dress, a leather coat, or any-
thing from Gareth Pugh’s Fall 2013 ready-to-wear collection for that matter, isn’t financially feasible right this instant, it certainly will not curb the fantasies revolv-
ing around possible polish pairings. OCC Nail Lacquer in Dangerous plays well with each piece. $10
6 Between continuously repinned Milky Way manicures, the nebulae-imprinted legging craze, and Mars rover Curiosity, 2012 has been a good year to be spaced out. Keep the astronomical momentum going in 2013, by layering near-Earth im-
pactful OCC Cosmetic Glitter in Slate (a dead ringer for meteorite dust) over Oort cloud-hued charcoal eyeshadow. $14
7 Neutral eyeliner (like Urban Decay 24/7 Glide-on Pencil in Gunmetal) cre-
ates the ideal jumping off point for plunging eye-first into the gray zone. Make no mistake, the aforementioned neutrality references the liner’s ability to flatter girls across the board, not the color’s temperament, which screams “rock royalty” to one and all. $19
Oh, pastels, it’s not like we’re breaking up with you (we’re too attached), it’s just that we’re in the market for a spring palette expansion. Seeing how the ubiquitous gray area has systematically shed its outdated rep as “an excellent backdrop for jewel tones” and nothing more, we’re psyched to see dove, slate, charcoal, ash, and steel as standalone shades. Reaching the middle ground between black and white has proven itself to be fertile ground for beauty experimentation, allowing us to transcend the expected while harmonizing beautifully with all the lavenders, mints, powder blues, and chiffon yellows already in our possession.
by Vanity Kills
AUXILIARY april/may 2012/2013 7
Theatrical release : 03.01.13
directed by Chan-wook Park
Normally I don’t like to have spoilers in my reviews, but in the case of Stoker, there are no spoilers because it doesn’t try to hide anything. Stoker is a 90 minute plot hole filled face palm with the subtlety of a brick that beats its audience over the head with exposition every step of the way.
India’s uncle Charlie is a psychopath. There is no reveal, because at no point does the movie try to hide that he’s a dangerous and manipulative person. He shows up to his brother’s funeral, the only person not wearing black, stands a hundred feet away from the actual service, but then attends the wake. No one even knew that dead Richard Stoker had a brother.
Evelyn Stoker (Nicole Kidman) immediately invites the stranger to live with her and daughter India (Mia Wasikowska) and proceeds to fall in love with him from his second scene, despite the fact that he acts completely predatory towards India. The adults in India’s life are completely useless. At school, a student draws her nude, pretends to punch her, and makes a blatantly sexual comment directly in front of a teacher who does nothing. Towards the end of the film, India finds eigh-
teen years’ worth of unread letters that prove that Charlie has been obsessed with her for her whole life, yet Richard never got a restraining order or even warned his wife or daughter about him.
Charlie does nothing to hide that he’s a killer. A housekeeper knows the truth about Charlie, so he kills her in the next scene. He then hides her body in a freezer, and rather than hide it, sends India to store ice cream in it. He lies about being able to play the piano to get close to Evelyn, but then plays a flawless piece with India, who again doesn’t tell her mom that her uncle is a lying psycho. He buries a body with an activated cell phone, which he couldn’t have forgotten about since he was the one that gave it to her! He marks fresh graves in the backyard with giant stones, and not once does anyone ask him what he’s been burying.
Every single time the audience gets a chance to figure out something for them-
selves, a character or shot shows up that literally tells or shows the audience ex-
actly what happened. I kept waiting for a Shyamalanesque twist where the uncle doesn’t exist or the mom is secretly the killer, because I figured there was no way everything would be laid out so obviously, but it never came.
DVD release : 04.16.13
directed by Quentin Tarantino
Django is Quentin Tarantino’s homage to classic spaghetti westerns, and it’s clear that he’s done his homework. Sets look cost effective but realistic, characters pro-
vide dry comic relief, and the soundtrack sets the mood that we’re watching the tale of a folk hero. Flashback sequences are done in a style that actually looks like the movies that created this genre in the first place, which works well.
Fans of Tarantino will feel right at home in Django. Characters discuss trivia and the practical aspects of their work, such as the fact that creating the masks for lynch mobs is a truly thankless job. Scenes of graphic violence are mixed in with incred-
ibly detailed dialogue. A problem with the lengthy conversations in the movie is that sometimes scenes that are intended to build tension merely come off as tedious, particularly since the movie clocks in at just under three hours already.
The fight and action scenes in Django are gore filled and brutal, but that’s to be expected in a Tarantino film. Once you see them, you might be shocked to hear that the scenes that made it to the final cut are actually tamer versions of their originals. Tarantino opted to tone them down when he believed that audiences would be traumatized. There is a little campiness to provide comic relief, such as horses neighing in greeting when they’re introduced and Jamie Foxx managing to come off as a bad ass while wearing royal blue pantaloons.
The full cast is simply amazing, which isn’t surprising when seven characters are played by actors that were Oscar nominated for Best Supporting Actor. In par-
ticular, Samuel L. Jackson is incredible. He’s hilarious, has a great makeup job, and is genuinely scary when he needs to be. Christoph Waltz likewise does an excellent job playing a gentleman assassin. His character seems to have a paternal connection to Django, and you get the feeling that he seeks redemption for past sins. Leonardo DiCaprio plays a convincing sociopath plantation owner, despite originally being uncomfortable with the role’s racist and violent outbursts.
My only complaint with the film would be that I feel like more time should have been dedicated to Django’s backstory. Why is he such a talented gunfighter? There was a brief training montage, but he has the skills of someone that has lived his entire life in the circus. “He’s a natural” only goes so far. But Tarantino has men-
tioned that Django’s intended to be an ancestor of Shaft, so being a bad ass might just be in his genes.
by Dan Cosgrove
april/may 2013 AUXILIARY MUSI C
interview by Diamond Bodine-Fischer
photographer Saryn Christina
AUXILIARY april/may 2013 Douglas McCarthy
How did the idea of doing your first solo album after all these years come about?
Douglas McCarthy : It sounds trite, but being in a band for thirty years where we had a group identity, there’s a sense of frustration, though frustration is a strong word. My first knowledge of pop and rock music growing up was the 70s. There was glam, and then it went into punk and disco at the same time, and all of it, bril-
liant. Then there was go-go and New York b-boys, I just loved it all. I wanted to take that same journey I made as a kid, and include all of that in Kill Your Friends.
Where does the album name Kill Your Friends come from?
DM : Well, you know us, we talk absolute nonsense all the time. I collaborate with Hazel [Hill McCarthy III] quite a lot and our general approach to creating things is this rambling conversation that never really ends. So one time we were talking about some friends of ours that are not very nice. We talked about the old adage, keep your friends close and your enemies closer. We switched that around a bit and said love your enemies, kill your friends. We thought it was really funny. When Depeche Mode posted about it on Facebook it was great, the only thing the Depeche Mode fans took offense with was the album name. People were saying it was negative, and insensitive to today’s violence, particularly school shootings.
A lot of the album seems to have weighty time and key signature combinations reminiscent of Townes Van Zandt’s work. There are also dashes of everything from 60s psych rock to 80s alternative to, of course, classic Nitzer Ebb. Did you sit down with the intent of telling a story sonically, or did the songs fall into place as an album after being completed?
DM : The hilarity of anyone making an album, you’re so desperate to create, and it’s only afterwards listening to it that you realize many of the influences. I used to write a lot of poetry, the first lyrics that I wrote were just poems. It was all about evoking a concept without being specific. Then I started writing shorter versions and using lyrical formats. When I started writing in song form things became more specific. On this album I went back to this vague, kind of esoteric style. I wrote these songs over a long period of time. Hazel did projects that she wanted music for that I hadn’t even thought of vocals for previously, four of those tracks ended up on the record. Part of that I think was because I am a singer and doing some-
thing that doesn’t focus on vocals is refreshing. You worked with a lot of vintage gear, particularly synthesizers, on this al-
bum. What was that like and how was it producing all of that using modern technology?
DM : It was actually a pretty streamlined process. You can interface the old stuff quite easily with the modern technology. Cyrus Rex, who I work with, has every-
thing set up so it’s easy to record. I come from an age when there was two-inch tape and a room this size would just have the tape machine, now all of that is in a smart phone. There was this amazing Japanese keyboard called an OP-1 that didn’t make it onto the record. It’s amazing, it’s like eight inches by three inches and it has more in it than anything else we worked with. Computer game designers designed it. If we plugged it into the Funktion One system here [Complex LA] the bass could break things, it’s amazing. I loved it. I also used Elektron stuff; they’re april/may 2013 AUXILIARY In 1982 Douglas McCarthy founded Nitzer Ebb with Bon Har-
ris. They combined a variety of genres to build their own unique sound within the then still young EBM genre. Over the years they evolved, took breaks, collaborated with other artists, and solidified themselves as a pillar in the industrial community. Thirty years have passed and McCarthy has only just released his first solo album, Kill Your Friends. It’s a morose and melodic collection of songs that have only minor similarities to his work in Nitzer Ebb, bringing something new to his legacy. We met up with McCarthy at LA’s new venue Complex for an interview and later that week elsewhere in LA for an exclusive photoshoot.
a brilliant company out of Scandinavia. Not cheap, but really, really great.
Are you touring with this album?
DM : As of now I’m doing shows in the US. I’ve been asked by Depeche Mode to open for them in Europe.
What is the stage setup?
DM : It’s myself and Cyrus Rex. We had a talk about building a stage set, maybe something big.
Have you thought about what you want to do after this release and tour?
DM : Cyrus and I have written four new songs that Alessandro Cortini is produc-
ing. The idea is that we keep releasing EPs and touring. I’m really confident in what I’m doing with Cyrus.
For their 60th Anniversary Fred Perry tapped you to be a part of their An-
niversary line in which they put an assortment of designers, musicians, and other artists on shirts and will be auctioning them for charity. What was it like to be tapped by an icon for such momentous event?
DM : The Fred Perry thing was great! I’ve worn Fred Perry quite a lot. Suddenly you’re involved with an iconic brand and other artists you admire, it’s an amazing feeling.
How would you describe your style?
DM : I grew up in England, so Fred Perry was always used by mods, I always loved that mod style, and to be asked to be a part of Fred Perry’s anniversary was great.
So, I hear you recently got a haircut!
DM : It was a bizarre celebrity haircut situation, there were three chairs and it was Giovanni Ribisi, Alex Turner of Arctic Monkeys, and me.
You are a really vocal and avid supporter of new talent. Who is exciting to you right now? DM : I’m always interested in new bands. Powell is a specific person I think is great, it’s like a rockabilly take on Flowers of Romance from Public Image Lim-
ited, he’s really good. We are talking about doing some collaboration. I love that whole shuffle dirty sound. Going back to things, I’ve pretty much listened to the same albums for the majority of my life, The Idiot and Lust For Life from Iggy Pop, Talking Heads, Your Funeral, My Trial is one of my all-time favorites, that album was life changing for me.
Non-musically, are there any artists that you are particular to?
DM : That one [points to Hazel]. Hazel and I have gone through these past few years side by side. We influence each other, and I’m stoked by it. My friend Richie Clouston does Cosey Club in London, we talk all the time, and he’s a great influ-
ence. It may sound silly, but there are films that have had a huge impact, altered the way I think, Short Cuts is one, Five Easy Pieces is an amazing one, these are astounding pieces of film. It sounds pretentious but I love philosophy, I’m a big fan of Virilio, Bunker Archeology. I hate musicals.
How do you see yourself in the musical universe? And in the goth/industrial/
EBM sub-genre’s galaxy?
DM : Bon and I were into a lot of diverse cultural movements when we founded Nitzer Ebb, including goth before it was called goth. I don’t really feel that I’m within a certain culture, and I’d like to impart a diverse mix too.
You’ve influenced many of today’s artists. What is it like knowing that you have had a hand in shaping the sound of modern music?
DM : Sometimes it takes a little bit of time to realize that there is a legacy. I feel humbled to be part of 20th century culture. I don’t take it lightly; it’s an incredible thing to be involved.
AUXILIARY april/may 2013 MUSI C
apri l/may 2013 AUXI LI ARY How To Destroy Angel s - Wel come Obl i vi on
rel eased by Col umbi a on 03.05.13
In t he wake of t he farewel l of Ni ne Inch Nai l s, Trent Reznor moved off i n a di fferent di -
rect i on wi t h The Soci al Net work and The Gi rl wi t h t he Dragon Tat t oo score col l aborat or At t i cus Ross. The t wo al ong wi t h Reznor ’s wi fe, Mari queen Maandi g, sourced t he name How To Dest roy Angel s (HTDA) from a Coi l song and began put t i ng out some excel l ent musi c. Wi t h Maandi g servi ng as pri mary vocal i st, t he more downt empo and experi ment al HTDA i s a break from i t s l i neage. The musi c st i l l has Reznor ’s fingerpri nt s al l over i t si nce he doesn’t real l y depart from t he underpi nni ngs t hat have made up recent Nai l s mat e-
ri al, t he personal i t y of t he sounds and wri t i ng are di st i nct l y hi s. I appreci at e t hat i t feel s l i ke t hat by maki ng musi c wi t h t hi s proj ect he get s t o expl ore aspect s of musi c t hat were perhaps out of bounds before. There are pl ent y of qui et er moment s and, t o use “Ice Age” as an exampl e, some musi cal i deas t hat woul dn’t fly i n hi s previ ous proj ect. Havi ng vo-
cal dut i es t aken over by Maandi g al so offers t he new abi l i t y t o expl ore bot h composi ng wi t h a woman’s voi ce i n mi nd and offeri ng hi s own for harmoni es. The mat eri al i s pret t y wi t h a del i cat e soft ness t o t he vocal s and mel odi es. The bl eeps, pi ano pads, and I AMX - The Uni fied Fi el d
rel eased by 61seconds on 03.22.13
The sol o proj ect and maj or focus of former Sneaker Pi mp Chri s Corner, whi ch st art ed out Becomi ng X i s now IAMX. Si nce st art -
i ng i n 2004 wi t h Ki ss + Swal l ow, he has been maki ng songs t hat have a foot i n cl ub musi c but real l y cent er on Corner ’s personal and emot i onal l yri cs. Thi s i s IAMX’s fift h al bum and t hi ngs are a bi t more posi t i ve t han t hey were on 2011’s Vol at i l e Bl ank - Dark Retreat
rel eased by Artoffact Records on 04.09.13
The It al i an duo i s back wi t h anot her hard hi t t i ng i n-
dust ri al fut urepop hi t dubbed Dark Ret reat. Thi s i s t he proj ect ’s t hi rd al bum on t he Art offact Records l abel and i s sel f-descri bed as bei ng “gl oomi er and more i nt rospect i ve”. Thi s mi ght suggest t hat an al -
bum i s not wel l sui t ed for t he dancefloor, but t hi s i s far from t he t rut h. It ’s easy t o recogni ze i nspi rat i ons of Front Li ne Assembl y, Icon of Coi l, and ot her cl assi c i ndust ri al EBM st ars i n Bl ank’s l at est offeri ng. These guys are unafrai d t o appl y ri ch vocal s wi t h t hought provoki ng l yri cs agai nst a foundat i on of t i ght el ect roni c mel odi es. It ’s t hese el ect roni cs t hat make t he al bum so enj oyabl e. They are wel l l ayered, wel l produced, and not overdone. There’s t he t ypi cal i ndust ri al EBM formul a i n t he musi c of Bl ank, but i t ’s got i t s own si gnat ure as t hey appl y shades of t rance and synt hpop t o pol i sh t hi s i nt o what I woul d cal l consummat e fut ure-
pop! If you are a fan of fut urepop you’l l recog-
ni ze t he t ropes but you won’t real l y be abl e t o compare Bl ank t o anyt hi ng but t hei r own mu-
si cal vi si on. At t i mes t he al bum i s upbeat and dancey, and ot her t i mes i t grooves t o a chi l l but fut uri st i c vi be. Not a genre breaker, but a t rul y enj oyabl e, wel l produced, and recommended al bum. - Hangedman
recommended track : Lost Symmet ry (feat. Ki rl i an Camera) genre : i ndust ri al, fut urepop
si mi l ar arti sts : Front Li ne Assembl y 8/10 : musi c 8 : l yri cs 8 : recordi ng qual i t y 9
subt l e rhyt hms creat e an i nt i mat e experi ence, but t he songs st i l l have a real i nt ensi t y t o t hem. Even at her most forceful, Maandi g has a t i ght l eash on her voi ce i n t he moment s, l i ke on “We Fade Away” or “Wel come Obl i vi on”, t hat seem l i ke she’s dyi ng t o burst wi de open i n a ful l -on shout i ng onsl aught. Where Ni ne Inch Nai l s feel s a bi t rundown wi t h i t s l at est rel eases, HTDA feel s energet i c and rei nvi go-
rat ed. Here’s hopi ng t hat wi t h t he i mpendi ng rest art of t hat proj ect, t hi s one doesn’t get forgot t en. - Aar-
on Andrews
recommended track : St ri ngs and At t ract ors
genre : i ndust ri al, el ect ro
si mi l ar arti sts : Modwheel mood, Tel efon Tel Avi v
7/10 : musi c 7 : l yri cs 7 : recordi ng qual i t y 8
Ti mes. That ’s not t o say Chri s Corner has l ost hi s edge and t urned an upbeat corner and i s al l ki t t ens and happi ness. What I am sayi ng i s t hat The Uni fied Fi el d feel s more bal anced t han i t s doom and gl oom predecessor. Wi t h t hi s al bum Corner ’s charact eri s-
t i c, st rong l yri cs speak of a uni versal i nt erconnect-
edness (“The Uni fied Fi el d”), movi ng past sadness (“Qui et t he Ni ght ”), and darkl y romant i c sent i ment s (“At omi c Ski es”). The st ep of shari ng product i on wi t h co-producer Ji m Abbi ss, who had previ ousl y worked wi t h bot h Sneaker Pi mps and IAMX, has made i nst rument at i on and product i on more refined t han on t he l ast few rel eases. Perhaps i t ’s t he di rec-
t i on of anot her or havi ng some creat i ve wei ght l i ft-
ed, but i t feel s l i ke t he i nst rument at i on i s al l owed t o share t he spot l i ght wi t h t he vocal s i n a way i t hasn’t i n recent IAMX rel eases. IAMX i s st i l l as fierce as ever and Corner doesn’t shy from bari ng hi s emo-
t i ons i n hi s powerful vocal s. It ’s al ways an amazi ng experi ence t o hear t he way he al l ows hi msel f t o be l ost i n hi s si ngi ng, t he i mperfect i on of emot i on i s hi ghl i ght ed i nst ead of buri ed. IAMX i t sel f i s a proj -
ect t hat t hri ves on t he i mperfect i on of emot i on and humani t y. Where ot her el ect roni cal l y based musi -
ci ans feel a need t o be l i ke an overproduced col d machi ne, IAMX wel comes real i nst rument s and real feel i ngs. - Aaron Andrews
recommended track : The Uni fied Fi el d
genre : al t ernat i ve rock, el ect ro
si mi l ar arti sts : Pl acebo, Depeche Mode
9/10 : musi c 9 : l yri cs 9 : recordi ng qual i t y 9
AUXI LI ARY apri l/may 2013 Mi sfits - DeA.D. Al i ve!
rel eased by Mi sfits on 02.18.13
Oh t he Mi sfit s, how easy t hey are t o l ove and hat e at t he same t i me. Fl ash back a second t o 2011 and t hei r l ast rel ease The Devi l ’s Rai n, t he songs were good but t here was some-
t hi ng mi ssi ng. Unt i l I heard t hi s new l i ve al bum DeA.D. Al i ve! I coul dn’t put my finger on i t. On t hi s l i ve al bum i t becomes cl ear about hal f of t he four-
t een songs are from The Devi l ’s Rai n and compari ng t he t wo versi ons i t i s l i ke l ooki ng at a caged doci l e l i on at t he zoo and t hen seei ng one t eari ng apart a zebra on t he Serenget i. To put i t si mpl y, The Devi l ’s Rai n sounded cl i ni cal and on t he l i ve versi ons t here Bl ack Tape f or a Bl ue Gi rl - Tenderoti cs
rel eased by Projekt Records on 02.12.13
In a worl d where t he word “darkwave” mi ght be a l i t t l e passé i n l i eu of t he ri si ng grave wave movement, Bl ack Tape for a Bl ue Gi rl serves up a l ush new remi x al bum t hat fit s i n ni cel y wi t hout t he need for a drum ma-
chi ne. BTFBG has al ways been t ossed i nt o a sort of got hi c/cabaret archet ype but i t has served t hem wel l over t hei r near t hi rt y years. Appropri at el y dubbed Tenderot i cs, t he al bum i s a rei magi ned pl ay on t he sexual l y charged 2009 al bum 10 Neurot i cs. In my opi ni on i t ’s bri l l i ant, perhaps bet t er t han 10 Neurot -
i cs, wi t h each t rack hol di ng i t s own but keepi ng t o t heme. There i s amazi ng di versi t y here, as di verse as t he al bum’s part i ci pat i ng guest l i st, but i t never st rays far from t hat myst eri ous sensual BTFBG sound. Somet i mes t hi s al bum sways i nt o t ri p hop t erri t ory, ot her t i mes t hei r t radi t i onal use of st ri ngs and ot her acoust i cs creat es a neofol k sound, but t hey never qui t e go over t hese edges. What ’s const ant i s t he ambi ance and overal l sl ow paced emot i onal l y charged sense of feel i ng t hi s band i s known for, a sort of Davi d Lynchesque romant i ci sm. If 10 Neu-
rot i cs was an i nt el l i gent nod t o t he underworl d of sexual fet i shi sm, Tenderot i cs cont i nues t hi s t heme el egant l y conj uri ng up an arousi ng narrat i ve t hrough del i ci ousl y l i st enabl e soundscapes. BTFGB never has been wi t ch house nor are t hey at t empt i ng t hat, but t here i s an appeal here for wi t ch house fans. BTFBG i s doi ng what i t ’s al ways done and l overs of t he modern got hi c wi l l di g BTFBG, as t he hi ero-
phant s of cl assi c darkwave. - Hangedman
recommended track : Feel Your Pul se Qui cken
genre : darkwave
si mi l ar arti sts : Androi d Lust 9/10 : musi c 9 : l yri cs 9 : recordi ng qual i t y 9
Johnny Marr - The Messenger
rel eased by New Voodoo on 02.26.13
It ’s not t hat good, i t ’s not t hat bad, but i t i s Johnny Marr. Those expect i ng t he ret urn of The Smi t hs can wal k away now. It ’s not happeni ng. Nor i s t he record ex-
act l y a mi ddl e finger t o fans of t hat era so much as Johnny Marr j ust do-
i ng what ever t he heck he want s t o and doi ng i t wi t h confidence and compet ence. Hi s gui t ar pl ayi ng i s, nat ural l y, everyt hi ng fans have come t o expect, and he bri ngs hi s A-game t o t hese performances. Marr ’s l ong st andi ng abi l i t y t o do more wi t h l ess, addi ng a subt l e flouri sh here and t here and st i cki ng t o mel o-
di es you can whi st l e rat her t han flashi ng t echni cal prowess, have made hi m t he paragon of under-
ground rock gui t ar. On t hi s al bum, Marr st eps up t o Ni ck Cave and the Bad Seeds - Push the Sky Away
rel eased by Bad Seeds Ltd on 02.19.13
Fi rst off, I’m bi ased. I l ove Ni ck Cave and I’m not goi ng t o t ry t o hi de t hat i n t he name of keepi ng t hi ngs obj ect i ve. I’l l assume t he reader knows t he hi st ory of Ni ck Cave, and chances are i f you’re even l ooki ng at t hi s revi ew, i t ’s not out of curi osi t y but rat her, “What flavor of Ni ck Cave am I get t i ng t hi s t i me?” That sai d, t hi s al bum i s a mel l ow affai r, possi bl y t he most qui et, mi ni mal i st, and somber al bum he’s put out wi t h t he except i on of The Boat man’s Cal l, seemi ngl y a react i on t o Cave’s recent work wi t h Gri nderman. If t hat proj ect ’s rai -
son d’et re was t o exorci se t he demons of mi ddl e age wi t h ki net i c fire, di st ort i on, and anger, t hi s l at est i s t he ot her si de of t he same coi n. Inst rument at i on i s sparse, pl aci ng t he vocal s front and cent er. Backi ng vocal s, provi ded by t he Bad Seeds, a host of st u-
di o musi ci ans, and a chi l dren’s choi r, provi de some of t he st rongest and most haunt i ng moment s on t he al bum. The l yri cs st ay i n fami l i ar t erri t ory, wi t h Cave’s razor-sharp abi l i t y t o mel t cont radi ct i ons i nt o one whol e, t ragedy and comedy, gut t er humor and hi gh art, i nnocence and experi ence, demons and angel s, and t he fine l i ne bet ween l ove and l ust pl ays out i n vi gnet t es and charact er sket ches. Cave’s prob-
abl y not goi ng t o wi n any new convert s wi t h t hi s al bum, and t he meanderi ng nat ure of t he songs may t urn off l ong-t i me fans, but for t hose wi l l i ng t o al l ow t he songs t he pat i ence t hey deserve, i t ’s a rewardi ng affai r. - Paul Mori n
recommended track : Push t he Sky Away
genre : i ndi e rock
si mi l ar arti sts : Ameri can Musi c Cl ub
9/10 : musi c 9 : l yri cs 10 : recordi ng qual i t y 9
i s emot i on. The group of hat ers of t he “new” Mi sfit s wi l l compl ai n, as t hey wi l l onl y find post -Danzi g era songs on here. Al t hough i f t here were any I’m sure t hey woul d say t hat Jerry Onl y was brut al i zi ng t hem anyways. To t hat I say go l i st en t o t he ’87 l i ve al bum Evi l i ve and keep your cri t i ci sms t o yoursel f. I t hi nk Jerry Onl y, Dez Cadena, and Eri c “Chupacabra” Arce do a fant ast i c j ob performi ng, bal anci ng musi -
cal preci si on and a ni ce t ouch of reckl ess wai l i ng. Li st eni ng t o t hi s Mi sfit s l i ve al bum remi nds me why I was drawn t o t he band i n t he first pl ace; t he songs are fun and i nfect i ous and you can t el l t hat t he band j ust l oves t o pl ay t o for t hei r fans. The recordi ng qual i t y i s far from perfect al t hough t he “sound guy” di d manage t o keep most of t he l evel s equal, unl ess t hat was mi x post recordi ng t hen screw you “sound guy”. - Mi ke Ki effer
recommended track : Dark Shadows
genre : horror punk
si mi l ar arti sts : The Ot hers
8/10 : musi c 8 : l yri cs 8 : recordi ng qual i t y 6
I nf ormat i k - Pl ayi ng Wi th Fi re
rel eased by Metropol i s Records on 03.26.13
Remember Informa-
t i k? I di dn’t unt i l a year or so ago when I found an unl abel ed mi x CD and a ki l l er song came on and I had t o di g deep i nt o my memory bank t o recal l who i t was. As i t t urned out i t was Informat i k and wi t h Arena bei ng t hei r l ast offici al rel ease i n 2009 (and t hat was most l y remi xes) i t was j ust i fiabl e t hat t hey fel l of my radar. Fresh on my mi nd, t he rel ease of Pl ayi ng Wi t h Fi re, t hei r sevent h ful l -l engt h al bum, was wel -
come. On Pl ayi ng Wi t h Fi re you wi l l find an evol u-
t i on has occurred: a depart ure from t he overpower-
i ng t rance synt hs, an ampi ng up of t he gui t ar ri ffs, and an overal l more organi c l ess el ect roni c sound. The si ngl e of t he al bum, “How Long”, i s t he most cl assi c Informat i k song here. It has al l t he cat chy bi t s t hat brought t he band any not ori et y, soundi ng si mi l ar t o t he 2009 hi t “Come Toget her”. There are pl ent y of ot her hi ghl i ght s i ncl udi ng “Mi l es Away”, “Jul i et ”, and “Brave New Worl d”. My l east favor-
i t e i s t he epi c soundi ng “No One”, most l y because I never real l y cared for epi c songs or bands i n t hat genre. There i s an overal l posi t i ve feel i ng on t hi s re-
cord t hat comes from upbeat, energi zed musi c and encouragi ng, sel f-confident l yri cs. Pl ayi ng Wi t h Fi re doesn’t have an awe i nspi ri ng react i on when you l i st en t o i t, but i t does manage t o burrow i nt o your subconsci ous onl y t o mani fest i t sel f a few days l at er as you cat ch yoursel f randoml y si ngi ng a song out of nowhere. - Mi ke Ki effer
recommended track : How Long
genre : el ect ro-i ndust ri al, fut urepop
si mi l ar arti sts : Neurot i cfish
7/10 : musi c 7 : l yri cs 7 : recordi ng qual i t y 9
april/may 2013 AUXILIARY Ghost & Writer - Red Flags
released by Metropolis Records on 03.12.13
Jimmyjoe Snark III of The Weather-
men, Frank Spinath of most notably Seabound, and their second release Red Flags as Ghost & Writer have a lot to live up to con-
sidering how much I listened to the 2011 release Shipwrecks. Anyone who knows Spinath’s previous work knows that he has a talent for writing lyrics, especially on this project where he really shines at telling dramatic stories. Throughout the album the story follows a complicated relationship portrayed from the male point of view, digging deep into per-
sonal feelings and emotions. Snark does a masterful job keeping the album relatively upbeat despite the gloomy lyrical content. The tracks feel fresh with interesting breakdowns and pace changes. Care was taken to keep this from being just another dance-
floor synthpop album and to keep it from sounding dated. I do find that I want more though, as this is not a groundbreaking album by any means and does sound very similar to Shipwrecks. The original eight tracks do receive remix treatment by some notable names, Iris, Dead When I Found Her, and Acer-
tongue to name a few. These mixes are well done and have a nice continuity without any jarring genre switch ups. Now, if you are a true supporter you will find a special download code in the booklet to a special eight remixes called the Black Album. These Black mixes are darker and more somber, which in turn compliments the lyrics. Red Flags doesn’t quite reach the level of Shipwrecks but it comes close and is worth checking out. - Mike Kieffer
recommended track : Gambit
genre : synthpop similar artists : Edge of Dawn
8/10 : music 8 : lyrics 10 : recording quality 9
Juno Reactor - The Golden Sun of the Great East
released by Metropolis Records on 03.26.13
Juno Reactor re-
leased their first single in 1992 and 21 years later they remain a fresh and original innovator of dance music. Their intelligently unique trance with a heavy world influence sound is still going strong after sev-
en albums and several soundtracks. The Golden Sun of the Great East is Juno Reactor’s eighth album and the first since 2008’s Gods and Monsters. The lat-
ter was a bit off beat for Juno Reactor, with hints of dubstep and more lyrics than previous albums; the former has a more cinematic soul. The innovation and willingness to try new things isn’t as apparent on this release, it feels more like a score to an unmade film than an album of its own accord. True to the lineage of their older material, Golden Sun displays goa trance roots and sparser use of vocals, but is also more sweeping and epic in scope. This is best felt on “Final Frontier”, an incredible homage to Ridley Scott’s Blade Runner and its Vangelis penned score; it feels like an eastern spin on the future. “Tempest” also stands out with its steady and patient buildup, before cutting lose with a distinctly Juno Reactor fury. Ideally I’d have liked a better mix of this and Gods and Monsters, but they still display a unique mastery of exotic world beats and sounds blended ex-
pertly with trance music. That plus the steady synth pulses and mix of chanted and ethereal vocals oddly feel both laid back and furious all at once. I guess that’s the magic of Juno Reactor. - Aaron Andrews
recommended track : Final Frontier
genre : goa trance
similar artists : Hallucinogen, Infected Mushroom
7/10 : music 7 : recording quality 8
The Klinik - Eat Your Heart Out
released by Out of Line Music on 03.01.13
Gritty EBM pio-
neers, The Klinik, reformed again to release a new album Eat Your Heart Out that sets its target on the heyday of the genre. How-
ever, this is not a regurgitation of an old 80s sound and modern fans will likewise appreciate this release. Over the years the true EBM aficionado seems to have had a cer-
tain fortitude in contemporary industrial circles and while The Klinik might not be on the top of every-
one’s club list, there is no doubt in anyone’s mind their importance to the history of postpunk industrial music. The strong beat and aggressive synth assault of Klinik’s formative style has a staying power in this release. But there’s also a depth and dare I say !!! - Thr!!!er
released by Mute on 04.30.13
Punk funk trash-
talkers !!! return for another post disco workout, giving indie rockers some-
thing to shake their tight jeans about again. Present on this album (cheekily titled Thr!!!er) are familiar elements to their sound: clean guitar scratches a la Nile Rodgers (Chic) or James Brown, groovy bass lines that slink and thump up and down the fret board, Nic Offer’s bitter rants, social commentaries, and character sketches, and occasional excursions into psychedelic freak-
outs that spin away from and then back down to the dancefloor. Yep, it’s !!! at it again. The biggest changes and surprises come from the use of elec-
tronics on this outing: pitch shifted vocals (think less Cher auto-tuned to mechanical perfection and more that time when you bought that cool “robot/alien voice” toy which was interesting for all of a min-
ute), samples, and fun with a drum machine are all explored with various degrees of success, and add a little variation to their old sound without changing everything. As usual, !!! sound like they’re throwing a wild party that would make everyone in Studio 54 green with envy, and they want everyone in ear-shot on board with them. Is it worthy of a comparison to Michael Jackson’s best-selling album that the title invokes? Probably not. This album isn’t exactly re-
inventing the wheel, either for the band or the style of music they play. But it does sound like a lot of fun, and they’re doing what they do best: encouraging the listener to get up and get down. - Paul Morin
recommended track : Californiyeah, Slyd
genre : postpunk, post disco, indie dance
similar artists : Happy Mondays, LCD Soundsystem
7/10 : music 7 : lyrics 7 : recording quality 8
the microphone, delivering the goods lyrically and vocally as well. While this isn’t the first time he has stuck his neck out in such a fashion (see also: 2003’s Johnny Marr and the Healers), Marr has elevated his cult-status over the years by being in a strong sup-
porting role, not a front man, and the results of the cross-over attempt here aren’t particularly thrilling. Like it or not, he’s no Morrissey, Matt Johnson, or Isaac Brock. In the end, it’s Johnny Marr making no frills music based around his strengths as a guitarist, and if you’re a fan, it’s worth pursuing. If you’re not, the album will probably sound indecipherable from countless other bands writing the same kind of jangly alternative britpop Marr helped to pioneer.
- Paul Morin
recommended track : Upstarts
genre : indie rock, britpop
similar artists : The Smiths, Electronic
6/10 : music 6 : lyrics 6 : recording quality 9
passion in Eat Your Heart Out that emerges from the running drama laced within each track. From the lift of the opening track “Nothing You Can Do” to the exigency of “Stay” there’s a lot of dramatic build and dark seriousness which is the trademark Klinik brand from their early discography. From the Bel-
gian birthplace of early electronic body music , this is a true reformation album as partners Marc Ver-
haegen and Dirk Ivens unite again! (Among others who allegedly touched this album such as, Eric Von Wonterghem of Monolith and Absolute Body Con-
trol and Borg formerly of Vomito Negro.) The duo have consciously rooted themselves in the sound that made them famous, while applying their decades of experience into something Klinik fans old and new will be very pleased with. - Hangedman
recommended track : Stay
genre : industrial EBM
similar artists : Front 242 9/10 : music 9 : lyrics 9 : recording quality 10
Chris Corner started his musical career by cofounding Sneaker Pimps with Liam Howe in Hartlepool, England. From 1994 to 2002 the group released three acclaimed albums of which the last two saw Corner expand his role to include that of vocalist. Corner moved on to form his own fiercely independent project, IAMX. Starting with an album release in 2004, IAMX has been Corner’s core musical focus for his personal and introspective songs. Corner spoke with Auxiliary from his adopted home in Berlin where he lives and works in a disused German Democratic Republic (GDR) industrial space in former East Germany which he calls Turmwerk. The multi-talented and charming musician talked about the upcoming fifth IAMX album, The Unified Field, and his insights as an artist on topics including making it on your own and human nature.
interview by Aaron Andrews & Elizabeth Rhodes
AUXILIARY april/may 2013 IAMX
Let’s start with your new album, The Unified Field. Can you speak a bit about the title, as well as its themes and ideas? Chris Corner : I can tell you what the title means. The Unified Field is primarily a scientific concept, or a theory actually, that comes from Quantum Mechanics and has kind of permeated philosophy and also meditation. It’s based on the idea that underneath everything, at the very core of existence, there is an infinite plane of consciousness out of which everything is born, is created. So we have this unified field of consciousness, which creates super strings, quarks, atoms, humans, galax-
ies, everything that exists. What I like about that is, it’s something scientists have been trying to discover for a long time, they haven’t got that much solid evidence. So it’s in more of a conceptual stage, but they’re pretty sure that they’re getting there. For me it feeds my philosophical imagination. I like the idea that everything is connected and it almost replaces the idea of god. The song, “The Unified Field”, it’s not so specifically talking about that but it’s using the kind of glorifying refer-
ence of the unified field to connect us all and make a positive, uplifting statement about that. That concept does pop up throughout the album, it’s quite a nice place to start. There’s many themes on the album though.
For this album you decided to enlist Jim Abbiss as co-producer, as well as having Liam Howe (from the Sneaker Pimps) helping with some program-
ming. It seems that in that past you’ve sought a creative isolation, why did you decide to seek collaboration on this album?
CC : Well. I’ve never been seeking isolation, it just found me. My work on my solo project came about through a bit of frustration and maybe not being so con-
tent with compromising my ideas and also wanting to find a more singular vision. But also it did come about through sheer practicality of basically not finding the people I felt I could work with, that would really understand me. I think that’s also what happened to IAMX as a project in general, it became a fiercely independent project. Its very nature is bit of an left field, outsider nature. Through practicality of not finding the right people I just ended up doing everything myself. There was something very satisfying about that and you don’t have to constantly please oth-
ers when you write something, you don’t have to think about anybody apart from your idea at the time. It can be very satisfying but over time it also becomes very isolating. It wasn’t a choice. I mean, I made choices sure, but it wasn’t what I was aiming for. Volatile Times was the pinnacle of that, not the high point but the low-
est point of that isolation. It was very difficult to make emotionally. So once I’d finished that, when I was drained emotionally I made a promise to myself I’d never make an album alone again.
Do you feel like you’ll continue working with these people or maybe find new collaborators for the next album?
CC : I’ll definitely work with Jim again. With Liam, it was very short and very peripheral, more of a for old times sake moment. He knows Jim really well, so it was a bit of fun. It wasn’t a real serious collaboration. He did add some very nice textures and sounds to a few of the tracks, but that’s as far as it went. I would definitely consider working with him again, or course. I think the difference for the future is I’d like to start at a different point. I still did way too much technical work and the technical bullshit is something I’m still trying to get out of. By that I mean programming and mixing and mastering; all of the geeky computer stuff. I’d like to give that to somebody else at some point.
Was the material for the new album written after Volatile Times was released or during the writing for Volatile Times? CC : They always kind of overlay. Each album has a few songs that just don’t really fit with what’s happening at the time. Generally they roll over into the next album, so it’s probably me just planning my next album subconsciously. I know I already have a few songs now that didn’t make it on this album that will be on the next album, it’s always the same. I generally end up with eighteen songs per an album and that is filtered down to about eleven or twelve. There were a few songs that just weren’t right for that time.
It felt like your mood and themes shifted from Kingdom of Welcome Addiction to Volatile Times then to the new material. Can you talk about what inspired MUSI C
april/may 2013 AUXILIARY these changes for you?
CC : From Kingdom to Volatile Times; I had a bit of an epiphany. If I’m honest it was a science versus religion epiphany. I’ve always been, not agnostic, but I’d al-
ways been for evidence and science rather than religion or even spirituality. I was never particularly interested in that stuff or very suspicious of those things. When I started Volatile Times I did a lot of research and I started to get more interested in the concepts of politics and atheism. All of those themes that seem to be quite prevalent in culture at the moment, which is deconstructing non-evidence based ideas, which is basically what religion is. Volatile Times was fueled by that frustration, not just with religion but human ignorance. So that’s why it became quite a heavy negative record I think, because I wasn’t really happy with the world. Not that I’m happy with world now. After I made Volatile Times and sort of vented my negativity, I felt I wanted to make a more positive statement about humanity with this record. So it’s not necessarily a positive record but it’s definitely a more hopeful statement.
You made a big leap in leaving England and surrounding yourself with a new environment, culture, and network of creative people in Berlin. “Think of England” from Kingdom of Welcome Addiction hinted at your feelings of dis-
sociation from your “home”. There is a sense of isolation and a deepening of your own self-awareness in more recent albums, is this due (at least in part) to your decision to remove yourself from your country of origin?
CC : That’s a very astute way to put things. I think on Kingdom that song is a core message on that album. That’s where the escape began really, to bring myself out of London which was a very money fueled and, in my opinion, a very surface city. To go to Berlin, to go and put together my own little kingdom was a really big move for me. I had to leave a lot of friends behind and I had to leave family behind and as hard as some of that was I really had no choice. I think once this journey starts you’ve just got to follow it. So I think Kingdom and that song are kind of about that cutting the cord and moving on. Making that huge life decision; do I stay and follow the rules or do I become the gypsy? I became the gypsy. Each album, once you open that door, each time you start to think about concepts, when you write music and lyrics and when you think about things... it’s never surface again, you can never really think of how the world is and how humans are and how you are as a person. It’s never light again, it’s never particularly easy. You can’t just switch it off. I think if I wanted to stop that, it’s a bit like a juggernaut and I can’t stop this way of thinking now. If I wanted to do that I’d probably have to stop doing this project and maybe work on other things. But for now I enjoy it. It is my therapy. It is a way of releasing all of those complicated thoughts.
Where do these feelings of melancholy and self-questioning, and maybe some resentment towards humanity and England come from? CC : I don’t know why it became so visceral in my head. It was just a point where I started to see a lot of negativity in the world. I’m not an unhappy person, in fact I’m very happy most of the time. That may be a result of being able to exorcise these ghosts through my music. It allows me in my private life to forget about these things. But where did it come from? I don’t know, I think I was a really sensi-
tive child. I grew up more in the shadow of women than of my dad. My mom and my sister were huge characters in my life and very strong, their hypersensitivity, I think, rubbed off on me. I don’t want to blame it on them but because of my more... feminine side? It comes up more often, this strong emotional way of thinking.
With a new album to tour and promote just in time for the initiation of spring do you feel a sense of excitement for emerging life, growth, and creative energy?
CC : Yeah, that’s a nice way to look at it. I’m still gearing up to it. I’ve just come back from LA; I was in LA for a month and half. I felt almost rejuvenated by that place because winters in Berlin are pretty grim. Every year now, I’ve decided to get away and inject myself with a bit of light and smiles and positivity. That seems to be a good place to do it because I can also work and I have a few friends there. That was sort of the beginning of the year for me, now I’m preparing for the live shows. Building up to kind of the animal coming out, which is what the live per-
formance is about. There’s a very sort of slow curve into the first show and I have to remember where the beast is, try and find him. I know he’s still there inside.
It seems that in a lot of ways you’re a very introverted kind of person, when we see you on your weblog and in interviews. Then this creative force comes out when you’re doing shows and you have this extroverted presence. How do you deal with that and do you have to conjure up the performance aspect of IAMX and Chris? CC : Not really. It’s very second nature to me now, I don’t question it. It just hap-
pens. It’s quite difficult to explain because it sounds a bit schizophrenic and to an extent it is. I do feel like a switch is turned on and that side of my personality just takes over. I think that’s what the music does to me. Most of the time I have to control the music; sit in a studio, construct it, deconstruct the concepts, and make product out of it. On stage is the only time I can feel it and that’s what IAMX music does to me on stage and it’s a pure truthful moment for me.
The life of an artist is typically full of ups and downs. How has your decision to pursue a career as an artist impacted your life in the ways of compromise and sacrifice?
CC : Well, it’s shown me that money’s not important in a lot of ways. Being okay is important, having enough money to get by is important, but being rich isn’t im-
portant. It doesn’t really change the way I feel. In a general sense of working with others; what it’s allowed me to do, and I think I’d have done this in any job that I’d chosen, is to be quite a private person in my private life. To be a bit of monk, a bit of a hermit in my day to day existence. That I find has been a huge benefit to this lifestyle. I’ve avoided some points of society that I don’t like. That’s a nice thing about this job you can have irregular work times and a bit of flexibility in your routine. Compromise. Yeah, okay stability is not so good because basically every year you have to look at where you are and there’s no security financially. Every year you look at where you are and how you’re going to get through next year. In some ways it’s quite appealing, again the gypsy lifestyle and it drives you keep working and work hard. It’s allowed me to be very selective with the people in my life. Also I get a lot of interesting and positive feedback about who I am as a person and that can be hard but also really amazing. You live life in an accelerated way, there are big highs and big lows. I think I need that to feel completely alive. I’m not really a balanced person anyway so it suits my personality.
What made you want to take on and explore the cabaret influence you man-
age to channel so effectively in your live performances? Is that part of the reason you chose Berlin as your new home? CC : I think it was one of the attractions, yeah. That whole vision of the 20s was very attractive about Berlin. Something that had gotten under my skin a few years earlier but I never really had a chance to explore it. The first time I really touched on that was with the second album, The Alternative, with [the song] “President”. Once I immersed myself in that idea I realized how comfortable it was for me. What I love about cabaret, is this tragi-comic nature of it. It’s quite poetic in its ex-
pression and it’s not necessarily about beauty, it’s about these characters. It’s about the crying clown, it reflects human nature in such an uplifting but still very emo-
tional way. It’s also not very clean, I like that it can be very trashy... and sweaty and dirty. That’s really what human nature’s like in a way. It’s really quite tribal to me, painting the face and singing songs and dancing is what we’ve been doing for thousands of years. I guess that’s what I like about cabaret. It also brings up ideas like Foligni and filmmakers like that where there’s a deep philosophy behind it but with a face of fun and positivity.
Why Berlin? Many music lovers cite David Bowie’s time living in Berlin as his exile from England and consequently one of his most potent creative periods. For example, Bowie’s famous statement that Berlin is, “the greatest cultural extravaganza that one could imagine.” How has the zeitgeist of Berlin and its rich art and cultural history impacted you? CC : I actually moved just outside of Berlin now, so I don’t regularly visit the city anymore, besides I’m just so busy. When I first moved there it was just a very psychologically freeing place, money is not so important so you can indulge your artistic freedom and also your hedonistic desires. Everything is there that you re-
ally need and nothing closes. Everything is flexible, people are flexible. Clubs and music and art and eating, everything really crosses over, so if you find a place it’s a MUSI C
AUXILIARY april/may 2013 real mixture of cultural influences. It’s not just about music, you can go to a gallery and there’s some bizarre cabaret fucked up performance. You’ll go to a restaurant and there’ll be some music in there. So what I like about Berlin is it’s so mixed up, it’s a force, it’s a mission. The Berliners mission is to stay true to art and it’s still there. It’s becoming a bit more gentrified these days, which is disappointing, but the underlying attitude is about art and music more than anything. For that I think the city will thrive for at least another ten years. It’s just fucking sexy too. There’s a real sexuality to it and a freedom in sexuality that I just don’t know in other cities really.
How’s your studio space filling out? Are you using it to explore new directions and inspirations, different art?
CC : Yeah, where I live just outside Berlin I have a mini factory. It’s an old East German GDR fucked up building that I bought a couple years ago. It’s a lifetime project this place, that’s the part of the fun of it. I developed a studio downstairs and that’s been very inspiring for me, I always wanted a studio where I could look out of the window into a garden and I now have that. I don’t have much equipment in there but at least I can look out at the garden. I did most of the preparation and preproduction with Jim in that studio and its developing slowly.
What themes and ideas do you feel compelled to explore and revisit in both the Sneaker Pimps and IAMX?
CC : Human behavior is fascinating to me, every aspect of that. Where do we start? It could be love, it could be sex, it could be politics. What’s interesting to me is layer of truth and reality behind the social rules and the constructed society rules. There’s so much that we talk about in private is never really public I think it’s really fascinating. So many thing that artists or musicians or, definitely, politi-
cians don’t admit to. It’s almost our duty to expose every part of human nature, for artists anyway. My mission is to observe and write about it.
On Kingdom of Welcome Addiction there was a more personal focus, especially about it, the sexiness that I try to put into music is the other side of that. The celebratory side of being human, It’s almost a distraction for me to think about sex because it takes me out of that emotional state. It focuses my mind on physicality instead of emotion. There’s something about that, perhaps that’s why there’s so much sex in the music, it draws me back to reality.
Your personal style is a major point of interest to IAMX fans, especially at your live shows. What historical period, in politics or fashion, is perennially inspiring to you? What fashion moments are you taking in every time you’re putting yourself together?
CC : I have no idea. I’ve never thought of this before. My drive is to find nice things and put them on. I don’t care where they come, what time they come from. What I like about that is if you get too caught up in the concept of what’s good, or what people think is good, you pass on things that are good. It’s like music. My first impulse is, does it fit well? Secondly, do people expect it? I don’t mean it as a controversial thing but if they do maybe try something else. Maybe that’s where the mixture comes from. It really does go back to, does it fit well? I like times when people actually gave a fuck in general. I don’t just mean people in fashion, I mean when normal people wore things that made them look interesting or smart. Apart from going to a club or something there isn’t an everyday sense of occasion or dressing up. Maybe in the Victorian era there were times when everybody would wear a suit or a big dress. Obviously the political and human mind at the time were very conservative, but something about that style is quite nice. The tight corsets and over exaggerated shoulders. So I guess Victorian is something I quite like. I also like military because it makes you were things you wouldn’t normally wear. It gives a sense of occasion it gives a sense of pride in clothes. It makes people feel different, even though its connected with violence, which is a different thing, there is something sexy about a uniform. So I guess Victorian meets military.
The evolution of Chris Corner as a musician has gone from band member the last song, “Running”. That was really hon-
est. It must have been very scary to record that. I really appreciate that in songs where your voice breaks, because its brimming with emotion, you don’t clean it up. It gives me chills when I hear those moments because it’s so honest. You could produce it out, but I think it goes back to what you were saying about the cabaret and just be-
ing real. There’s a lot of sacrifice that goes into your music and you’re very unique. CC : Thank you, I’m very honored. You’re pretty much spot on. It’s funny you choose a song like “Running” to begin with. There were a couple songs on Kingdom which were a turning point. Some psychological door opened for me and the rawness of truthful everyday emotion hit me. I couldn’t switch it off, so I had to put these things into the music. It’s almost on the edge of embar-
rassing, it’s sometimes painful to listen to these things because they so rawly describe exactly how I was feeling at that time that it’s difficult to hear. Sometimes I feel sorry for the people listening.
Please don’t. That was a big deal for me, that album, I listened over and over. I loved the lyr-
ics, loved how sexy the music was, and then how painfully open and honest you were. That really connects to our humanity. I can understand not wanting to go back and tap your foot knowing the emotional background. That’s probably part of the compromise that you discussed earlier. CC : There is a psychological and emotional com-
promise that happens. But to be more positive and ensemble player to front man, creator, and center of attention. Did you desire this outcome or find it along the way?
CC : I think it was my masochistic impulse. To discover more about myself, maybe to feel bet-
ter about myself, to challenge myself awareness. I’ve always been way too self-aware and full of self-doubt. I think IAMX helped me with that, to become a more confident and stronger person. I always knew it was in there and I just had no idea how to get it out. I was almost forced into doing a solo project because at the end of Sneaker Pimps I was putting so much energy and drive into that project that it almost felt like a solo project. I was still compromising my ideas and lyrics and it didn’t feel right, so it naturally took me into IAMX and I realized that was my therapy. It felt natural. There was no life question with it, it felt practical. I re-
ally went back to roots with IAMX, there was a big commercial success with Sneaker Pimps and I felt uncomfortable with the plastic side of commercial music. I don’t mean the actual music was plastic, but there were many negative things that came along with that and they were out of my control be-
cause I wasn’t really running that project. So when IAMX came along, on every level from booking... I began by having no managers so I’d book the shows myself and I’d play everything myself and try and get deals and try and release the records myself. It was a real back to roots thing and it was healthy, I really learned to stand on my own two feet. It’s still going in that independent DIY way.
april/may 2013 AUXILIARY Everyone knows them as the crazy cacophony band that coined the idea of industrial jungle; Mindless Self Indulgence is a hybrid of sounds from rock to punk, to industrialized hip hop-like beats with all kinds of flotsam of alternative music mashed together. The appeal is limitless, so much so that the band describes themselves as being “from the future”, ten years ahead of their time. They certainly are not afraid to do their own thing. In an age when alternative music struggles against the industry, MSI are doing it right, with clever marketing points that include video games, comic books, and a very successful Kickstarter. On the eve of their new album, How I Learned to Stop Giving a Shit and Love Mindless Self Indulgence, and supporting tour, frontman Jimmy Urine got in front of our camera and shared his experiences with the Kickstarter, the new album, geek culture, and what makes MSI have such huge and diverse appeal.
interview by Hangedman
photographer Saryn Christina
mindless self indulgence
AUXILIARY april/may 2013 The new album is in pre-pre-release on Kickstarter. How is it working for you?
Jimmy Urine : It works for us, I mean we’d heard about this with a couple of people who had done Kickstarter in regards to different platforms, some people did it with music, some with film, some with video games, and so on. We thought, this is an interesting way to cut the middleman out. I had heard a story about Aimee Mann the indie artist who had put out a record and everybody stole it. She put it out kind of on her own and so she was the one who was really losing out on the money. It wasn’t like a big corporation and everyone was sticking it to the man, so she got all irate and put out a big manifesto that was like, “hey people you gotta buy my record,” and at the end of the day nobody still bought her fucking record and they kept ripping her off. So we were like, what’s the only way people can’t rip off your record? Oh... how about if they don’t fucking have it [laughs] and you get the money first! Kickstarter is so much like a hostage situation and we loved the idea of a hostage situation so we went with that angle. A lot of people are out there doing this sorta whiney, “please give us money we can work together fans and artist yadda,” and we we’re like, “fuck you! If you ever want to see this fuck-
ing record you better give us ransom!” And it worked. [laughs] So the approach worked?
JU : Yeah the great thing about Kickstarter is if you don’t reach your goal you don’t collect the money and nobody gets the product. If we didn’t make our goal we could have just burned the record and thrown it in the trash or we could have repurposed it as a soundtrack or something. But it did work and so we were like “this is great” let’s make a record! It’s also a pre-order, so it wasn’t just the money for us to get off our asses and make the record. It’s not like all this money is com-
ing in and we’re going to go like have a big fucking vacation in Bora Bora. We pay for the manufacturing of the record, we’re printing out these really nice fold outs, CDs with beautiful art, we’re paying for the artwork, we’re paying for the recording, the mastering all those aspects that a record company would cover, we are going to cover with the money from the Kickstarter. So it really is us and the fans. The fans are like, “we really like this band, we want to see another record from this band so we give our money.” If people didn’t want to see another record, we wouldn’t reach our goal and there would be no record right now. That’s one of the things I love about Kickstarter, it exposes fans to the busi-
ness side of making music. There’s a little industry forming with entire web-
sites like and such.
JU : The thing I like about it is there are different ways of doing it. We’ve had people writing in and saying we can make an album and it doesn’t cost that much blah blah and we’re like, A, you’re wrong and, B, if you’re like fucking Guns N Roses you are going to walk into a studio and make a record for like a million dol-
lars. We on the other hand are going to make a record for way cheaper, not even a percent of that. We’re going to do it as tight as we can get it. So there’s the Kickstarter pre-pre-release but also on the tour you are going to offer this album up as pre-release?
JU : It is a different thing. The people who funded the Kickstarter to me are like we’re all working together even though it’s like Stockholm syndrome [laughs], and so they’ll get a special version of the album. There will be a CD, deluxe digital version, and vinyl and the art is specific to that for the Kickstarter sponsors. Now if you come see us on the tour, you’ll get a totally different version. It won’t be as nice as the crazy big Kickstarter version but it’ll have its own thing, different art, different bonus track, a little something special for people who come out to the show, that your “I came to the show art” because you get a thumbs up because you came out jumped in the pit, kicked in your twenty bucks. And then when it gets li-
censed to different companies later this year we’ll make a totally different version and it’ll be a different bonus track, etc. It should just be special for each person. The most special limited edition is the Kickstarter and it scales from there.
So if you are an uber fan you could do the Kickstarter, come to the show, and then buy the retail version and have the whole collection!
JU : Three different versions and they all look nice! I think this will be the future of the industry, it certainly is the present! The music industry has struggled with the digital age for a long time and there’s been no real solid answer. JU : In the mid 2000s people really started freakin’ out about it yeah. At that time artists were like, “yeah this is our lot in life, we’re never going to get Michael Jackson money funneled into buying one thing.” Today it’s about buying the mu-
sic and the T-shirt and the music and the show as one. The music is a part of it all whereas before the music used to be the whole thing. You’d buy the physical product and you could make a cassette but you couldn’t distribute the cassette to a million people like today and we’ve always been cool with this. We’ve never been like, “you’re ripping off our music.” Our thing has always been even when MP3s became popular if you are going to burn our CD, burn ten and give them to your friends. Those kids are like, “cool, let’s go to the show, I love that song it’s on my mixtape coz my homeboy gave it to me,” etc. Then at the show I’ve got your money! [laughs]
You guys have a super diverse appeal in subculture music circles, I think you guys coined the term industrial jungle?
JU : We coined it way way back mainly because there was no lane to put us into. There was no category for the record label, “what the fuck are we calling this?” [laughs] It worked for a while, we’re definitely a little piece of everything and we try to be that. Everyone has this music in their collection, even the kid who is dressed like a goth has a Wu Tang Clan record in his fuckin’ collection! These days the punk is going to a Korn show, everyone hangs out together now. We are like, “we love all this music so we want to sound all of this together.” So we’ve formu-
lated the sound, the look, the idea, what a band from the future would be like and we came up with MSI. Fortunately and unfortunately for us, we were a band from the future in the past if that makes sense. So it’s like 1999 and everyone is like, “you guys are amazing, you are ten years ahead of your time. Oh we can’t play this stuff on the radio because you guys are ten years ahead of your time!” On one hand it was great and original, on the other it was kind of a pain in our ass. It never let us become huge like Linkin Park, but it did keep us alive as a sort of cult band. You know, anything like the Cramps to Rocky Horror to Gwar, we are similar to that stuff in that those artists will always be around. They’ll always play the kind of music that they play and they have discovered their niche and made their own way. We love being that kind of band because it allows us to continue for as long as those bands will. I mean, the Cramps went for like thirty fuckin’ years and Gwar is still doing their thing and we’re still going strong and that’s because we have that cult sort of Rocky Horror thing going on which I love!
Aside from just a cult status, you are diverse, the diversity has served you well.
JU : The diversity is part of our sound. Like for Gwar, it’s mainly metal, what makes them diverse and interesting is they dress up as these crazy monsters and they have this whole show with the blood and the Trantularex is on the stage and it’s a crazy thing. For us, our show is we’re jumping all around being crazy plus the sound that we have is also very important. It’s a very specific sound that works on lots of different levels. I think today kids really get it. Kids really relate to the witch step stuff because of fucked up beats from dubstep and all that.
And kids these days have the luxury of taking advantage of the diversity. My seventeen year old daughter is about to walk through the door, today she can dress like a goth, tomorrow she can go to a dubstep show, Friday night she can do whatever else and not be pigeon holed into one youth subculture.
JU : It’s true, I completely understand that because today kids, your daughter, whatever, have access to everything they could possibly want. She can put ev-
ery single record that ever was on her phone! And let’s say she never heard who Prince was and then heard “Red Corvette” and said, “hey I like that.” Tomorrow she could have every single Prince album, track, bonus track, whatever and it will be the top of her playlist for a week and then she’ll be on to her next fuck-
ing thing. And because kids have that kind of application now with film, music, YouTube, and all that they can immerse themselves into these subcultures that we used to work hard for. Like hanging out at the record store all fucking day long or going to that goth club and hearing some obscure Yaz song and going, “I got to fucking find that song,” and working for it. I think this is interesting because MUSI C
april/may 2013 AUXILIARY mindless self indulgence
that’s how MSI customized its identity back in the day. We liked so many things we never wanted to be pigeon holed, we were more three dimensional than London. I give it up for people who are one dimensional because they make a hell of a lot of more money than I do, like you have people who are like, “I wear a leather jacket and have tattoos and play rock and roll,” and either make a million dollars, or be very boring. [laughs] But with alternative culture of our day, it always has been three dimensional, we wanted to go see a Jackie Chan movie one day, Rocky Horror the next, go to a goth club, do a crossword the next day, go to the library, it didn’t matter, whatever! Back in the day we were nerdy and eccentric and had all these dichotomies running around and now that’s where the youth culture brain is at. We’re now in a world that you and I made in the 80s and 90s and kids now get that. It kind of bums me out, you grow-up in a world nobody understands comic books and you can’t get fucking laid and next thing you know every-
one is into comic books and everybody but you is getting laid. You know what I’m saying here, back in the day you have a bunch of X-Men comics and you are getting shoved into lockers for it and today some motherfucker makes the X-Men movie and is getting all kinds of laid and it’s like what the hell happened? [laughs] I’m like, “where were you when it was just a fucking comic book, you motherfucker?” Back in my day we Lewis and Clarked that shit! That’s the MSI approach, internally we call ourselves the Rodney Dangerfield band because we get now, respect! [laughs]
You guys have been careful to retain the rights to your music. People consider that a smart move. What is your approach when it comes to labels?
JU : When we first started we had a big label bidding war be-
cause everyone thought we were the next The Prodigy which was great! We took advantage of that and picked the label we could push around the most and write our own contract. We picked Elektra because they were like, “you can do whatever the fuck you want!” So we were like we want to own all the I’m programming shit, I’m writing shit, I’m doing business, and I’m also getting up on that stage and breaking my face. That’s one of the things I’m very proud of that I don’t think anyone really knows it. Yeah they know I’m crazy, they know I enjoy a fun show, and I’m a funny guy and we’re all good musicians but what they don’t know is the band is good at doing the business part. Just because we like to act like idiots on stage does not mean we’re idiots off stage. Let’s talk about your artistic approach. You’re described as “irreverent”, would you agree with this? What would you describe as the main theme of your sound?
JU : Just music-wise, we try to mash as many things togeth-
er and get in your face and get to the chorus, don’t bore us, all that kind of stuff. Now that is very relevant, pop music is now all about choruses and that’s exactly how I’ve been writing music for the last fucking fifteen years. Dubstep is all glitched out, that’s how I’ve been writing beats for the last fifteen years. I curse a lot because, well, why not? That’s how I was brought up which is the way people are doing it now in music. The band “Fuck You” won a goddam Grammy, you know? Hello? Musically we’ve always been ten years ahead and now we can kind of relax and just be ourselves because we live in a world where MSI is accept-
ed. On a lyrical note, there are bands that I love that have a similar insane fucked up sound but most of the bands that are like that are also incredibly political, like Public Enemy, Atari Teenage Riot, or System of a Down. Those bands are very serious. They’ve got a fucking mission and that’s cool and it works for them and it lands them Grammys and whatnot. MSI on the other hand has always been about the truth as we see it now. We’re not necessarily grabbing a flag for a cause. Our cause is kind of, “I’m going to tell you the motherfucking truth.” That’s always how it’s been whether it’s like the song “I Hate Jimmy Page” which is ba-
sically about why is everyone ripping off old shit and then still getting their asses kicked for it. Interpol is the world’s biggest Joy Division cover band, why are they success-
masters and stuff and then, when we didn’t become the next Prodigy on the second record and it was all really really fucking bizarre they were like...”Get the fuck out of here!” We were like alright, we’re going to leave now with our masters and stuff...
Were they really like that? Like, “get the fuck out of here?”
JU : Yeah pretty much. It does make sense though, I get the idea, they don’t want to cough up millions of dollars up front on a band. That was our first experience with labels but it was a lucky experience because we were able to get in, get the fuck out, take the money, take the masters, and then after that we were like look, there’s no reason to the label thing. You know, you sign to someone like Roadrun-
ner which is a great label, but you are signing on for a minimum of ten albums at least so if you do the first record, and nothing happens you got to come up with nine more fucking records to get off this label. That’s ridiculous, even good labels are going to keep you for three records, like come on! That’s like three years of your life right there...
JU : Yeah, so we were rather, “let’s do just licensing,” we’ll pick a label, we’ll pick a company to do the work. We own the record, we’re licensing it to you for all the record label work, we’ll do our work and tour and make the record and do everything really right, we’ll all work together. If we’re all happy, maybe we’ll do another record. If not, we will go to another record company. That’s how it’s been for us, we do one-offs. That’s kept us very sane and very much in the business part. We’re very indie but we’re also the ones in control, literally. Even though we have a good team, manager and stuff, this has allowed us to be very much involved and in control. I still get calls to make decisions, it’s not up to some label to do that. ful? And why don’t people say that about them? There’s been articles and articles about them over the last few years not one fucking person is calling them out. Mindless Self Indulgence is calling them out! JU : Yeah! We’re the ones who are going to say that shit! Whether it’s that kind of a subject or on the new record there is a song called “It Gets Worse” which is a song about the fucking truth, we are here to deliver the truth! It does not get better for everybody! Oh sure if you are real good looking, if you got money, if you happen to have an ounce of talent, yeah sure it’ll probably get better for you. But for the rest of us motherfuckers? You are probably going to be working at a fucking gas station! Hell you might lose a fucking arm, you don’t fucking know! To put a blan-
ket statement out there like, “it always gets better,” is fucking dangerous and stu-
pid. Giving people false hope instead of realism is really irresponsible and fucked up, so we’re going to call you out on that! So that’s us, we come with the truth, not necessarily with a flag. In general MSI is very liberal. We believe in women’s choice, and gay marriage, and all that, but we also think that that shit is kindergar-
ten shit! It’s 2013! We’ve been thinking like that since we were kids! People are still having huge arguments over that stuff? That’s the stuff that blows my mind! Like come on! Deal with that shit legally later. Like today kids get toys in the ce-
real box, choke and die, the next week, slap a fucking label on the box about how you shouldn’t put it in your mouth. Done! MSI is about saying that kind of truth. You guys are known for your completely bananas live show, how does that work?
JU : We just go with it. It’s kind of like Pavlov, when we hear the intros to the songs we just get the energy. There have been shows where we are like, “okay, let’s tone MUSI C
AUXILIARY april/may 2013 it down a little, there’s cops here and you know,” and as soon as the fucking first song starts Steve jumps into the audience and we’re like, “there it goes, that’s the kind of show we’re going to have tonight then!” [laughs] And that’s kind of like how it all goes. It’s improv in the sense of the place and the day. We’re all about en-
ergy and we’re all for doing completely different insane things that we want to do at that moment and that makes it look like cacophony. There definitely isn’t a cho-
reography, if Lindsey wants to dance and spin the whole fucking show and decide to leap into the audience, it’s not like we’re pre-planning and saying, “okay, now, during bitches you are going to leap into the audience and then I’ll do a pirouette yadda.” There’s a certain anarchy to us in the sense that we are making it up as we go along but it looks great and the only thing we know is we’re going to do stuff. Crazy encourages crazy, what’s the craziest thing you’ve ever seen at a show?
JU : It’s really rare where we’ve ever had a show where the audience was very boring, or we were very boring. Some shows some member of the audience comes down from the balcony, or someone shows up in a Super Mario costume and we get them on stage. Having seen so many crazy shows it’s all a bit of a blur. The fun-
niest one off the top of my head that I can remember, we were in Germany about four years ago and we were in a small club in Hamburg. The ceiling was really low and over the ceiling was these fluorescent lights. I turned around to do a bit in between songs to talk to someone and while I’m doing this Steve reaches up and pulls one of these fluorescent bulbs out and as I finish my speech he hits me with this thing and I didn’t expect this at all. What happens is it breaks on my shoulder but goes down my arm and cuts open my arm. And we stand there and just both look at each other with a sort of, “what the fuck did you just do?” look and he’s like, “awww shit, sorry man!” And for the rest of the show as I’m jumping around So I was like, “Jesus, do I even need to audition?” Doing the game would have been just fine, I mean it’s one of those bucket list things. Not only am I the voice of a character, I’m the voice of a boss in a video game so that’s awesome. I went in and did that and that was the greatest, it was as much fun as you can possibly imagine, plus they pay you! So I was talking to the guy and I was, “hey you need any music?” So we divided up the boss scenes for MSI and some of the cutscenes were done by the guy who did all the Silent Hill music so even more cult status! And then to add to the cult thing you could also get all these codes and stuff to unlock special outfits for Juliette, the lead cheerleader and some of the outfits were like Ash from Evil Dead, and even one of my outfits, like the classic Jimmy Urine pink from back in the day. She looks great, better than I ever did! [laughs] You guys have a solid fan base, what’s the overall fan feedback you get these days?
JU : We’re so forward thinking in that we do what we want to do. The message we get the most is, “you got me through hard times.” Other than that it’s a lot of, “awww you guys are awesome.” [laughs] I think if people get it and they get it and if they don’t get it well, I’m not there to beat people over the head, “you must be a fan!” I couldn’t give a shit and I think that not giving a shit attitude has been really helpful. If you want to get a huge hit single you have to work certain angles and do certain things and good luck, have fun with that. We’ve always been we do what we want to do and I think people see that. Whenever this project starts to slip slightly into “we need to do this” territory, whenever we have a year like we’re, “fuck this shit, let’s burn it to the ground, I don’t give a fuck if we ever tour again, fuck everybody!” That ends up being the year everyone loves it coz people are like, “these guys don’t give a fuck!” It’s not even in like a showmanship kind of way, when you don’t care about something and you do what you want to do, with all the blood, blood all over me, all over the mic, all over the drums. Every time I look at Steve during the show he’s like mouthing the words, “sorry man.” [laughs] What still cracks me up to this day because we are there going crazy, there’s blood everywhere, and every time I look at him he’s got this sheepish “so sorry man” look. [laughs]
You guys have extras in your marketing portfolio: you have a comic book, you’ve done video games. JU : The video game was cool [Lollipop Chainsaw]. We didn’t come up with that, it was a totally separate thing. The comic book was something we came up with. It was by this beautiful artist, her name is Jess Fink and she’s done lots and lots of really cool stuff. Check out her Chester 5000, it’s really really cool. She had come to us and wanted to do art work and we always have anecdotes about the road, so we were like let’s make this all our stories. I mean our sto-
ries are crazier than fiction! So all those stories in the comic book are true! They happened exactly like that, we didn’t make any of that shit up, perhaps we changed some names, but we changed it so you could still tell which bands we were talking about and stuff. The video game was a com-
pletely different thing, my friend James Gunn, who directed Slither and Super and right now he’s working on stuff for Marvel, he was working on a video game called Lollipop Chainsaw. It was put together by Suda 51 who did No More Heroes and all these really cool games that have a really cult following. So they brought in James Gunn because they wanted to Americanize his ideas. Gunn’s involvement was to bring in all his friends to play different characters so then the cult bar rises again, you got me in there, he brings me in to do Zed, he brings Michael Rooker from Walking Dead to do the Viking, he brings Tara Strong to do the lead girl, the voice of every cartoon, Michael Rosenbaum from Smallville is in there, so there’s all these people. So it turns out the reason they picked me beside Gunn knowing me, is because they actually based the character on Jimmy Urine! you’ll go to the bank knowing you did what you wanted to do. People kind of respect that in a weird kind of a way, especially young kids, they fucking dig that. You have the tour, you have the album, what’s the fu-
ture plan?
JU : We’re living the future plan right now. We’ve done the record, we did the Kickstarter successfully, we’re sending it out this month so everybody is going to start to receive their stuff very soon. Then we’re on the road for the U.S. Then in the fall we want to hit the U.K., Russia, Europe, Scandinavia. Next year I’d like to go back to Australia. We just did Australia, literally just got back, I was in Perth just a couple of days ago, we’d like to go back to Australia, we love Australia and we had a great time there. We’d also like to get back into Japan. We have been to Japan a couple of times but we never really kind of cracked that nut. The cul-
ture there is so very bizarre, and I’m not just talking about their regular culture, their culture business wise, and a lot of people don’t see that. Most people simply buy Japanese products, they don’t actually do business with Japan. When you start to do business with Japan, you’re like, “wait, what the fuck did you just say?” [laughs] “You want me to do what?” They have their way of doing things and it’s very different than the way we do things. You kind of have to bend your mind around it. Back in the day in the 70s and 80s people were like, “yay we’re big in Japan!” Now you can’t just walk into Japan and think your fucking big be-
cause you are Americans with big fizzed out Poison hair, that shit is an old school myth. Yes it did happen to a bunch of bands back in the 70s and 80s, but now? Like, bands that are big here are big there. It’s really rare that no one knows who the fuck you are in America and you are huge in Japan. So we want to go back to Japan, and I love Japan, we have such a great time there. Right now this is the year of work. Right now I’m doing the nine to five and it’s called Mind-
less Self Indulgence. [laughs]
april/may 2013 AUXILIARY Meet Porcelain, a dark queen, makeup guru who’s worked with Sugarpill Cosmetics, and regular performer at several Philly clubs. Combining elements of her childhood nightmares, her obsession with the circus, and her teenage angst for punk rock she transforms herself into a goth goddess and impresses and unnerves crowds with her mastery of suspension and acrobatic pole dancing. When she is not performing in clubs, she enjoys exploring urban landscapes and perusing medical journals. You’re sure to be seeing a lot more of Porcelain as she captivates and beckons us all into the dark.
photographer Steve Prue
makeup artist Porcelain
hair stylist Porcelain
model Porcelain
the PinUp
Auxiliary’s playful take on the sexy centerfold pin up. Flip the page, cut out, and tac on your wall!
THIS PAGE Neck corset by Mother of London.
Upper, model’s own bedazled lace dress. Lower, flower dress by Iron Fist.
AUXILIARY april/may 2013 Porcelain
name : Porcelain
nickname : My drag sisters like to call me Death, P Town, Porsha, Devil Chops, and sometimes the “Black One”.
hair color : Changes constantly, but mainly blonde and black.
eye color : Hazel, unless I pop in some contacts. I love living in a ghetto city where people come up to you and say, “Is dose your reel eyes?”
birthday : You never ask a woman her age! I will say I’m an Aries baby through and through.
birthplace : Abington, the same hospital Bob Saget was born in, no relation though.
turn-ons : Is this a sexual question? If I let the world know how to shift my gears, then I will forever be bored with my sexual relations. Spicy food is a huge turn on for me too, I like the burn. turn-offs : The sun.
why do you model? : I honestly do it for myself. To push what I am capable of doing with my body and putting myself in uncomfortable situations. how did you get into modeling? : One of those “it just kinda happened” situations. The more I kept evolving as a Drag Queen, the more I was getting booked for gigs. It all happened really fast. One hell of a ride. favorite musical artist : This question will always haunt me. I will say Nick Cave makes me extremely wet.
favorite movie : Anything Christina Ricci is in. Slight obsession. Ever since I was a little girl, Wednesday Addams has always been the love of my life.
favorite tv show : Desperate Housewives. Laugh now, but I know how to get away with murder from watching that show. Bad Girls Club has nothing on these older women!
favorite book : I really enjoy medical practice books. It’s fascinating what can be done with the human body. favorite cocktail : Whiskey Ginger
favorite color : Seafoam green. No one ever guesses that. It’s not a color I ever wear, but it’s total eye candy to me.
favorite tattoo : Currently, the dapper snail on my neck done by Scotty Munster. I named him Lord Snailington.
favorite fashion designers : Autumn Lin Kietponglert of Heartless Revival, Sophie Reaptress Designs, Dallas Coulter, and Renee Masoomian of Baby Love Latex. I recently got to shoot in Mother of London and I am in love. favorite fashion style : Gutter slut goth. Disney Villains also inspire my style.
favorite star/icon : Beetlejuice! Beetlejuice! Beetlejuice!
favorite outdoor activity : Getting lost in cities while pretending I’m being chased by angry vampire killers. It makes going out in public more fun.
favorite indoor activity : Sitting in the dark with Gothscum (Michael Valtin) listening to depressing music and tearing each other down. It sounds like an unhealthy friendship, but it’s very entertaining. favorite club/club night/place to go out : The clubs in Philly where you can usually catch me performing are Voyeur, Tabu, Woody’s, Bob and Barbara’s, and The Barbary.
anything you’d like to say to our readers? : I would like to give that whole “motivational speech” about accepting yourself and not being afraid to be different and unique, but that speech has been said one too many times to further bore me. Who you surround yourself with is very important. I am so fucking lucky to have an amazing drag family who is always there for one another. I love you (The Goddess) Isis, Misty Maven, Omyra Lynn, Navaya Shay, and Poison. Never be afraid of the dark, you would be surprised where it can lead you. R.I.P. Porcelain.
april/may 2013 AUXILIARY AUXILIARY ONLINE CONTENT See more of this feature by searching “Porcelain” on
OPPOSITE PAGE Half jacket by Mother of London.
Ask Arden
submit your questions to : [email protected]
what should you do if you feel sparks with someone who is in an unhappy relationship?
Q : Hi Arden, I need advice. I met a guy recently, and we completely hit it off. Call it intuition, but I swear sparks flew. I found out today that he has a girlfriend who is very unattractive, and I find myself feeling blue. I am con-
sidered very pretty and smart, but I feel so bad. I feel like there’s no point. Or is there a way? What do I do? Sigh.
A : Wait wait wait. Let me put something in perspective here for you. You’re tell-
ing me that some guy’s poor taste in girlfriends is making YOU feel bad about yourself? Okay, let’s back this up. You met a guy, and you hit it off, and you’re pretty sure he felt some sparks for you. That’s great! Take a moment to celebrate that vic-
tory. Seriously. Celebrate the fact that you went out, and you were proactive about meeting someone who interested you, and you were engaged in your interaction with him to the point that you felt mutual chemistry. Those are all things that should make you feel very good about yourself, especially since you know you can go out and do it again. Following this, you found out that he has a girlfriend, and that she is, by your standards, far less attractive and interesting than you. Okay, that is disappointing information. But can you really fault this guy for choosing her over you before he even met you? He had no idea you were going to walk into his life and that he ought to wait for someone as attractive and interesting as you. So you can’t judge his relationship status as a reflection of you. As far as what to do next, there’s nothing to do at this point in time other than to keep being your awesome self. There’s no reason you can’t hang around him, be his friend, and see how things play out in his life. I don’t advocate playing dirty to steal someone from a committed relationship, but I do condone positioning yourself as an appealing alternative to something that was already destined to end at some point. Don’t, however, fixate on this guy to the point where you’re not exploring other options. You only met him recently and you actually have no idea if he’s someone who’s compatible with you. So keep going out and meeting new and interesting people, just as you did the night you met this guy, and soon you’ll find someone with just as many sparks who is actually available to meet your relationship needs. Or maybe this guy will man up and decide he needs to explore those sparks with you. But you can’t sit around and wait for him, and you can’t push him to it either. That’s a big boy decision that he has to make on his own. And if he doesn’t, then he wasn’t the right person for you to begin with.
what can you do to turn things around when you’re feeling down?
Q : Hi Arden, what do you do when you are feeling down?
A : I frame my sadness as discontent, figure out what I’m discontented about, and then work like hell to change it or at least overcompensate for it (jury’s out as to whether said overcompensation is healthy or not). If I’m feeling sad, I let it slowly translate into an anger about whatever I feel is wrong with the world, and I let that anger light a fire under my ass. Then I go write a screenplay or a book proposal or start a band or go to parkour and jump over stuff or go to MMA and punch things. If I’m faced with circumstances I think are shitty, then I just say fuck this noise and get as awesome as possible. You could say that I have a story I make up in my head that the more I better myself, the better quality of people I feel I will attract in my life, in a sort of like-attracts-like kind of way. And truly, as I’ve done that, I’ve found that the idiotic people who were pissing me off before seem to matter less and less, and I do meet new people who keep up with me and who treat me better because we’re on the same level. What I’m wary of in that equation, though, is that there may be a point where my self-worth then becomes contingent upon my accomplishments, and it would indeed seem I’m prone to that, and, you know, I’m working on it. But it’s a hell of a lot better than sitting at home crying, or drinking, or numbing it over with drugs, or any other manner of non-solutions. And at least I have some work (and some pretty kickass abs if I do say so myself) to show for it in the end.
Bringing together her experience in neuro-linguistic programming, psychology, pick-up artistry, and the fetish industry, Arden Leigh, author of The New Rules of Attraction and today’s freshest voice on women’s dating and relationship strategies, answers your questions. by Arden Leigh
photograph by Ron Douglas
AUXILIARY april/may 2013 b
punk never dies
1 & 2 Extreme High-Low Stud Tank by UK2LA available at Urban Planet paired with Addicted Leggings in Guns by Too Fast. 3 Skull Print Tank by QED London available at Urban Planet paired with Misfits Mini in Lips by Rat Baby. 4 Philandera bracelets by Aldo. 5 Raziya ring by Aldo. 6 Flared Out Necklace in blue by Felt Your Heart Beat. 7 Corbin bracelets by Aldo. 8 Viola Heels by Bettie Page available at Ellie Shoes. 9 Ela Goose Earrings in pink by Felt Your Heart Beat. 10 The Spiked Goose Earrings in green by Felt Your Heart Beat. 11 Gilda ring by Aldo. 12 Bad Girl Collection Arsenal Earrings by Felt Your Heart Beat. 13 Misfits Mini in Lips by Rat Baby.
styled & written by Pretty Deadly Stylz
photographer Ian Compton makeup artist & hair stylist Ashley Miriam Brewer of The Proudest Pony
model Ashley Miriam Brewer
april/may 2013 AUXILIARY 1
We use clothing to help define ourselves. Punk style has infiltrated many other genres and created its own sub-genres. It’s walked runways and the street corners of your neighbor -
hoods. It’s hung out in the pages of Vogue and in dive bars around the globe. Punk is about self-expression. So instead of hating the mainstream for adopting our underground looks, embrace it. Take it back, use what you like. Layer spikes and chains; mix in rhinestones and some rock style glamour and tattoos. Add sparkle and color to ripped and distressed. Play with patterned leggings and stud shirts, mini skirts and printed tees. This look is as much about the clothing as it is your attitude. Just remember, punk never dies.
interview by Tasha Farrington & Jennifer Link
photographer Laura Dark
fashion stylist Laura Dark
makeup artist Mascaraid
hair stylist Laura Dark
models Shantia Veney
AUXILIARY april/may 2013 THIS PAGE
Corset and skirt by Darkspectre.
Upper and lower, gown by Darkspectre. Center, corset and skirt by Darkspectre.
For most of us, our dream wardrobe is influenced by our favorite movies. Fantasy, sci-fi, horror, period, dark, spooky, whimsical, and enchanting: films have inspired subculture for as long as films have been made. Enter Darkspectre Custom Couture, a designer with the skills and magic to make these dreams a reality. Self-taught determination, tremendous attention to detail, and a vivid imagination allows designer Nez Wilburn of Darkspectre to re-create and re-invent one-of-a-kind historical and movie inspired gowns and ensembles, as well as many stunning unique pieces. DarkSpectre
With no formal training as a fashion designer, how did you develop your skills? Nez Wilburn : At the end of the day my skills were developed out of deep need and want on my own part. I had searched the surrounding areas and the web for items I could not find, and if I could they were poorly made and super expensive with huge wait times for items. So I had to learn how to do it myself if I was being such an exacting customer, my resources being books, the internet, costume and historical studies, and then getting my hands on items of note to look at their construction closely. In the end it all paid off in spades as my friends in the haunt/horror industry started to take note, and then the segue over to gothic fashion became evident. What lead you to become a fashion designer and lead you to become the creator of many unique designs and re-
imaginer of many iconic historical, sci-fi, and fantasy costumes? What brought you to start up Darkspectre?
NW : In the end I blame my friends. [big grin] When they saw what I could do, at first they clamored for me to attire them for events as well, and especially to rise to the challenge of taking gowns out of very noteworthy gothic films and recreate them. I have reproduced gowns from everything to Bram Stoker’s Dracula, to The Addams Family, to the iconic Lily Munster gown among others. It didn’t take long for the suggestion to be made that I should “go pro” and take the show on the road... although I was humbly resistant for quite a while and even took a two year hiatus to bartend, of all things. For what it’s worth... the moment I realized, “Hey! I’m really good at this!” I was in the public eye for everyone to see. And what I saw was art. It’s always about the art. Being able to feed my creative beast abundantly and make a living at it is immensely rewarding!
Growing up, is this what you imagined yourself doing? NW : It’s funny... growing up I was this scrawny little “gothabilly” girl with a big nose who really, deep down inside, wanted to model, wanted to be beautiful, and wanted to wear beautiful things. Being raised in San Jose, California, there was a burgeoning subculture just starting to form, and we all searched for and acquired our garb the hard way: via thrift stores. No one had money back then, gas was expensive, and it was what it was. I finally taught myself how to use this ancient sewing machine of my mothers and began to repurpose items I would find in the thrift stores, twisting them to my means. I was also a total theater junkie... so an innate love for costuming and dramatic garb came from that. Never in my wildest dreams did I think for a second that what I do would translate so well over to the industry as it has. I’m thrilled that it has been so well received!
You are a Persian Gulf War veteran, a background that contrasts with fashion design. How has your experience in the military informed your designs? Do you draw off this experience and try to channel it into your creative work now, or do you view them as separate aspects of yourself?
NW : You’ll occasionally see the influence of my time in the Marine Corps in my work by use of buckles, pauldrons, and other items, especially in my steampunk gear. Absolutely I do channel that experience into my creative work and enjoy mish-mashing a more military style into my more industrial creations, and more par-
ticularly, my post-apocalyptic creations. Although there has been a huge emphasis on the romantic and gothic sides of my personae, the steampunk movement has given me huge license to play with old military designs and bring them fashion-forward. For the most part I don’t get to play with this side of the creative process much unless I’m working on men’s clothing at the time, and then it is always very well received. Did your experience in the military help develop skills you use now as a self-employed business owner?
NW : People are often surprised at how much my military background has first off, helped me form this busi-
ness from the bottom up and have the discipline to “complete the mission”, but also it’s amazing how much the problem solving skills I was taught in the military come into play when it comes to design. The military made me an analytical thinker, a person who can picture in her head the end result of a design, put it down on paper, then reverse engineer the concept so I can create it efficiently. There are aspects to the design and production process that are also intensely mechanical in nature, and all of those priceless skills I picked up in the military.
How long has Darkspectre been dressing us in elaborate and alluring couture garments? What have been your greatest achievements and toughest challenges over the years? NW : Darkspectre has been producing gorgeous gowns for the public since 2004. We started off with a cur-
sory website and portfolio, only selling our gowns on eBay and taking commissions as they arose, primarily by word of mouth. Now we are strictly commission-based and all custom work. Items created for particular shoots go into our Etsy store and are available to the public from there. My greatest achievement and toughest challenge are uniquely intertwined: my greatest achievement is to have been able to create this great work that is noteworthy and will far outlast myself... to become a part of history itself on some level that will continue on beyond my time here on this planet. The toughest challenge is to continue on a forward moving path creat-
ing that art without succumbing to economic pressures to do the easy thing, or the popular thing. To not mass produce and to not sell out. This far I’m beating that challenge back but with times as they are and the state of the world, it can be hard. Why do you think sci-fi and fantasy movies excite people so much? So much so that people want to dress as the characters in the films?
NW : Sci-fi, fantasy, and horror seem to be the cosplays that people choose the most and I know why it is... FASHI ON
it is fun to go to the cons and have people around you who are just as excited as you are, all dressed up to go out and play! It’s exhilarating to become someone (or something) else, especially when you identify with that character. It’s like taking five-year-old dress-up games and ramping them up to adult levels and saying, “Here! This is a world all of your own making and it’s safe and condoned to be whoever you want to be!” It is wildly fun to let your imagination go there and be a part of such events, and even more extreme when you get to actually meet the celebrities involved in those movies. I think the extreme fan bases have finally brought screen celebrities down to earth and made them more accessible by going to extremes in costuming. In a day and age where everything ends up on camera, online, or on the YouTube, they couldn’t ignore the fans anymore. It’s only going to get more outrageous as time goes on, if you’ve ever people-watched at one of these events you’d be amazed at the creativity that abounds. I’m just thrilled to see more and more events cropping up to give people places to dress up and act out, and not just at Halloween. [smiles]
Why do you choose not to create exact replicas of costumes?
NW : I try very hard to show respect to the original designers of the pieces I’ve replicated. I deeply admire and adore all the designers I’ve ever hoped to emu-
late... and it would be totally wrong of me to take their design, copy it, and shell it out as my own. Now, most would argue that just because I change a minor detail, I’m still plagiarizing that design and trying to pass it off as my own. I will never pass off a design of, for example Eiko Ishioka’s, as one of my own. I will make something close, even if I can nail it dead and I know I can... and even then I will say it was influenced by her and I pay homage to her. For the most part when I do make a reproduction of a movie gown, it’s usually me challenging myself to see if I can do it to start with. And even then... I will change something about how it’s made so it is different. Just to be respectful. What is your all-time favorite movie?
NW : Oh wow... that is an impossible question for me to answer. I’d have to fire a question back at you, “of what genre?” and then maybe we could get some answers out of me! I am, seriously, all across the board as far as my tastes in cinema goes. I remember going to see The Lord of the Rings Trilogy and spending the whole time conducting costume analysis in my head and hardly absorbing the film... and hav-
ing to go back and see it again. I’m a huge fan of horror but I’m also a huge fan of historical period pieces, not to mention my little obsession with independent films and a certain Boondock Saint. So... yeah. I can’t answer that one. I can tell you I didn’t like The Human Centipede. Does that help? If you could travel in time and spend a week in any era of your choosing, where and when would you travel to?
NW : Oh... this is a brilliant question! Victorian London, England... in particular when Jack the Ripper was active and at large. Yes, it’s really quite a dark thought but on the same note I’d like to witness the events play out as it really did and the, ooohhh the beautiful Victorian fashions from that era! Even the men’s fashions during that time period were stunning. So yes, I would like that very much. How do you define great style? How would you describe your personal style?
NW : Great style by my definition is a style that you personally rock, and rock well. If it makes you feel good and you look great... it is great style. My personal style tends to a darker version of rockabilly that is heavily vintage influenced with a gorgeous pair of wedges and of course, with a twist. But I also adore a great pair of jeans and an old band shirt, and usually when I’m running errands that’s how you’ll find me. And I lived in South Carolina long enough to completely appreci-
ate how much I love a great pair of flip flops. I’ve had friends of mine coin the phrase “redneck goth” in regards to my casual dress. I guess it suits.
Who are your clients? Are they participants of the goth/industrial scene, cos-
players, directors and costume designers, photographers and models?
NW : My clients run the gamut of all the scenes you speak of and then I also attract independent film, theater, and haunted attractions as well. I have a lot of repeat customers that literally are all about the cons and cosplays, but we also have as FASHI ON
clients some online “personalities” that come to us for help in character develop-
ment and a great wardrobe is key to that. What are some basic questions you ask any of your clients to make sure they get the piece of their dreams?
NW : I always ask for them to give me the best description of what they’re looking for that they can. From there I narrow down style first, i.e., long sleeve or short? Long skirt or short? And once I have a good idea I sketch out what I think is a close interpretation of what my client is looking for and we make continued changes from there. Color and fabric tend to be very secondary and easy to come up with... but that initial design is what takes the most time. I try to always work very closely with my clients so that the end result is a creation that they helped me to design and is very unique to them.
You emphasize the point of making every garment unique, changing little details so no two pieces you make are exactly the same? Why do you find this point important? NW : I prefer my clients to feel and look special, and to be as individual as pos-
sible. I’d rather not give them a cookie-cutter gown if I can help it. I want them to stand out and be one-of-a-kind and totally original. If even the only difference is that one gown is beaded and the other isn’t, it still makes a huge impact in the overall look, so why not keep things fresh and different? Especially when the vari-
ations are so multitudinous... we can take a garment anywhere with a few detail changes. Even just adding a small piece, like a neck corset, drastically changes the overall look. I’m not totally dead-set against making something exactly the same the second time around, but I always try to encourage individuality every chance I get. At the end of the day... customers want something no one else has, and prefer a custom gown or jacket to be an extension of their personality. I get this the most with bridal... the need to be the only one and totally one-of-a-kind.
You have a long standing creative collaborative relationship with photogra-
pher Laura Dark that over the years has yielded stunning results, how did this relationship come about and what makes it work so well? NW : It’s really funny how this whole meeting came about. I had pointed out a book of photography out to a friend of mine, Deanna Morton, of Makeup Vamp. We both admired Laura’s work deeply and kept tabs on her career because she just has a skill and a way about her that no other photographer can compare to. Deanna was hired on by Laura as a makeup artist a few years later, and as Dee owned quite an extensive wardrobe that I had created for her over the years, she was able to show it to Laura and things just went from there. I have been as thick as thieves with these lovely ladies ever since. It’s with them that the great work we do becomes art, and we are amazing together. I think being cut from a similar snarky cloth helps us all to stay on track and keep the humor in it, make it fun. We’ve always noticed that when we’re in a creative fit but having fun is when the magic in front of the camera happens. That magic extends to my workroom when we brainstorm future collaborations. I wouldn’t have it any other way... Laura is the only photographer I have met who captures what I see in my gowns. We’re very well matched!
What’s the most exciting photoshoot or styling opportunity you’ve worked on? NW : Easy question! It would be for Auxiliary Magazine’s Oct 2012 issue. The Monster’s Ball spread was a labor of love and I was thrilled to be able to model in that issue myself as one of the iconic monsters in the spread. By the way, many many thanks to you for publishing that spread. It was wonderful to create and I’m quite blessed to have been included.
What has been your favorite piece to recreate and re-envision? What have you not yet created but hope to be commissioned to make one day?
NW : So far the “bucket list” item has been the Dark Lily gown from the mov-
ie Legend. That was an amazing re-creation that actually I’d love to do again. I have yet to be approached to recreate anything from Snow White and the Hunts-
man... and I’m chomping at the bit to do so. We may see some black feathered and leather-bound queenly goodness from that one yet! Also some of the costuming 36
AUXILIARY april/may 2013 from The Chronicles of Riddick. There are some amazing industrial and Giger-ish influences in the costuming of that film that I’d love to take over to the bodices of some of my gowns.
Who would you love to make a garment for, dead or alive?
NW : I think Vivian Leigh would probably be a hell of a pick for me to dress. Her classic style and look translates well across all of the historical genres that I enjoy experimenting with and it would have been an honor to dress her. I have a pick for a live icon as well: Gary Oldman. That man is amazing. I love him as an actor, from Sid and Nancy to Bram Stoker’s Dracula to Sirius Black, and he positively rocks a wardrobe. I’m a huge admirer and he’d be an amazing canvas.
What materials have you not had the chance to work with yet that you hope to or what materials do you hope to work more with in the future?
NW : I am definitely honing my skills with leather and hope to incorporate a lot more of it into my Victorian design work. I’m also toying with the idea of playing with some latex as well... but more cast latex then skintight latex pieces. I love the way Organic Armor and some of the others are using cast latex to enhance projects and I can think of some things I’d love to produce with it. Also a lot more hardware to be used as interesting closures and attach points are on the way. What is next for Darkspectre?
NW : I have some awesome collaborations coming up with the Queen of Darkness herself, Laura Dark, that are quite involved and very much to my liking. And I’m toying with the idea of a new line of corsetry that is easily customizable and cre-
ated specific for each person. And, of course, Halloween is coming. We’ve been discussing going to NOLA and showing out at some events there in full Darkspec-
tre finery, so we might be there playing amongst the mausoleums. But that’s just for this year. Staying fluid for now seems to be a good idea as I sit back and plot out 2014. No matter what, I can promise you it will be fabulous!
AUXILIARY ONLINE CONTENT See more of this feature by searching “Darkspectre” on
Audrey Kitching may have started as a hot pink haired, punk rock princess, internet celebrity but her resume has broadened and deep-
ened remarkably since then. Now the list includes: blogger, fashion stylist, model, hair stylist, fashion designer, writer, and more. She is the Style Editor for Buzznet having, “been with them since the start up about eight years ago.” She, “helped them brand and grow over the years.” She explains, “they built Buzznet around me and my fol-
lowers at the time when they were just a super small company. Now they are this massive multimedia company that has taken over the web. It’s such a great honor to have helped and been a part of that!” She loves to be both in front of the camera and working behind the scenes, Kitching expands, “god I love to style and model so much. [I also love] art directing because I come up with a mood board, style, feel, and theme then get to create it and bring it to life! I love the whole aspect of the process.” Kitching has even brighter horizons and plans to, “have released two of my books and have my new fashion label out in stores,” this time next year. She got in front of our camera and answered our questions so we could showcase the darker, dreamier, more fantastical side of her style.
audrey kitching
Fashion trendsetter and blogger Audrey Kitching in a menagerie of color and pattern that combine into a dark and innovative look.
How would you describe your personal style? Audrey Kitching : This question is so hard for me all the time because I’m always evolv-
ing and changing so much! Right now I would say I’m a mix of My Little Pony meets warrior/gypsy with a twist of a ballerina. Think rainbow hair but thick gold jewelry, daggers and eyeliner, drapey clothing in nudes, pinks, grays.
What are your favorite places, stores, or designers to shop?
AK : I love shopping online, I feel like I hardly ever shop in stores unless I’m traveling. eBay, Japanese online shops, Topshop, Asos... that’s kinda my shopping in a nutshell.
What is your favorite garment or accessory this season?
AK : I’m drooling over the Prada spring/summer 2013 flower sunglasses. I’m on a waiting list of over 500 plus deep to get them, I don’t even know if that many will be released. I try not to think of it that way! [laughs]
What is your favorite garment or accessory of all time?
AK : I think for me just heavy chunky gold jewelry. I’m head over heels for my Karen London pieces. I think I wear one of them everyday.
What outside aspects, such as music, location, art, people, inspire your personal style?
AK : Honestly everything: I’m a huge cinema film fan so I see a lot of indie movies, AUXILIARY april/may 2013 interview by Jennifer Link
photographer Sequoia Emmanuelle
art director Sequoia Emmanuelle
fashion stylist Rio Wagner
makeup artist Emily Elisabeth
hair stylist Zuleika Acosta & Angelina Mersola
makeup artist assistant Joshua Edouard photography assistant Alyssa Lynn
model Audrey Kitching
Night Circus
imported fashion magazines, culture, and unknown artists I find on Tumblr or Etsy. I swear some of the most talented people in the world are the ones no one knows about.
Do you think subculture fashion follows trends as much as mainstream fashion? Is this a benefit or disadvantage? AK : I honestly think everything blends together, the designers take from the street style, the street style take from the runway, the stores take from the fashion bloggers... it’s a big give and take. We are all borrowing inspiration from each other and that keeps the circle moving! Do you believe in dressing differently for different parts of the day or dressing to fit the whole day whatever may come? What is your personal dressing strategy? AK : Totally different. If I’m in working on blog work or running around the city doing production I’m going to be in an over sized sweater or T-shirt with leggings, chunky boots, sunglasses, and rings with probably a braid or messy bun and minimal makeup. If I’m go-
ing to an event in the city I’m going to smoke out my eyes or do a bold lip with heels and some type of blazer, printed pants, or dress! I know a lot of people in the fashion industry are dressed to the nines day to night but I’m a lady that wears many different hats in the industry. It’s just not practical for the amount of work I do on a daily basis!
What is one style or look you admire but you have never tried to pull off personally?
AK : I love the heavy darks people who wear a lot of gray and black and minimal makeup with silver or blue hair, and lots of small black and white artistic tattoos. Love that style; it’s not really me. I’m more on the light side.
What is one piece of styling advice you’d give to our readers?
AK : Be yourself, when I see girls who are trend head to toe it’s such a turn off. I totally pull from trends, don’t get me wrong, but you don’t need to like every one of them. Just be you.
Vintage dress from Fashion Library paired with corset by Babatunde Ajiboye.
Night Circus
Jacket by Babatunde Ajiboye paired with sequin panties by Dineila for Free People.
april/may 2013 AUXILIARY AUXILIARY april/may 2013 THIS PAGE
Dress by Cesar Arellanes paired with earrings by Melody Ehsani and cuff by Karen London.
Harness by Regal Rose and vintage dress from Fashion Library paired with necklace by Versace for H&M, earrings by Melody Ehsani, and rings by Alex & Audrey, Karen London, and Ax+Apple.
april/may 2013 AUXILIARY THIS PAGE
Harness by Regal Rose and vintage dress from Fashion Library paired with necklace by Versace for H&M, earrings by Melody Ehsani, and rings by Alex & Audrey, Karen London, and Ax+Apple.
Vintage slip dress from Fashion Library.
AUXILIARY april/may 2013 april/may 2013 AUXILIARY AUXILIARY ONLINE CONTENT See more images from this editorial by searching “Night Circus” on
photographer Gasoline Photography
creative director Nina de Lianin
fashion stylist Nina de Lianin
makeup artist Linda Biewald
hair stylist Linda Biewald
model Nina de Lianin
location Schlosshotel Lembeck
assistant Inga Nottelmann
Nina de Lianin of In Strict Confidence brings dramatic yet simple elegance to Germany’s Lembeck Castle.
AUXILIARY april/may 2013 Lady of the Manor
Blouse and skirt by Laura Galic paired with cape by Tolllkirsche.
Blouse and skirt by Laura Galic paired with masks by Maskenzauber & Erlebenskunst.
Lady of the Manor
Blazer by Tolllkirsche paired with hat by Maskenzauber & Erlebenskunst.
Dress and bow by Laura Galic paired with feather mask by Maskenzauber & Erlebenskunst and feather collar by Tolllkirsche.
AUXILIARY april/may 2013 THIS PAGE
Harness by Tolllkirsche paired with dress by Laura Galic.
Upper left, jacket and cloak by Laura Galic. Upper right, jacket by Laura Galic. Lower right, harness by Tolllkirsche paired with dress by Laura Galic. Lower left, blouse and skirt by Laura Galic paired with cape by Tolllkirsche.
AUXILIARY april/may 2013 THIS PAGE
Jacket and cloak by Laura Galic.
Blazer by Tolllkirsche paired with hat by Maskenzauber & Erlebenskunst.
AUXILIARY ONLINE CONTENT See more images from this editorial by searching “Lady of the Manor” on
april/may 2013 AUXILIARY photographer Sylvia Pereira
creative director Pretty Deadly Stylz
fashion stylist Pretty Deadly Stylz
makeup artist 3BArtistry aka Mark Boyer
hair stylist Tiffany Dere Gullickson @ The Proudest Pony Salon
models Red Herring, Cassia Sparkle, & Conor @ ELITE
Your personal life might be a bit... complicated.
But sharp basics make having kick ass style... uncomplicated.
It's Not Complicated
AUXILIARY april/may 2013 february/march 2013 AUXILIARY april/may 2013 AUXILIARY OPPOSITE PAGE
On left, Necronomicon T-shirt by Akumu Ink and Skinny Guy Jeans by Naked & Famous paired with Black Wolf Ring by The Rogue And The Wolf. On right, The Black Rose Loose Scoop T-shirt by Akumu Ink and Peplum Skirt from Baudelaire by Mady Bone paired with Klif Earrings from the Stratigraphia Collection by Hot Pop Factory.
AUXILIARY april/may 2013
On left, Voodoo Seppuku T-shirt by Akumu Ink and BeetlejuiceBeetlejuiceBeetlejuice Leggings from Baudelaire by Mady Bone paired with Klif Earrings from the Stratigraphia Collection by Hot Pop Factory and shoes by Zara. On right, Asylum T-shirt by Akumu Ink and Skinny Guy Jeans by Naked & Famous paired with model’s own shoes.
april/may 2013 AUXILIARY THIS PAGE
Night Owl T-shirt by Akumu Ink and Interlock Mini Skirt by American Apparel paired with Peaque Necklace from the Stratigraphia Collection by Hot Pop Factory and shoes by Zara.
Upper left, Sword Swallower T-shirt by Akumu Ink and Skinny Guy Jeans by Naked & Famous paired with Peaque Necklace from the Stratigraphia Collection by Hot Pop Factory. Upper right and lower left, Bloodlust Tank by Akumu Ink and Sleeveless Nude & Black Silk Blouse from Baudelaire by Mady Bone paired with Black Wolf Pendant by The Rogue And The Wolf. Lower right, Necronomicon T-shirt by Akumu Ink and Skinny Guy Jeans by Naked & Famous paired with Black Wolf Ring by The Rogue And The Wolf.
AUXILIARY april/may 2013
On left, Bloodlust Tank by Akumu Ink and Sleeveless Nude & Black Silk Blouse from Baudelaire by Mady Bone paired with Black Wolf Pendant by The Rogue And The Wolf. Center, Sword Swallower T-shirt by Akumu Ink and Skinny Guy Jeans by Naked & Famous paired with Peaque Necklace from the Stratigraphia Collection by Hot Pop Factory. On right, Beautiful Death Scoop T-shirt by Akumu Ink and Sleeveless Sheer Black Lace Top from Baudelaire by Mady Bone paired with Shiny Black and Stud Detail Leggings from Baudelaire by Mady Bone.
Upper left, Tokyo Nightmare Tank by Akumu Ink and Stripped B&W Leggings from Baudelaire by Mady Bone paired with Mesa rings from the Stratigraphia Collection by Hot Pop Factory. Upper right, Voodoo Seppuku T-shirt by Akumu Ink paired with Klif Earrings from the Stratigraphia Collection by Hot Pop Factory.
april/may 2013 AUXILIARY AUXILIARY ONLINE CONTENT See more images from this editorial by searching “It’s Not Complicated” on
written & styled by Jennifer Link
photographer Jennifer Link
model Zach Rose
This season’s must-have.
AUXILIARY april/may 2013
Developed for military use after World War II, dubbed “brothel creepers” when ex-soldiers wore them while enjoying London’s nightlife, today they are known simply as creepers. With all things goth, punk, and grunge trending, creepers have regained mainstream popularity, but they have always been beloved by a long list of subcultures. Perfect footwear for spring, in a rich jewel toned teal, in casual or dressy suede, current but also classic and authentic; Pointed Creepers by T.U.K. Shoes are a must-have.
Teal Suede Tie Pointed Creeper by T.U.K. Shoes, gray and black stripped socks by H&M, and model’s own skinny black jeans.
Akumu Ink . Aldo www. . American Apparel www. . Ax+Apple www.axandapple.
com . Babatunde Ajiboye www.bajiboye.wix.
com/fashion . Baudelaire by Mady Bone www. . Ben Nye . Bettie Page Shoes www. . COGnitive Creations www. . Darkspectre www. . Essie . Felt Your Heart Beat Free People . Goldwell Elumen . Hot Pop Factory . Hot Topic . H&M . Iron Fist Clothing . Karen London . Kryolan www. . Laura Galic
Lime Crime MAC . Manic Panic . Maskenzauber & Erlebenskunst . Melody Ehsani . Mother of London . Naked & Famous Obsessive Compulsive Cosmetics www. . One Tough Chick www. . Regal Rose www.regalrose. . Sephora . Shany Cosmetics . Sugarpill Cosmetics The Rogue And The Wolf www.therogueandthewolf.etsy.
com Tolllkirsche . Too Fast . T.U.K. Shoes www. . Urban Decay www.urbandecay.
com . Urban Planet . Zara . Zoya
your guide to the best in alternative fashion, music, lifestyle, and more...
april/may 2013 AUXILIARY 63
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