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Our August/September issue is loosely dubbed our “Fashion Issue”. Fall is the big season for fashion and when fall comes around, fashion is on our minds. Toward the end of August lots of bricks parading as fashion magazines get delivered to our office. Just like one would look to Vogue’s September issue for the best high fashion for fall, we want our readers to look toward our August/September issue for the best alternative fashion for fall. This issue is packed with no less than five fashion editorials and one beauty editorial that sure has a lot of fashion in it. The End of Summer editorial really breaks it down, and showcases the best styles for both men and women for the autumn season. With a sailor Style feature and a lingerie Must feature to support our editorials, look no further than this issue to get your inspiration for fashion’s favorite season. We always keep issues well rounded (except for maybe our October/November issue which we can’t always help from becoming all about Halloween) and this issue has plenty of music, me-
dia, lifestyle, and beauty features as well. Wayne Hussey of the beloved gothic rock band The Mission chats with us and Wesley Eisold of Cold Cave shares his insights in our music interviews this issue. Cam Rackam talks about his new show at Sacred Gallery in New York City in our Artist Spotlight. Plus there are lots of other goodies, read on and see for yourself. Enjoy the issue and as always thanks for your support!
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
Tasha Farrington
Dahlia Jane
Reem Jazar Jessica Jewell Mike Kieffer
Arden Leigh
Jennifer Link
Dylan Madeley
Paul Morin
Jessica Rowell
Vanity Kills
Liz Walker
Le Mew Photography
Ian Compton
Teri G
Jennifer Link
Maria S. Varela
Steve Prue
Gail Kilker
Bailey Northcott
Marisa Pike
Photographs / Illustrations
photographs on 13
Jennifer Link
OCC photo courtesy of OCC
Illamasqua photo courtesy of Illamasqua
Ayria tote photo courtesy of Ayria
photograph on 18
Amy Lee
photograph on 23
Troy James Sobotka
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 29 : august/september 2013 / ISSN 1948-9676
No part of this publication may be reproduced in any form or by any means, electronic or mechanical, without the permission in writing from the publisher, except small excerpts for review purposes. Submitted work, reviews, ads, and photographs are copyrighted by their respective owners and fall under previous declaration. Copyright Auxiliary Magazine 2013.
your opi ni ons on the June/July 2013 Issue
I am loving the new issue! Got it in the mail four days ago and still haven’t put it down! - @_sherekhan7774h via Twitter
I really enjoy Auxiliary Magazine it’s much better than other alternative magazines out there! - Lauren via our website
Just discovered Auxiliary with the past issue. I’m in love. - Jen via our website
Oh my god, Nina [de Lianin] looked absolutely flawless. Beautiful pictures of a beautiful woman. - Lucia via Facebook
share your thoughts on the i ssue, news and events, whatever i s on your mi nd!
Email [email protected], comment on our website, tweet at @auxiliarymag, or comment on our Facebook page.
Dylan Madeley makes sure we sound sharp and witty and no nasty typos get through. He brings several years of experience having worked with and Morbid Out-
look before joining Auxiliary as copy editor exactly one year ago. As Aux-
iliary Magazine’s copy editor he has a very behind the scenes job. “Being a copy editor can be a low profile task because people notice the most if you missed something, but it’s essential to any print publication,” Madeley explains. “I like having a couple of roles here,” and this issue he does, with an interview with iconic Wayne Hussey of The Mis-
sion and another with synthpop songstress Jennifer Parkin of Ayria. “It’s nice to get the interviewer spotlight. It’s also a great experience having a chat with these artists and getting to know what they think.” Hussey was Madeley’s first interview via Skype, a glitchy means at times but one that allows for interviews with those located in Brazil but, “Wayne is a really chilled out guy, and that helped calm me down.” With Ayria, “I [was just] self-conscious about being too much of a fanboy!” You can be sure to catch more of Madeley’s editing and writing work in Auxiliary and perhaps elsewhere soon as he is currently working on a new novel.
Dylan Madeley
AUXILIARY august/september 2013 beauty
4 st. mary’s school for gi rl s
the new fresh face of goth
12 runway to vani ty
Undercover’s cl assi c l ook rei nvented
13 the request l i st
beauty pi cks i nspi red by Fri day’s setl i st
14 arti st spotl i ght
Cam Rackam
16 medi a revi ews
Oz Great and Powerful, Mark Ryden Pi nxi t, and The To Do Li st
17 seven deadl y questi ons
Ayri a
18 Col d Cave
Wesl ey Ei sol d on touri ng and the upcomi ng al bum
20 The Mi ssi on
Wayne Hussey on the new al bum, l i fe i n Brazi l, and the upcomi ng tour
23 musi c revi ews
Front Li ne Assembl y, Pet Shop Boys, The Causti cl es, Downl oad, Moderat, and more
the mi ssi on : 20
col d cave . ayri a : 18 . 17
cam rackam . deanna deadl y . mather l outh : 14 . 27 . 36 porcel ai n . setti ng sai l . autumn fashi on . l i ngeri e : 40 . 31 . 50 . 64
metal adorned l atex . opul ent corsets . showstoppi ng : 44 . 36 . 40
26 ask arden
advi ce on rel ati onshi p strategi es
27 the Pi nUp
Deanna Deadl y
31 styl e
setti ng sai l
34 breaki ng boundari es
wear i t however you l i ke
36 opul ence
bound i n l uxury
40 showstopper
rhi nestones, feathers, and fur
44 shi ne i n the dark
metal adorned l atex
50 the end of summer
the best fal l styl es
64 must
decadent l i ngeri e set
65 where to buy
Photographer : Le Mew Photography
Li ghti ng Tech : Ar mando Esqui vel
Makeup : Mather Louth
Hai r : Mather Louth
Model : Mather Louth
august/september 2013 AUXILIARY St. Mary’s School For Girls
AUXILIARY august/september 2013 Soft, innocent, dark, and mysterious: the new fresh face of goth for back to school and back to work.
St. Mary's School For Girls
St. Mary’s School For Girls
august/september 2013 AUXILIARY THIS PAGE
Tuxedo Party Dress by Gloomth paired with Coffin Earrings by Kaotic Ekko’s Curiosities and Spider & Ruffle Brooch by Sxc GRRRL Xcessories. On the face, Missha M Perfect Cover BB Cream in Light Beige and Honey Beige. On the cheeks, MAC Cosmetics Lustre Drops in Pink Rebel, Bobbi Brown Blush in Apricot and Nectar, Smashbox Blush in Smashing Beachwood, and Make Up For Ever Matte Eye Shadow in Neon Pink. On the eyes, Bobbi Brown Gel Liner in Black Ink, Illamasqua Liquid Metal in Superior, Urban Decay Shadow in Blackout, and MAC Cosmetics Studio Fix Boldblack Lash. On the lips, Lime Crime Opaque Lipstick in Poison Berry. In the hair, Kevin Murphy Easy Rider.
Mourning Glory Dress and Cuff by Gloomth paired with Coffin Necklace by Kaotic Ekko’s Curiosities and stylist’s own necklace and rosary. On the face, Missha M Perfect Cover BB Cream in Light Beige and Kett Cosmetics Fixx Creme Makeup in R1. On the cheeks, Bobbi Brown Blush in Brown Berry and Cranberry. On the eyes, Make Up For Ever Matte Eye Shadow in Lavender, MAC Cosmetics Pro Longwear Eye Shadow in Mauveless and More Amour, and Make Up For Ever Aqua Smoky Lash in Black. On the lips, Lime Crime Opaque Lipstick in Styletto. In the hair, Kevin Murphy Powder Puff.
AUXILIARY august/september 2013 THIS PAGE
Luxy Ruffled Blouse by Gloomth paired with Rose Crown by Pretty Deadly Stylz and stylist’s own rosary. On the cheeks, MAC Cosmetics Lustre Drops in Pink Rebel, Bobbi Brown Blush in Apricot and Nectar, Smashbox Blush in Smashing Beachwood, and Make Up For Ever Matte Eye Shadow in Neon Pink. On the eyes, Kryolan Shimmering Foundation, Illamasqua Medium Pencil in Coax, Make Up For Ever Aqua Cream in Intense Blue, Make Up For Ever Eye Shadow in Black and True Blue, Make Up For Ever Aqua Eyes in Green Forest, and MAC Cosmetics Studio Fix Boldblack Lash. On the lips, Lime Crime Opaque Lipstick in D’Lilac and Illamasqua Medium Pencil in Coax. In the hair, Kevin Murphy Anti Gravity.
august/september 2013 AUXILIARY THIS PAGE
Monarch Corset Blouse by Gloomth paired with Rosette Sunglasses by Pretty Deadly Stylz. On the cheeks, Bobbi Brown Blush in Brown Berry and Cranberry. On the eyes, Make Up For Ever Matte Eye Shadow in Neon Pink, Purple, and Dark Purple paired with Make Up For Ever Aqua Creme Liner in Matte Purple and Make Up For Ever Aqua Smoky Lash in Black. On the lips, Lime Crime Opaque Lipstick in Serpentina. In the hair, Kevin AUXILIARY august/september 2013 THIS PAGE
Monarch Corset Blouse by Gloomth paired with White Lace & Cameo Choker by Sxc GRRRL Xcessories. On the cheeks, MAC Cosmetics Lustre Drops in Pink Rebel, Bobbi Brown Blush in Apricot and Nectar, and Smashbox Blush in Smashing Beachwood. On the eyes, Lime Crime Opaque Lipstick in Mint To Be mixed with Kryolan Shimmering Foundation paired with Illamasqua Medium Pencil in Coax and MAC Cosmetics Studio Fix Boldblack Lash. On the lips, Lime Crime Opaque Lipstick in D’Lilac and Mint To Be. In the hair, Kevin Murphy Anti Gravity.
Mourning Glory Dress and Cuff by Gloomth paired with Coffin Necklace by Kaotic Ekko’s Curiosities and stylist’s own necklace and rosary. On the cheeks, Bobbi Brown Blush in Brown Berry and Cranberry. On the eyes, Make Up For Ever Matte Eye Shadow in Lavender, MAC Cosmetics Pro Longwear Eye Shadow in Mauveless and More Amour, and Make Up For Ever Aqua Smoky Lash in Black. On the lips, Lime Crime Opaque Lipstick in Styletto. In the hair, Kevin august/september 2013 AUXILIARY AUXILIARY august/september 2013 THIS PAGE
Academy Day Dress by Gloomth paired with stylist’s own rosary. On the cheeks, Bobbi Brown Blush in Brown Berry and Cranberry. On the eyes, Make Up For Ever Aqua Shadow in Matte Black and Make Up For Ever Aqua Smoky Lash in Black. On the lips, Lime Crime Opaque Lipstick in Glamour 101. In the hair, Kevin Murphy Easy Rider. august/september 2013 AUXILIARY THIS PAGE
Luxy Ruffled Blouse by Gloomth paired with Rose Crown by Pretty Deadly Stylz and stylist’s own rosary. On the cheeks, MAC Cosmetics Lustre Drops in Pink Rebel, Bobbi Brown Blush in Apricot and Nectar, Smashbox Blush in Smashing Beachwood, and Make Up For Ever Matte Eye Shadow in Neon Pink. On the eyes, Kryolan Shimmering Foundation, Illamasqua Medium Pencil in Coax, Make Up For Ever Aqua Cream in Intense Blue, Make Up For Ever Eye Shadow in Black and True Blue, Make Up For Ever Aqua Eyes in Green Forest, and MAC Cosmetics Studio Fix Boldblack Lash. On the lips, Lime Crime Opaque Lipstick in D’Lilac and Illamasqua Medium Pencil in Coax. In the hair, Kevin Murphy Anti Gravity.
AUXILIARY ONLINE CONTENT See more of this editorial by searching “St. Mary’s School For Girls” on
THE VANITY : Beginning with your base foundation, layer or build cov-
erage as desired to the face and neck areas. Contour in a darker tone around the temples, nose, and cheekbones for added depth. Set with a matte or sheer pow-
der. For additional contouring and highlighting, use compact or loose powders to further define your features. For the cheeks, choose a warmer hue or bronzer, lightly sweeping the darker shade slightly below your cheekbone and blending it upward with a lighter shade directly on the cheek. For the eyes, apply a primer or black cream-based shadow to the lids creating a rounded cat-eye. Set this with a shimmering black pigment and highlight the center of the lid with metallic silver blending the shade into the base color for a seamless look. With an angled brush, line the bottom lid with black shadow for more of a smoky-eye effect. Apply a metallic silver shadow to the inner corners of the eyes for a bit of a highlight. Top it off by lining the upper lid with liquid liner and apply mascara, or lashes if desired. For the lips use a bright red or fuchsia lipstick as your base, and finish it off with a vibrant red lip-gloss. This intense look is sure to captivate whether masked or unveiled!
The creativity and innovation of the runway reinvented for recreation at your vanity.
THE RUNWAY : Designer Jun Takahashi of cult label Undercover re-
turned to the runways of Paris Fashion Week this season presenting his fall 2013 collection. Inspired by his recent re-debut this classic look reinvented is the perfect look for any upcoming masquerade or fall festivity!
written by Jessica Rowell
photographer Marisa Pike
fashion stylist Jessica Rowell of J-Chan’s Designs
makeup artist Jessica Rowell of J-Chan’s Designs hair stylist Jessica Rowell of J-Chan’s Designs
model Sugar
On the cheeks, Shany Cosmetics Pigment 34 and Pigment 35. On the eyes, Shany Cosmetics Pigment 40 and Pigment 31. AUXILIARY august/september 2013 BEAUTY
1 If you already know all the words to every last track on Ayria’s Plastic Makes Perfect, then this 100% natural cotton black tote is aimed squarely at you, my friend. $10
2 Inspired by Covenant’s “Stalker” : The impervious-to-trends, blue-red hued OCC Lip Tar in Stalker shares the timeless appeal of that well-known 1996 EBM club staple. Like it or not, some things were meant to remain relevant for decades to come: the Old Hollywood lip, and catchy tunes sung by Swedes with a question-
able grasp on English. $18
3 Inspired by The Sisters of Mercy’s “This Corrosion” : Shocking as it may sound, even if you’ve bumped Floodland no less than sixty thousand times and proclaim Andrew Eldritch to be your spirit animal, you’re still not immune to rare moments of hankering for lighter lipstick. Thankfully, Portland Black Lipstick Company Lipstick in This Corrosion reconciles the struggle within. www.portlandblack- $10
4 Inspired by VNV Nation’s “Genesis” : If the lyrics “I wear this chaos well” sum up your fashion sense, you’ll have no issue pulling off seafoam turquoise lids (try Femme Fatale loose pigment in Genesis). www.femmefatalecosmetics. $6
5 Inspired by God Module’s album Séance : Evidence in regard to the efficacy of Illamasqua Paranormal Nail Varnish in Séance as a means of summoning forth the dead proved inconclusive. Yet spectral manifestation became an afterthought, as further studies found links between UV reactive purple glow, sharing a name with a God Module album, and intrinsic coolness. $17 6 Inspired by Seabound’s “Smoke” : Given that nobody but Frank Spinath himself actually knows what the lines “your eyes sparkle, you’re sincere, you are the force I used to fear” mean, we’ll heed them as a directive to buy more eyeliner (Urban Decay 24/7 Glide-On Eye Pencil in Smoke being the obvious choice). www. $17
7 Inspired by Project Pitchfork’s “Carnival” : How does Project Pitchfork’s electro-industrial/darkwave crossover sound interpret in makeup terms? We’re thinking grape-tinged glitter (like Rockeresque On the Rox Cosmetic Glitter in Carnival). $12
This Corrosion? Carnival? Stalker? Is that Friday night’s setlist you’re wearing? I mean, let’s face it, even if some of these hits are considered to be overplayed to the point of being your local goth/industrial/synthpop night’s version of “Don’t Stop Believin’”, in all likelihood they still won’t fall out of favor within the next twenty years or so. Such longevity warrants tribute, in cosmetic form. So let’s hear it for all your cult faves, remixed and remastered as lipsticks, glitters, and liners; ready to carry you through two more decades of stomping, swaying, or doing that two-step thing you do.
The Request List
by Vanity Kills
august/september 2013 AUXILIARY 1
Southern California artist Cam Rackam has made a ca-
reer out of pillaging sacred iconography, from “The Last Supper” to the American flag, and corrupting it for his own twisted purposes. His work and lifestyle are steeped in subversive, anarchic punk influences. One could fol-
low the stickers he sneaks onto telephone poles, build-
ings, and vehicles like a trail of breadcrumbs retracing his steps in an urban landscape. Yet Cam paints with a technical mastery of styles like chiaroscuro, the interplay between light and dark in a composition, that evade more reverent, serious-seeming artists. He is the consummate example of one who works hard to play hard, finding time to perfect his craft and party like a rockstar. Perpetually smirking, Cam has applied his grim, baroque style to both his fine and commercial art. His bold oil paintings with touches of the occult and signature richly textured frames have graced the walls of eminent galler-
ies. And his album covers for Avenged Sevenfold have helped propel the image of the popular band. His newest series sets him up as a gravedigger, trespassing on the sleeping gods and monsters of the classic Greek Pan-
theon. Cam took some time to answer questions before his cross-country road trip pilgrimage from Huntington Beach, CA to New York City for the opening of his show.
Your highly anticipated solo show, Pantheon: Classi-
cal Mythology, opens August 3rd at Sacred Gallery in New York City. How would you describe this show?
Cam Rackam : It’s a black necropolis. A ruinscape of forgotten gods and monsters constructed with sculptures and paintings. Conceptually the works are archetypes that attempt to reflect our most basic primal desires: jeal-
ousy, hate, love, sex, murder, etc. Classical mythology speaks to me in these archetypes. It has given me a forum to harmonize both painting and frame to finally come together in one complete vision. Those individual works sing together in a battery of characters. That is Pantheon.
You’ve been working on this series for four years. How does it feel to be reaching the end?
CR : I thought I would feel relieved, like I was getting my life back or something... but the reality is that Pan-
theon has been my life for four years. So instead I feel like part of me is facing some sort of imminent death I cannot stop. The type of hunch you get before your girlfriend dumps you. You know it’s ending and there’s nothing you can do about it.
The classical mythology that you’re drawing from in Pantheon is made up of stories which are more than two thousand years old. How do you make them rel-
evant to yourself and your audience?
Cam Rackam
interview by Dahlia Jane
AUXILIARY august/september 2013 THIS PAGE “Medusa” assemblage sculpture. OPPOSITE PAGE On left, “Helios” assemblage sculpture. On right, “The Golden Mask of Venus” oil on board and assemblage frame.
CR : I don’t try to. I think of each separate work as a doorway. I can only show the door, it’s only relevant if you choose to walk through it. And what you find there is actually only what you bring with you. “Be careful what you wish for, you just might get it,” has always been an underlying current in my life. Perhaps that sentiment will resonate.
Is there a particular mythological character that you relate to and why?
CR : On work days I’m the smith. On weekends I’m the drunk god.
Much of your past work including “Now Accepting all Major Credit Cards”, and your inebriated skeletons, has incorporated humorous touches. Can we expect to see irreverent details in Pantheon as well?
CR : No, I took a more serious hand with my approach to these works. There are touches of humor but the overarching themes are void of comedy.
As a Southern California based artist, why did you decide to do this show in New York City?
CR : I love the city. It’s home away from home. I felt like it was time for me to expand out of the familiarity of LA to greater pastures.
You’ve worked with Avenged Sevenfold since the band’s early days, most recently doing the album cover for the upcoming Hail to the King due out August 23, 2013. Has the way you approach these collaborations changed at all through the years?
CR : I’m much more methodical about approaching their projects. We riff off of each other much better and it has evolved into a streamlined process. It’s become an amalgamation of ideas.
What is it like seeing your career grow alongside a band? Is there any down-
side? For instance, do you have trouble distinguishing your artistic identity from the brand of the band?
CR : I won’t lie, it’s been great coat-tailing on them for so long, I’ve met a lot of wonderful fans and some extremely obsessive people too. I’ve always tried to keep my personal work about me, even if it’s a bit hard for some people to see that.
When approaching a new piece, can you describe your process? What kind of reference material do you use for the imagery? Models? Photographs? Props?
CR : Shooting models is fun, but selecting them is much harder. It’s been difficult to find nudes without tattoos in Southern California. I love tattoos, but for this col-
lection, your sweet chest piece isn’t gonna work out. I get excited using props and photography, expensive lighting, and renting costumes. But that’s all support for initial idea. I think of that idea like molding clay. You can shape it however you want, the rest is just structural support.
as an unnecessary luxury they cannot afford. I have been trying to find a way where I can craft them to add to the completeness to the painting. I construct them while I paint, so both painting and frame have the opportunity to coalesce. I want that story to continue off of the canvas.
Your work frequently features skeletons. What do they represent for you?
CR : I see love, death, mortality, failure, god, lack of god, time, and the changeable nature of life. The skeleton itself can be recognized as a self-portrait of each of us. They feel as if they’re a living Memento Mori, as if we can find life from death.
Tell me about some of the places you’ve sticker bombed with your logo and what drives you to do that? CR : Remember the scene in Shawshank Redemption, where the aging prisoner can no longer function in any society outside of prison? So he carves “Brooks was here” on a beam that he subsequently hangs himself from. The sticky bombs are akin to that feeling I get sometimes that I don’t belong, and I never will belong to any greater society. But I was here too. It also has a spirit of reclamation or justice to it. The rush of slapping one on a cop car, an advertisement, or even a street sign. It’s a reminder that the world doesn’t have to belong to structure or authority. It belongs to chaos too.
What are your opinions on street art? Does fine art belong in a gallery?
CR : I don’t think it should be banned from anywhere, that’s horrible! But I like it best on the street where everyone can see it. For the people, by the people.
In addition to creating art, you’ve curated a number of group art shows. What did you learn from taking on that role?
CR : I learned that art galleries operate like gladiator arenas. Everyone [is] out to kill each other, with little loyalty, and no compassion. Steeped with so much petti-
ness and competition, the message of the artwork begins to get buried under a sea of narcissism and vanity. I have an endless well of respect for curators. It’s a tough job wrangling cats and it takes a special personality I no longer possess.
Are you an art collector as well? If so, who are some of the artists in your per-
sonal collection and who would you add to that collection if you could?
CR : I only collect 5x7s. It’s so weird but that’s the size I like. I have them hanging in my work space. I have some Chet Zar, Paul Romano, a Dali print somewhere, and many Christopher Ulrich’s. Ultimate wish list? I would love a fucking Rembrandt.
What determines if an art show is successful? In other words, how do you measure success?
CR : Success is connecting with a viewer on a positive level. It sounds cheesy but I really believe that. With the usage [of the] internet, it can sometimes feel like the world is a mob of sycophants and misanthropes. It’s become increasing difficult to MEDI A
It appears that you often spend as much ti me on the frames around your pai nti ngs as you do on the pai nti ngs themsel ves. Why put so much effort i nto the frames?
CR : It seems l i ke t he frame has al ways been an aft ert hought when i t comes t o compl et i ng a pi ece of art. At t he Louvre t hey use t he most horrendous col or of gol d, i t becomes hard t o see t he maj est y of t he pai nt i ng. In modern art t hey are so rare t hey have become t aboo. Most art i st s have begun t o see frami ng t rul y connect wi t h vi ewers when t hey are bombarded wi t h a bi l l i on i mages a day. So [i f] any connec-
t i on i s made, i t ’s not j ust a success, but bri ght whi t e hot gl ory i f you are abl e t o cat ch t hei r at t ent i on for even j ust a coupl e of sec-
If you were tasked wi th ti tl i ng a retrospecti ve ex-
hi bi t of your l i fe’s work, what woul d that ti tl e be?
CR : “Wat ch t hi s arrogant l oser pai nt. Then he frames t hem pret t y. What a j oke.”
august/sept ember 2013 AUXI LI ARY MEDI A
Oz the Great and Powerful
Blu-ray / DVD release : 06.11.13
director : Sam Raimi
When the news came out that Sam Raimi, the director of Evil Dead, the Spiderman trilogy, and Xena Warrior Princess was directing a prequel to The Wizard of Oz I felt wary, but very interested. I was even excited upon finding out that the cast in-
cluded James Franco, Michelle Williams, Mila Kunis, and Rachel Weisz. Yet, in the end the star-studded cast was what over-
shadowed the film itself. What this film lacks in believability it makes up for in overall wonder, costume design, and star power. Perhaps unknowns are better suited for live action fairy tales, particularly Disney fairy tales. While watching Franco as Oz, or Kunis as Theodora, I found myself very aware of the actor I was watching rather than buying into the character. The most successful part of this film is that aesthetically, it is beautiful. The cinematography, the colors, the actors, all created a visual sense of wonder. Despite having a strong female cast, the film did little to demonstrate diversity among these women. Kunis, Williams, and Weisz are all beautiful women with a demonstrated range. However, they weren’t utilized prop-
erly. Instead, the female characters were two-dimensional and cliché. In spite of all these things, I enjoyed the film for what it was. The film pays homage to Disney through the recreation of imagery from their classic films. There’s an Aladdin and Snow White reference and music typical of a Disney fairytale. Oz Diggs’ woman-
izing, an integral part of the plot development, is very amusing. This is fun to watch, because Franco is so aloof and non-committal as a player he performs with such modern tone and sensibilities. The tone of this film was not at all like that of the 1939 classic The Wizard of Oz, which it was meant to prequel. The one-liners can be a little cheesy but that’s a part of the charm of Raimi’s brand. When there is a character shift from good to evil, the transformation is reminiscent of one of the director’s Spiderman villains. If you love Disney, or maybe have a thing for James Franco, it’s a good movie to watch while you snuggle up on a rainy day. The balance of hits and misses in this film almost seems fitting for a story about a bad magician who pretends to be a wizard and the loveable band of misfits belong-
ing to the breathtaking Emerald City. Similar to the film’s main character, Oz The Great and Powerful doesn’t have the right amount of magic to live up to the title, it’s still a fun movie; just don’t go in expecting The Wizard of Oz. - Reem Jazar
Mark Ryden Pinxit
release : 04.15.13
author : Mark Ryden
Bees, bunnies, and plenty of raw meat. Heaps of trees and snow yaks. Several depictions of Abraham Lincoln. Painter Mark Ryden takes the familiar and twists it into the haunting. His new coffee table book, Pinxit, is probably too tall for your bookshelf. Chronicling his career thus far, it’s a heavy 350 pages, and large pages at that. This, really, is its selling point. If, like me, you’ve never had to opportunity to view Ryden’s oil paintings in person, Pinxit aims to console us with the next best thing: large reproductions aplenty, including close-ups and fold-out pages of his most complex/bizarre tableaux. It is particularly nice to see examples from his Blood series, previously presented in the book Blood: Miniature Paintings of Sorrow & Fear. (While it is a charming ART BOOK
thing to hold in your hand, the book’s 2 1/2 inch by 3 1/2 inch scale is responsible for more than its fair share of squinting.) And yes, looking at “The Creatrix” or “Incarnation” on the printed page beats looking at them on the internet, hands down. There is, I swear it, still a need in this world for actual books, particularly art books. Like any good art book, Pinxit is short on text, offering only a handful of introductory pages, an artist’s statement, a brief examination of each series, and a particularly weak afterword. Published by Taschen, it is well-bound and capable of withstanding years of examination and page flipping. By no means cheap at the listed publisher’s price, it is not a rip-off either. That said, you’ll find nothing new here. Dedicated Ryden fans are likely to already own books containing these images. And while it does include paintings spanning the past twenty years, it is not a complete catalog of his work, meaning that your personal favorite may very well be missing. Do you need it? Well, I don’t know you, but hopefully you do. Ask yourself and listen closely. Completists will also need to pick up his other new offering in the world of printed paper, The Gay 90’s. A presentation of his newest artwork, The Gay 90’s is an in-depth look at one series of paintings, formatted much like The Tree Show. There is a lot of pink in The Gay 90’s, as well as plenty of ringlets. Jesus makes a disturbing appearance and there is also a meat dress. That’s my way of saying it’s great, by the way. Classic Ryden. You will not be disappointed. But know that some of these paintings are also included in Pinxit. Maybe you don’t need both? Maybe you don’t, but I certainly do. - Liz Walker
The To Do List
theatrical release : 07.26.13
director : Maggie Carey
Take today’s nostalgia for the 90s and a pre-social media world when Nirvana was the soundtrack to your life, Hillary Rodham Clinton was First Lady, and crop tops were all the rage. Combine this with an outrageously funny, no holds barred comedy that subtly plugs female empow-
erment and you get Maggie Carey’s debut feature film The To Do List. This raunchy film, in the vein of Superbad and Ameri-
can Pie, centers around a girl trying to get laid, with as carnal a motivation as any man. It doesn’t hurt that the object of her desire is the ultimate 90s hunk, a perfectly chiseled, guitar-wielding lifeguard with Kurt Cobain hair. The To Do List is not your typical coming-of-age comedy and the main character, Brandy Klark, is not your typical good-girl-gone-bad stereo-
type. There is no flip of a switch where the main character becomes cool partway through the movie. Klark marches to the beat of her own drum and she does this consistently. What I enjoyed about this film was how truly square the main charac-
ter was the whole way through. There’s an adorable boy who loves her from afar, Cameron, played by the perfectly cast Johnny Simmons. Which brings us to the all-star cast that brought this film to life. Aubrey Plaza brings the right amount of awkwardness and believability to make Brandy Klark a fresh new type of female lead. The cast includes Alia Shawkat, Bill Hader, Rachel Bilson, Andy Samberg, and Donald Glover, all of whom are enjoyable to watch as varying versions of 90s cool. This film dispels myths about women and sexuality, but keeps it light and uproariously funny the whole way through. The story wouldn’t have had the same impact or meaning if it was set in the present day. The lengths Klark goes to ex-
plore her sexuality and get noticed by Rusty Waters would have been cheapened if it took place in the time of Facebook and Instagram. A big part of the film’s charm is that it reminds us of a time when those things didn’t exist, a time when your identity was formed around your real life friends, your school, the local pool, and that boy you liked who you couldn’t just woo through sexting. This film proves that women can be on par with raunchy guy humor, if not surpass it. Let’s hope this is the first in a wave of films that evens the playing field between male and female comedy archetypes. - Reem Jazar
AUXILIARY august/september 2013 MUSI C
august/september 2013 AUXILIARY Jennifer Parkin of Ayria reveals how she sins.
interview by Dylan Madeley
Ayria, a solo electronic music project led by Jennifer Parkin, has been winning fans worldwide since 2003. Recently Parkin released her newest album, Plastic Makes Perfect, and toured North America to support its release. Ayria has had a thriving tour life, having been asked to return to the road to support staple bands such as VNV Nation, The Cruxshadows, and most recently, Project Pitchfork. This spring’s tour was not the first tour she’s been on with Project Pitchfork. Parkin elaborates, “I’ve been very lucky with the tours I’ve done so far, we seem to get asked back as a support for many amazing bands. So, I must be easy to get along with!” Parkin goes on to explain the crucial role that people skills play in the world of music, “you have to spend every waking moment with these people crammed in a van for a solid month. If you don’t get along, or have high maintenance people on tour, it’s an unpleasant disaster.” In September Ayria will be playing the 2013 Gothic Cruise, saying, “I’m very excited. I’ve never been on a cruise, and it’s even rare that I get a vacation; I use vacation time for touring. I’m looking forward to this experience, getting to hang out with everyone on a boat.” She adds playfully, “I’m bringing my water wings. I’m not a great swimmer!” Ayria can be thoroughly up-tempo but also undeniably dark, with a lyrical focus on self-exploration. When asked about the lyrical themes on Plastic Makes Perfect Parkin says, “I’ll sum it up in one word per song that runs through my mind: losing passion, feeling trapped, past resentments and realizations, growing up, revenge… Isn’t that a sin? I could be wrong… grief, loss, social injustice, heartbreak, burn out, touring, the future.” With each release Parkin seems to further refine her sound.
What is your greatest desire?
Jennifer Parkin : I want money! Not because I’m materialistic! I lust after just having enough money just so I can keep making music, with no stress about the future and finances, maybe enhance my studio a bit, enhance the live show, get a tour van. You know, the usual splurges. [winks]
What is your favorite food and fondest memory of it?
JP : I have a weakness for cupcakes. I’m sort of an expert on them. I’ll go out of my way to try new places in Toronto and other cities to find my perfect vanilla vanilla. It’s become a thing; fans have caught on and will bring us way too many cupcakes on tour in their cities. I’m going to gain weight after sitting in the van, but luckily we have a high energy show, and I generally otherwise eat very healthy to balance things out.
What is your most prized possession?
JP : Contrary to my glam imagery, I’m not materialistic at all. I don’t own anything really expensive like jewelry or clothing. I guess my Mac laptop, iPhone, and my Nord Lead II synth are my most expensive or “prized” possessions. I care more for experiences than possessions.
Do you feel you always reach your full musical potential?
JP : Yes. I work my ass off on my music. I hope that’s evident when listening to the new CD Plastic Makes Perfect. There was a delay between releases, due to me touring, holding down a job, working with other people for production and artwork who also had crazy schedules. I’m not perfect, but I’m not lazy.
What inspires in you the most rage?
JP : Social injustice. Terrible things around the globe and locally that I see on the news. Whether it’s women being abused or oppressed, kids killing kids, bullying kids, people not being good to their fellow people in real life or online, greedy people taking advantage of others. I get so angry at the powers that be not doing anything or doing more about basic human rights and freedoms in this world. I also get so angry that I feel so powerless to things around me too.
What is one thing you find yourself being jealous of?
JP : I’m not really a jealous person. I try to be grateful for the things I have to be honest. Okay, maybe I’m jealous of those people who can eat whatever they want and not gain weight. I hate those bitches! Kidding! What trait do you prize in yourself the most?
JP : I’m proud of my achievements and dedication to doing Ayria for ten years and sacrificing the things in life others put importance on. If being proud is a sin, then I embrace this evil! [laughs maniacally]
What is a charity or cause you like to donate your time and money to?
JP : I’ve donated to the Cancer Society and to the heart and stroke founda-
tion. I’m a registered organ donor, everyone should be! I want to do more for women’s shelters and animal rescue/shelters. I don’t donate much time unfor-
tunately. I should. Mostly causes that have touched me in some way.
AUXILIARY august/september 2013 From Japan to North America and coming up England to Russia, how has your world tour been going so far?
Wesley Eisold : It’s been really wonderful. I feel very fortunate to travel and play my music for people. I started touring in bands when I was eighteen and this year was the apex so far. Playing in Kathmandu was a highlight for sure as they rarely have concerts there. They had to board up the windows to keep sound from escap-
ing to prevent the police from showing up. It was a hundred plus degrees. People loved it. Music is borderless of course. Where have the audiences been most receptive to Cold Cave’s sound and live show?
WE : There was a really cool festival in Beijing. Paris was very special. Los An-
geles is my favorite city to play though. Everywhere people have been receptive in different ways. In some of the lesser-known Chinese cities it felt like we were being studied as part of a social experiment, which I was happy with too. Have you found your audiences to be diverse ones, drawing from several dif-
ferent music scenes?
WE : Yeah and it’s something I’m really proud of and appreciate. I have a lot of respect for the diversity at out shows because it is not of one scene, its people who are in the room for music. What has been your favorite stop so far?
WE : Hong Kong and Paris. Berlin and Bangkok. How did you feel when some of Cold Cave’s shows were cancelled on your recent Meaningful Life North American Tour with Boyd Rice, of NON and Death In June fame, because of Boyd Rice being included on the marquee?
WE : I felt it was a shame and unwarranted, fascist, and uneducated. Embarrassing and boring. Why did you choose to tour with him? What was it like touring with an indus-
trial music legend, albeit a controversial one?
WE : Because I like him and we’ve worked together for years and he’s an indi-
vidual and I admire individuals. For some of your upcoming tour dates you have legends Douglas McCarthy, of Nitzer Ebb fame, and Gary Numan on the bill, how have you come to be so lucky touring with so many influential artists lately? What do you look forward to about your tour dates with McCarthy and Numan?
WE : You know, these are people who are legendary to me and have been a part of soundscape and influential to me. So I’m honored to play with them. I like being around people I can learn things from. How do you feel Cold Cave has evolved with the addition of new live mem-
bers? Has the eclectic mix of talent for live shows influenced Cold Cave’s direction? AFI, LCD Sound System, Blood Brothers and Samhain are all very unique from each other!
WE : No it hasn’t. I don’t play with that line up now. I did that for one tour but have had a different line up for over a year now. Where does Cold Cave draw inspiration from? Have your inspiration sources changed from past albums Love Comes Close and Cherish the Light Years to your latest string of releases Oceans with No End and Black Boots?
WE : It comes from a life of feeling outside and confused by normality. You put out what you take in. Early Cold Cave like Cremations was made in a very dark place. Cherish in a frustrated place. The more recent material reflects this comfort I’m starting to feel in my own skin. You have a new album on the horizon, what can we expect? Is much of it written yet?
WE : I’m just starting so too early to say. I want it out in 2014 and I have these ideas bubbling now. Your sound has changed a bit from Cherish the Light Years to recent releases; will the new album continue on this path or take a whole new direction?
WE : I’m sure it will change but also still sound like me. The recent EPs are inter-
esting for me to make because they are singles, single isolated ideas. Will there be any special collaborations on the new album or news you can give us a sneak peak for our readers? Might there be collaborations with Rice, McCarthy, or Numan?
WE : I’m enjoying working alone for now but you never know. There was a purity to early Cold Cave that I almost betrayed by working with others. I can’t let me betray myself again. MUSI C
Cold Cave, the music of Wesley Eisold, has taken a strong foothold as part of the new sound of the goth/
industrial scene. With Eisold’s roots in the hardcore scene as vocalist of the hardcore bands Give Up the Ghost (formerly American Nightmare) and Some Girls, Cold Cave has blown up since it’s debut, earning accolades from press and the fans alike. Eisold’s voluminous, haunting vocals resonate over tracks laden with electronic melodies and penetrating rhythms creating a sound that seems to seamlessly blend postpunk, synthpop, darkwave, noise, goth, and industrial. Having recently wrapped up the “Meaningful Life” tour, which took Cold Cave through the US, to European metropolises, and all the way to the remote heights of Kathmandu, and releasing three new singles in 2013, Oceans with No End, God Made the World, and Black Boots, Cold Cave is not letting up anytime soon. The band is on the move again with another global tour, this time supported by Douglas J. McCarthy of Nitzer Ebb and Gary Numan, and Eisold is toiling over a new album slated for 2014.
interview by Jessica Jewell
august/september 2013 AUXILIARY “ I’m enjoy working alone. There was a purity to early Cold Cave that I almost betrayed by working with others. I can’t let me betray myself again. ”
he M
interview by Dylan Madeley
Beloved UK gothic rockers The Mission continue to rock and roll. What started as a reunion tour in 2011 has turned into a fully-fledged
third incarnation of the band. The lineup of frontman Wayne Hussey, bassist Craig Adams, guitarist Simon Hinkler, and drummer Mike Kelly recently finished their tenth studio album, what Wayne describes as, “a rock record in the truest sense of the word.” Wayne took time out of pre-tour preparations and other projects to chat with Auxiliary about The Mission, the new album, life in Brazil, and his other project The Pornographic Angels.
AUXILIARY august/september 2013 How is life in Brazil these days?
Wayne Hussey : You mean with all the riots and the demonstrations and stuff? Yeah I mean, I can understand the point of view of the people, I understand their grievances, I think. I mean I like football but I don’t understand how when there’s a country with so much poverty, and very little infrastructure actually, how they can even begin to think about hosting the World Cup. So I understand the griev-
ances of the people. I understand that... and it looks like it’s actually paying divi-
dends for them, I mean I see the government made some concessions which is always a good step in the right direction, but you know it’s like anywhere else, everybody everywhere has problems, all governments are corrupt it’s not just here. It’s just reassuring that there is a people that are willing to voice their opinion en masse, you know? I mean UK it would never happen, which is a shame, because the same thing goes on there really. But besides that, Brazil is a great place to live, you know.
I was pretty much asking about life in general. [laughs] But yeah.
WH : Life in general is great, you know, it’s a very easy way of life here. I live out in the countryside, which is up in the hills, and it’s a three kilometer dirt track to get to my house so it’s not easy to get to. It’s not easy to find, you know? I have a studio here, I have a pretty good life, really. And I daresay I wouldn’t be able to afford that in the US or the UK, so Brazil is my home. I’ve been here for twelve years now.
That’s great. I’ve heard people mention Led Zeppelin as a big early influence on early Mission albums, what other musicians would you say played the big-
gest role in the band’s sound?
WH : Yeah I’m not really sure, I mean I know we are all the sum of our influences really, and when you have four people together then you know four people being four different sums of their influences and you bring them together, then it’s going to probably end up being something that’s quite unique. I mean personally, yeah, I was a big fan of Zeppelin. I’m a big fan of Jimmy Paige’s guitar playing. I suppose some of my early songs did reference some Led Zeppelin riffs. I’m also a big fan of Neil Young, a huge fan of Television and Tom Verlaine, a huge fan of David Bowie, I mean I love music you know. I love all kinds of music and I guess it just goes in there in the pot and you stir it around and what comes out is something that’s you. As long as, you know I’ve got no problem with people having influ-
ences, as long as you can put something in of yourself, and what you get out is unique to you in the end.
From the band’s name to song titles and lyrics, there are religious terms con-
tributing to the feeling and the power of the music. Is there a personal story behind this undercurrent that you would like to share?
WH : I don’t think it’s any great secret that I was raised religiously. My family is still very religious and I guess that’s got a bearing on it I suppose. You know, when you were exposed to something like that in your childhood, you get to an age MUSI C
where you can think for yourself and you tend to kind of go the opposite direction. So for a whole childhood that was spent in abstinence, there’s been an adulthood that’s revelled in every rock and roll cliché.
I got the impression that the 25th anniversary shows in 2011 were pretty fun. Was that a big factor encouraging you guys to keep touring together?
WH : Yeah, obviously, I mean if we got back together in 2011 and then hated each other, and not enjoyed what we were doing, then we wouldn’t have done some more. But you know we soon came to the realization that, you know, I mean back in the day we’d had our fallings out but we’re all a little older and hopefully a little wiser, and certainly a little more mellow, and I think we just kind of realized okay we make quite a good noise you know, why don’t we do a little bit more of this? And then this one thing leads to another and then you start thinking, maybe we might be able to make a new album. But certainly when we started in 2011, cer-
tainly when we agreed to do the anniversary shows, we never anticipated making a new record, never anticipated extending the tour really. But there you go, you know, it’s like one of those, it’s like smoking I suppose, you know you give it up for years and then you just have one and then you’re back smoking again.
That’s an interesting analogy. The Mission seems to have a long-standing friendship with The Cult. Is there a special story behind that that you would like to share?
WH : Again, back in the early 80s, well no �83 or �84, I first met Ian and Billy when they were Southern Death Cult I think, yeah something like that, or just Death Cult, and anyway we became friends and for a while Billy was my best friend and whenever I went to London I would always stay in his flat and he would be showing off his silver discs and stuff and I would start to say one day I’m going to get one of those. And so when Craig and I first formed The Mission, The Cult was just releasing the Love album, and they said oh come out and tour with us, we’re going to Europe, come and support us. And we thought okay that’s a really good opportunity so they let us basically travel with them on their bus which was very very generous of them. And that’s really it, really, that’s where the friendship comes from, very very way back and it persists. I mean it’s not a friendship, it’s not like something we need to see each other every year like that but when we do see each other it’s always very nice, it’s not like a very needy girlfriend that you have to call every now and then, you know. It’s fine, you know, when we see each other it’s great it’s lovely and it’s like no time has passed, you know they’re nice people.
I read your announcement last October, I think it was, that The Mission would record a new album this year, was the band’s reception at the Down-
load Festival a great motivator to embark on this new project?
WH : No, not that specifically, I don’t think that was the catalyst, but I think the catalyst as I said before was the realization that we make quite a good noise to-
gether, a big loud noise you know, it’s not a quiet noise, it’s a big loud noise. So we kind of thought okay let’s make a rock record, and there was not one particular catalyst, it was just you know a series of events and we just thought okay that’s the next step. I mean, you know when we first got back together again in 2011, the group policy was that we would only play songs that we all played on, so which actually limited the number of albums that we could take songs from to play. And, which is fine if you’re only doing the one reunion tour, but when you’re actually going back to places again a year later, you can’t keep playing the same songs. So one of the ideas that we had, yeah I’m a songwriter, you know, I’m always writing songs, so to have an outlet for these songs is essential. And so just one of the things we considered was let’s do a new album. So we got some new songs to play, so that’s where that came from. I mean it was fun making the record, we only just recently finished it. It’s a rock record in the truest sense of the word, it’s a classic rock record in the sense that it’s not a modern rock record, it’s a classic rock re-
cord. My wife calls it my testosterone album. It’s me flexing my muscles. [laughs] Muscles that have been not used very much recently in the last few years. No, it’s good, you know, it was a fun record to make and I think we kind of, certainly me, I came to realize that we should be doing what we’re good at doing, which is mak-
ing rock records. As opposed to trying to make something a little bit more artsy. Which is a tendency I’ve sometimes had in the past. You know, not accepting what I’m good at, trying to do something else.
What lineup of members can we expect to see on this next album and tour?
WH : It’s the same one since 2011. It’s Craig Adams, Simon Hinkler, myself, and Mike Kelly on drums. It’s the same lineup.
It works, right? You’re going to keep with what works.
WH : It works, yeah, and the beauty of this is that we don’t do very much. We just do things every now and then, we bite it off in small chunks so it’s not like we’re going to go on tour for six weeks or six months and get sick of each other, we go on tour for a couple of weeks. It becomes fun and it’s not one of those things where it becomes gruelling. We still get on, you know, but after six weeks or six months I wouldn’t know. Six months is a long time, six weeks is a long time. If every few months you go do something together it’s fine.
The next couple of questions are about the music industry in general and where it is right now. The digital age has brought seismic shifts to the entire music industry, including alternative and goth music, what is your perspec-
tive on these shifts and do you feel that some things have changed for the better?
WH : Yeah, I mean I do think some things have changed for the better. I think it’s obviously being able to get music out there and heard, to people that wouldn’t necessarily have heard you before or go out of their way to hear you, it’s a great thing, and I think it’s a great thing for new artists. I think the whole thing is really really good. The only problem is that the industry itself, the music business, was running scared with the whole digital thing for so long that they’ve really fucked up. Because now they really shot themselves in the foot with it all, you know. I have no aversion to file sharing and all that, because I think if people file share, they’re hearing your music. As a musician, that’s what I’m interested in, is people hearing my music. I’m not particularly interested in having records in the charts or all that kind of stuff. Obviously I’m a working a musician and I need to earn a living but I always think if people are file sharing and listening to your music, there’s spinoffs. They’ll come to see your show, they may buy your T-shirt, and if they like your music enough they go and buy the CDs. I mean I know, I do, I download stuff and listen to stuff and if I like it I’ll go and buy it. If I don’t like it, I won’t buy it. Simple as that. You know? And I think, so you know in that respect I think it’s a good thing. I think it’s very hard for new bands when they’ve signed to a major label because I think there’s an instant pressure to be successful, there’s no chance for development. You know, you really need, you know bands, musicians, and artists don’t really have the apprenticeship that they used to have, even twenty five years ago, thinking even back before 50s and 60s and stuff.
Things don’t really stop changing either, so are there any other kinds of shifts that you imagine we might see within the next couple of years?
WH : I don’t know, you know, I’m not a fortune teller just a songwriter, you know. And I just you know write my songs. I mean I don’t have a Facebook account, obvi-
ously the band does, it’s not something I’m particularly bothered about, you know, obviously I can see the merit in the band having it and also a Twitter account, al-
though I don’t contribute. I mean my wife has a Facebook account and I just see her wasting a lot of time on there doing bugger-all, nothing. So if I’m going to waste my time I’d rather watch football or read a book, you know? I mean everybody has their own way of being entertained and that’s not particularly mine. But I do see the value of it in terms of getting information out to people that are interested.
I get the impression that you and the band always operate with a strong awareness of social injustice and issues, for example back in �93 there was the Off The Street benefit for the people in Leeds. Are there a couple of particular causes on your radar at the moment that you would like to share?
WH : I mean the thing is, it can be a little bit of a dodgy area to get into as a band, certainly collectively because we don’t all think the same we don’t all feel the same, and I don’t want to be a spokesperson for the rest of the band, you know. For instance I’m a vegetarian, the rest of the band are all carnivores. For me to expound on being a vegetarian isn’t really representative of the band. But if there 21
august/september 2013 AUXILIARY were particular causes that I have been kind of more interested in helping along, it would be like the World Wildlife Fund and things like that, you know, animals that are endangered, species that are endangered and things like that, and prevention of cruelty to animals that kind of thing. Obviously there’s a million and one different causes and you know there’s a lot of very human causes that are very very worthy, but I prefer to leave that up to people like Bono who can actually make a differ-
ence. I don’t know if I can, you know.
Last question and I guess this is, it’s a more personal one: do you have any personal projects outside of the band that you would like to let our readers know about?
WH : Well I mean as I said earlier, one of the great things about the moment The Mission, we only do this, we bite this off in small chunks. We only do a tour or you know a bunch of shows every six months or something. So we do have a lot of time to ourselves to do other things. I’ve recently released an album with a Swedish poet. I did the music and he basically read his poems to the music which was a lot of fun to do. And that’s kind of my side project, and the name of the band is called The Pornographic Angels. And so that’s kind of my umbrella for doing other things outside of the band. It looks like I’m going to be making another al-
bum next month in July as The Pornographic Angels, just an acoustic album with some friends. I mean, I’m always up for doing other things outside of the band. The band certainly doesn’t cater to everything that I want to do.
Right, right. Because it’s a band and it has its own idea, and you shouldn’t try to bend it in all directions, right?
WH : With a band there’s always criteria, there’s always parameters, there’s al-
ways a dynamic that’s in place. It works for the band. You know, you can’t impose that same dynamic on other projects, so. We all like variety in our lives, I mean I’m sure you as a writer like to write about all kinds of different bands, all kinds of different things. Likewise I like to make all kinds of different music.
Okay, well that about runs to the end of the interview, thank you very much!
AUXILIARY august/september 2013 22
“ You get to an age where you can think for yourself and you tend to kind of go the opposite direction. So for a whole childhood that was spent in abstinence, there’s been an adulthood that’s revelled in every rock and roll cliche. ”
august/sept ember 2013 AUXI LI ARY 23
Front Li ne Assembl y - Echogeneti c
rel eased by Metropol i s Records on 07.09.13
Front Li ne Assembl y i s t he l ong runni ng mai n focus from t he fert i l e mi nd of Bi l l Leeb, who si nce l eav-
i ng Ski nny Puppy as t he t ouri ng synt hbass pl ayer i n 1985, has rel eased a mul t i t ude of FLA musi c, as wel l as mat eri al from Del eri um, Fauxl i age, Noi se Uni t, and Cyberakt i f t o name a few. Over t he years Front Li ne Assembl y has seen Leeb worki ng wi t h a vari et y of col l aborat ors, on Echogenet i c Left Spi ne Down bandmat es Jared Sl i ngerl and and Jeremy Inkel ret urn from 2010’s IED, and add t o t he mi x Crai g Johnsen. I’m not sure i f i t ’s a fami l i ari t y t hat ’s grown bet ween t he members, but Echo-
genet i c feel s more put t oget her, pol i shed, and downri ght creat i ve t han most FLA records t hat don’t feat ure past col l aborat or Rhys Ful ber. Thi s al bum has al l of t he ol d Front Li ne ki ck, gri t, and el ect ro but adds i n more cont empo-
rary i nfluences from bass musi c, drum n bass, dub, and current aggro-i ndust ri al. There’s not a moment where one coul d be mi st aken t hat t hi s i s not an FLA al bum, aft er al l i t i s bui l t around Leeb’s si gnat ure vocal s and synt h voi ces, but t he i nfluences from ot her pl aces make t hi s a real l y i nt erest i ng record. It ’s a great exampl e of keepi ng your voi ce but findi ng a new way t o say what you l i ke. Thi s i s a great new record from a band t hat you’ve known and enj oyed for a l ong t i me, get ready t o meet and l ove Front Li ne Assembl y al l over agai n. - Aaron Andrews
recommended track : Exhal e
genre : el ect ro i ndust ri al si mi l ar arti sts : Ski nny Puppy, i Vardensphere, Combi chri st
8/10 : musi c 8 : l yri cs 8 : recordi ng qual i t y 9
The Causti cl es - Eri c Gottesman rel eased by Undustri al Records on 07.30.13
The Caust i cl es i s a col l aborat i on bet ween Mat t Fa-
nal e of Caust i c and Bri an Graupner of The Got hsi cl es. If you’ve l i st ened t o ei t her of t hese bands you wi l l have a pret t y good i dea of what t o expect as The Caus-
t i cl es, as t he name suggest s, i s a mash of t he t wo t o-
Pet Shop Boys - El ectri c
rel eased by x2 on 07.12.13
There’s somet hi ng t o be sai d for a band t hat can wri t e a pop song about a broken heart t hat i ncorporat es wi t t y references t o Karl Marx and schaden-
freude, wi t h mel o-
di es borrowed from t wo decades (or cent uri es) ago, al l whi l e wrapped i n absurdl y i nfect i ous dance beat s t hat make you want t o j ump around t he room and si ng al ong wi t hout a capi t al i st concern i n t he worl d. Pet Shop Boys have spent enough t i me i n t hei r own wat ers t o know t hei r st rengt hs and weaknesses, and on El ect ri c, t hey sound l i ke t hey know exact l y what t hey’re doi ng and have brought t he best of every-
t hi ng t hat made t hem an i nt ernat i onal hi t i n t he first pl ace. They have creat ed a very ni ce sl i ce of dance-
pop t hat easi l y ranks among t hei r best al bums. It i s al so bot h fami l i ar t erri t ory (no quest i on who i t i s), and sounds st ri ki ngl y modern (t hanks t o everyone el se i n t he modern age l ooki ng backward). As i t moves from t rack t o t rack t hrough vari ous st yl es and subj ect s (i ncl udi ng a versi on of Spri ngst een’s “The Last t o Di e” whi ch works wi t h surpri si ngl y great success), t he songs mai nt ai n an upbeat dance-floor workout wi t h seemi ngl y effort l ess pop sensi bi l i t y. Hooks and cat chy mel odi es come out of every t urn of t he record, and t here i sn’t a dud, mi sfire, or dul l moment anywhere. It ’s al most i mpossi bl e t o si t st i l l whi l e l i st eni ng t o i t, and t ough t o put down once you st art. Fant ast i c t o hear somet hi ng t hi s good comi ng out of t hei r camp at t hi s st age of t he game; i t ’s al -
most as i f t hey haven’t l ost a beat, act ual l y. - Paul Mori n
recommended track : Love i s a Bourgeoi s Const ruct
genre : house, dance-pop, ret ro si mi l ar arti sts : Kyl e Mi nogue, Erasure
9/10 : musi c 9 : l yri cs 10 : recordi ng qual i t y 9
get her and not somet hi ng compl et el y di fferent. Hard st ompy dance beat s, obscure movi e sampl es, cat chy synt h ri ffs, and wi t t y fun l yri cs are sure t o ent ert ai n. Eri c Got t esman shoul d not be t aken seri ousl y and i f you don’t have a sense of humor you are not goi ng t o get t hi s. There i s an i nt erest i ng i nt ervi ew on t he i ndust ri al musi c webzi ne I Di e: You Di e i n whi ch Fanal e and Graupner go t hrough t he al bum t rack by t rack and add t hei r t hought s on each. I hi ghl y sug-
gest l i st eni ng t o t he al bum whi l e readi ng al ong for some good i nsi ght s and st ori es. Whi l e t he t racks are i nt ent i onal l y si l l y, t here i s perhaps one seri ous t rack: “(I’m Not ) Funct i onal ”. (Al t hough some coul d ar-
gue “The Caust i cl es Ai n’t Nut hi ng Ta Fuck Wi t ” i s as wel l.) “(I’m Not ) Funct i onal ” l yri cal l y t akes on al cohol i sm, whi ch Fanal e has suffered from i n t he past. Ot her hi ghl i ght s are “True Tal es of Made Up Advent ures” and “St ranger Danger”, t he former t el l s a t ongue i n cheek t al e of a D&D advent ure, wi t h many chuckl e moment s upon heari ng t he made up and funny magi cal i t ems used i n i t. Overal l i t i s a bi g pl us t hat Fanal e and Graupner t ook t he t i me t o do t hi s col l aborat i on ri ght: each t rack i s uni que and st ands on i t s own and t he product i on val ue i s hi gh. - Mi ke Ki effer
recommended track : (I’m Not ) Funct i onal
genre : el ect ro i ndust ri al si mi l ar arti sts : The Got hsi cl es, Caust i c
8/10 : musi c 8 : l yri cs 8 : recordi ng qual i t y 8
AUXI LI ARY august/sept ember 2013 Mr.Ki tty - Li fe rel eased by Engraved Ri tual on 07.05.13 A l i t t l e over a year ago I st umbl ed upon Mr.Ki t t y and was i nst ant l y hooked. I t ri ed my best t o spread t he word on t he 2012 rel ease of Et erni t y, and got many of my fri ends and hopeful l y st rangers hooked. A year l at er and t he man behi nd Mr.Ki t t y, Forrest, has rel eased an-
ot her ful l l engt h al bum cal l ed Li f e and t hi s t i me i t get s support from t he l abel Engraved Ri t ual. What I find great about t hi s proj ect i s t hat i t feel s t rue and whol esome, not forced or speci fical l y produced i n t he hopes of becomi ng famous. What you get i s fif-
t een songs wi t h i nfect i ous mel odi es, poppy beat s, ESA - Themes of Car nal Empower ment Pt. 2: Decei t
rel eased by Tympani k Audi o on 06.18.13
When an art i st embarks on an en-
t erpri se as epi c as an al bum seri es i n part s, t here’s a cer-
t ai n assumpt i on t hat t he l i st ener i s goi ng t o cat ch a gl i mpse of t he fuel t hat makes t he art i st ’s heart burn. It ’s a ri sky vent ure, mai nl y due t o an al bum seri es bei ng great er i n part s t han a si ngl e al bum. I’ve been l ooki ng forward t o part t wo of ESA’s Themes of Carnal Empowerment si nce Ja-
mi e Bl acker ’s bri l l i ant debut Pt. 1: Lust. The t heme “carnal empowerment ” al one i s enough t o st ri ke an i nt erest i n anyone who has ever l oved, l ust ed, or been angered by t hat process t o some degree. Wi t h part t wo bei ng dubbed “decei t ” i t i s i ndeed t he an-
ger t hat powers t hi s al bum. Wi t h t rack one we’re t reat ed t o a mournful yet sl ow bui l di ng pi ano pi ece t hat i s chri st ened wi t h equal l y ardent femal e vocal s. The l i st ener i s compl et el y consumed by t he beaut y of t hi s pi ece as i t bui l ds i nt o t he second t rack unt i l cul mi nat i ng i nt o a burni ng fire of musi cal vi ol ence. Thi s vi ol ence cont i nues t hroughout t he al bum gi v-
i ng i ndust ri al noi se l overs one of t he finest rel eases I’ve heard i n a l ong t i me. Usual l y noi se art i st s dwel l on heavy percussi on and t here’s l ot s of t hat i n De-
cei t, but t here’s al so creat i ve uses of bass noi se, pre-
ci si on sampl i ng, and IDM breaks t hat make part t wo of t he Themes seri es wort hy of your ful l at t ent i on. - Hangedman
recommended track : No-One Wi l l Ever Touch You
genre : i ndust ri al noi se
si mi l ar arti sts : Iszol oscope
9/10 : musi c 9 : l yri cs 9 : recordi ng qual i t y 10
The Legendary Pi nk Dot s
- The Gethsemane Opti on
rel eased by Metropol i s Records on 06.25.13
Thi s l ong runni ng and prol i fic experi-
ment al act have a mi nd boggl i ng body of work rel easi ng over fort y al bums si nce 1980. Add t hat t o t he fact t hat t hi s i sn’t t he onl y proj -
ect pursued by i t s members and t hat i s real l y awe i nspi ri ng. Thei r uni que avant -garde sound i s front ed by t he di st i nct voi ce and songwri t i ng of Edward Ka-
Spel and fleshed out wi t h el ect roni cs, gui t ar, saxo-
phone, and drums. The Get hsemane Opt i on i sn’t a new shi ny t ake on what t he band do, j ust more of t he same great t hi ng you expect from t hem. I’ve l earned over t he years t hat t hi s i s a band t hat you l ove or Downl oad - Li ngAM
rel eased by Metropol i s Records on 06.11.13
The creat i ve cEvi n Key i s a busy guy wi t h pl ent y of i mag-
i nat i on. Hot on t he heel s of t he rel ease of t he newest Ski n-
ny Puppy record, Weapon, i s anot her excel l ent rel ease from hi s ot her proj ect, Downl oad, assembl ed wi t h l ongt i me col l aborat or Phi l West ern. There’s no si gn of bei ng overwhel med or st ret ched t oo t hi n and t hi s i s, i n my opi ni on, t he best rel ease from t he pai r si nce Ef f ect or came out t hi rt een years ago. Di fferent from t he l ai d back Ef f ect or but equal l y wel l const ruct ed, Li ngAM pul l s back from t he experi ment al assaul t of previ ous rel ease Hel i copTEr, t aki ng a bouncy rhyt hmi c pat h t hat i s l ess chal l engi ng but st i l l ex-
peri ment al. Li ngam i s a word t hat offers many meani ngs from t he spi ri t ual (cosmi c pi l l ar of fire) t o t he absol ut e (evi dence) or somet hi ng more pedes-
t ri an (st ai n), and t he musi c i s equal l y mul t i facet ed. Downl oad pul l s i n bi t s of t echno, IDM, i ndust ri al musi c, sampl es, and years of ski l l and pract i ce wi t h anal og and di gi t al el ect roni cs t o craft a uni que and l i vi ng al bum. It ’s ri ch not j ust i n t he l ush sound l ay-
ers, but al so t he vari et y of t ones t hat are di st i nct l y t hose of Key’s Sub-Consci ous St udi os proj ect s. Li ngam’s spi ri t ual meani ng i s t he most accurat e use t o descri be t hi s spaced out and cosmi c al bum. Whet her i t ’s t he snappy break beat s, far out gl i t ch, or dreamy mel odi es; t he al bum i s l i ke a soundt rack t o a fast paced aci d fuel ed sci -fi hi ppy experi ence. - Aaron Andrews
recommended track : YONI
genre : experi ment al, IDM
si mi l ar arti sts : Dead Voi ces on Ai r, Ski nny Puppy
9/10 : musi c 9 : recordi ng qual i t y 10
Edi t ors - The Wei ght of Your Love
rel eased by PIAS on 06.28.13
I’ve never l i ked Ed-
i t ors. I al ways found t hem “Johnny-
come-l at el y” t hi rd or fourt h generat i on post -punk revi val-
i st s. Li ke Creed t o Pearl Jam, so are Edi t ors t o Int erpol. Thi ng i s, I real l y l ove post punk, so t here’s al ways hope somewhere i n my dark, overl y-anal yt i cal soul t hat Edi t ors wi l l pi ck up a record by The Pop Group, get a hol d of some mi nd-al t eri ng subst ance, l ock t hemsel ves i n a room for a week or t en, and emerge shi ni ng l i ke Buddhi st s wi t h at t i t ude, and a surpri s-
i ngl y cool sound. So much for t hose expect at i ons. On t hi s effort, t hey’ve t aken t he i l l -advi sed t urn t o-
wards t he grandi ose and subl i me à l a U2 or Si mpl e Mi nds, wi t h st ri ngs and harmoni es and vocal s t hat reach at every moment for t he sky. The musi c act s as a gi ant backdrop for vocal i st Tom Smi t h, and l i t t l e more. The gui t ars don’t do much. The bass st ays i n a pocket wi t h t he drums, and t he drums make Ri ngo St arr sound l i ke Nei l Peart. I have t o wonder how much cont rol Smi t h had, because whi l e t he musi -
ci anshi p seems compet ent, i t ’s al so mi nd-numbi ngl y bori ng. At i t s best, t he al bum vaguel y recal l s Echo & The Bunnymen. At i t s worst, i t approaches a kara-
oke versi on of “Fool i sh Heart s” era St eve Perry (but make no mi st ake, t hi s i s not Journey). The break-
i ng moment for me was t he non-i roni c heavy met al bal l ad “Honest y,” whi ch had my fingers scrambl i ng for fast forward or st op. It ’s over-t he-t op, over-pro-
duced, over-compressed, bl oat ed, and uni nspi red. And t hat ’s j ust t he musi c. Thankful l y for t he reader, I l eft out my comment s on t he l yri cs. - Paul Mori n
recommended track : The Wei ght
genre : post punk revi val i st, i ndi e rock si mi l ar arti sts : Col dpl ay, Int erpol
3/10 : musi c 3 : l yri cs 3 : recordi ng qual i t y 9
you don’t get. The Legendary Pi nk Dot s generat e a moody, dark at mosphere where Ka-Spel ’s capt i vat-
i ng speak-si ngi ng l ooms out of t he darkness t o nar-
rat e, wi t h no l ack of words, each uni que fever dream. There’s somet hi ng about t he Dot s’ soundscapes t hat crawl under your ski n and di st urb wi t h beaut y as wel l as resonat e t hrough your body an unset t l i ng mi ni mal i sm. I’ve al ways fel t t hat t hei r musi c t akes some pat i ence and at t ent i on, but I’ve al so found t hat t here’s a reward i n t he beaut y of what t hey make. I recommend si t t i ng and dri nki ng i n t he whol e al bum, pi ece by pi ece, i n a dark room wi t h a ni ce gl ass of scot ch. Hear your heart beat i n t he musi c and occupy t he space of Ka-Spel ’s st ori es, now breat he out t he dark peace t hat i t i nspi res. - Aaron Andrews
recommended track : Pai nful Li ke
genre : i ndi e, synt hpop si mi l ar arti sts : The Kni fe, Trust, Col d Cave
8/10 : MUSI C
august/september 2013 AUXILIARY Cryogenic Echelon - Anthology
released by CRL Studios on 07.15.13
Cryogenic Echelon is a relatively un-
known band from Australia formed by Gerry Hawkins and later joined by Law-
rie Masson. Their new album Anthol-
ogy out on CRL Studios is Cryogenic Echelon with support from multiple other up-and-coming bands in the electro industrial scene. This collaboration has brought fresh sounds and a nice variety to the album hitting multiple genres like dark electro, dubstep, drum n bass, and aggrotech. This might sounds like a mess, but really it all gels together and has a similar tone throughout making it more like an album than a compilation of bands or a remix album. Anthol-
ogy starts out strong with an EBM track “Indigo Children” (featuring Sleepless Droids) which has a strong dance beat and heavy acid lines through-
out. The track “From Comatose” (featuring MiXE1) is the strongest track on the album that screams to be put onto any playlist you plan on making over the next year. “Belonging” (featuring [Aphelion] and Blast Radius) mixes things up a bit shifting to a chilled out dark atmospheric drum n bass track. What really drew me to this album was the collabor-
ative effort; it’s rare to see in such an individualistic world. Overall Anthology is an enjoyable listen, and having a tad of a pop feel to the songs it reminds me a lot of the great industrial pop album Wintermute by Necro Facility. - Mike Kieffer
recommended track : From Comatose (featuring MiXE1)
genre : dark electronic
similar artists : Necro Facility
7/10 : music 7 : lyrics 6 : recording quality 7
Moderat - II
released by Mute on 08.06.13 I do love Apparat and I do love Mod-
eselektor, and when they combine forces and form Moderat I do love it as well. It’s been five years since their debut album Moderat was released although both have released material under their separate names so the wait wasn’t that bad. Right from the first track, after the interlude, you can just tell these electronic composers are on another fucking planet as far as talent goes. “Bad Kingdom” is the first track, and also was the first tease Mod-
erat gave the public with the video being released in the beginning of July. It sets the bar impossibly high for the album as this might be one of their greatest songs. As you continue listening on you are not go-
ing to be disappointed, as long as you can handle emotive somber electronic music. You see II might be suffering from a bout of depression; most of the tracks have a dull drone throughout, setting a not so happy mood for the album. That being said it also pushes this album a bit towards darker electronica, which fits perfectly into what I have been listening to as of late. The music is full and rich but not overly packed and really displays all its secrets when you crank up the volume. There is no reason you won’t love or at least really like this album, unless you are the type of person who lives on sunshine, rainbows, and happy pop music, in which case you will hate it. - Mike Kieffer
recommended track : Bad Kingdom
genre : electronic
similar artists : Jon Hopkins
9/10 : music 10 : lyrics 9 : recording quality 10
Aliceffekt - Dei Dain
self released on 06.25.13
A minute into the Bandcamp preview of Aliceffekt’s Dei Dain and I had my wallet out. This prodigal rhythmic noise artist has been on my radar for a few years and there seems to be no stoppage of his amazing art. I say “art” because Devine L is more than just a musician. Aliceffekt is a damn fascinating individual and I find myself wondering when the man ever sleeps. Aside from music, the man is an artist, programmer, avid Funker Vogt - Companions In Crime
released by Metropolis Records on 07.09.13
Confession time! I tend to give high ratings because I tend to pay atten-
tion to things I like, and believe firmly that the subjectivity of music cannot be put down as a num-
bered rating. One person’s gold is another person’s garbage. As this is an opinion, I’m beholden to tell you about Funker Vogt’s new release Companions In Crime with brutal honesty, and it’s pretty brutal. By all indirect accounts, these guys are reported to be some of the nicest guys in the rivet head genre. So I hope they can forgive me for my plea to drop the rehashed cadence they leaned on for the better part of their budding career. Guys enough already! Enough of your formulaic use of key changes and chorus lines that throw back to your establishment hits of the early 2000s. Throwing in what seems to be the requisite wub wub dubstep embellishment does not make them new. Considering how trite dubstep is today, it doesn’t help your case. By 2013 your sound should start to break the mold and move in fresh directions and themes. Please FV, while you’re not my favoritest ever, I like you guys and I want to hear something new from you. Just like the whole paramilitary thing is no longer original, Companions In Crime is not a new FV album. It’s more of the same recycling of your signature polka bounce that you’ve got away with to date. Your old hits were hits, and well-deserved hits. I have faith you can do it again. Just not without breaking new ground. There are some bright moments. “Our Life” is a sign you can still take that old cadence and do something interesting with it. Other than this, there’s little here for anyone other than the die-hard Funker Vogt fan. - Hangedman
recommended track : Our Life
genre : industrial
similar artists : Front Line Assembly
4/10 : music 4 : lyrics 5 : recording quality 9
cyclist (in Tokyo), hobby gardener, game designer, and even engineers his own languages for fun. If I were to choose a person to touch brains with, it would be Devine and I suspect I come close when I listen to his music. Aliceffekt’s sound is unique among noise artists. He’s hard and energetic without being bloodthirsty like many of his contemporaries. There’s a grace to his sound that seems to meld well with his mysterious anecdotes showcased by his game designs. It strikes me that Aliceffekt is com-
posing his music almost as a score to his deep dark imagination, puncturing it with his own personal in-
fluences and environmental surroundings. I feel I can hear a little Tokyo in this album in much the same way I hear it in Download’s new LinGam album or any PlaTEAU album. Without a direct comparison, it is fun to draw the similarity. - Hangedman
recommended track : Aetdth
genre : rhythmic noise
similar artists : PlaTEAU
8/10 : music 8 : recording quality 9
and lyrics that are personal and age appropriate, as opposed to some 45 year old writing about teen angst. Mr.Kitty has shown nice growth in the overall sound since Eternity, moving away from some criti-
cized amateurish sounds and practices, but I find that there is still room for improvement. Not that there is something bad that jumps out to the casual listener, but a few minor items that might have been removed by a seasoned professional. If you have been follow-
ing music in this and similar genres over the past year you can theorize about what has influenced Forrest and see how he incorporated it into his own, as this album is current to what’s going on. Life is a very enjoyable listen and an easy go-to album when you are hunting for something to listen to; it gets my recommendation for everyone to check out. - Mike Kieffer
recommended track : Insects
genre : synthpop similar artists : Trust
8/10 : music 7 : lyrics 7 : recording quality 8
Ask Arden
submit your
questions to : [email protected]
how do you get attention from someone who is interested in your friend?
Q : How do you get a man’s attention who is also showing interest in your female friend?
A : Make out with her. (Kidding!)
When we as FPUAs (Female Pick Up Artists) go out to seduce people, here’s how we do it: we take full control of our persona, appearance, personality, and vibe, and then we arm ourselves with the skill set necessary to go out and approach, build attraction, and create emotional connection with people that we find attractive. After that, the chips fall where they may. As much as we PUAs hate to admit it, we can’t control how people ultimately react to us. We can just stack our odds as best as possible.
Here’s another thing: PUAs generally have a code of honor regarding targets. This is one area where most male PUAs have a great degree of integrity that we FPUAs could often stand to learn from: they will let each other know which targets they’re after, and the wing will step aside and help his fellow PUA game his target, and even occupy her friends if necessary, even if he doesn’t find them interesting. We ladies could learn a bit from this, I think. So go ahead and ask your friend (on the sly, of course) if she’s interested in the guy or if he’s fair game. If she lays claim to him, respect that. She’ll do you the same favor in the future. (Or if she doesn’t, you need a new wing-woman!)
If she says he’s fair game, then continue spiking attraction as normal, with plenty of push-pull tactics, playful teasing, jealousy plotlining, and kino escalation, the same stuff you’d be doing normally. Have your friend talk you up too. (“Jen’s too shy to admit this, but she’s an amazing painter! You should see her work!”) With the right dynamic amongst the three of you, you may be able to steer him toward you before long.
how do you transform a friendship into an intimate relationship?
Q : Hey Arden. I’m just wondering if you have any advice for someone trying to take a friendship with a significantly older man to a more intimate level, without being too straightforward with my intentions.
A : Actually I think being straightforward about it is exactly the way you want to go for it. When we go about using pickup tactics, we do so to stack our odds that we are going to create attraction with the person we desire, that we will then follow with emotional connection, and as our relationship matures, the intimacy between us will increase, and they will get to know us on a very deep level, and we, them. That’s how a good relationship happens. With friendship, the person in question already knows the qualities you bring to the table, and should have a good idea of whether they find you attractive or not.
You may want to start seeding some interest by taking things to a more flirta-
tious level, making a few flirtatious jokes or kino escalating, just so your new interest doesn’t seem to come totally out of the blue. It’s a good way to plant the idea in your target’s mind first so that it doesn’t take him totally off guard.
But ultimately, the best thing to do, the thing which shows the most respect and honors your friendship, is to be straight up about the way you feel. The way that you do this in a classy manner is to understand, on a very deep level, that your friend is not obligated to return your feelings, and to tell him in a way that is generous, honest, and holds space for his feelings in return. Something like, “Hey, I want to let you know that I’ve started to have feelings for you that go beyond friendship. I think you’re awesome and I’d like to hang out in a way that takes our relationship to the next level, and I want to know if you’re open to that idea.”
At that point, you have your answer either way.
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 Steve Prue
AUXILIARY august/september 2013 Meet Deanna Deadly. She has modeled in five countries, performed burlesque around the world, and been on the cover of seven magazines, with two more covers to grace before the year’s end. Originally from Chicago, she is still in the midst of full-time traveling before she relocates to Los Angeles.
photographer Jennifer Link
makeup artist Joseph Frank Rothrock
hair stylist April Grigajtis
model Deanna Deadly
the PinUp
Auxiliary’s playful take on the sexy centerfold pin up. Flip the page, cut out, and tac on your wall!
THIS PAGE Exclusive Mosh Playsuit by Dottie’s Delights paired with model’s own handmade floral headband.
Auxiliary Magazine Presents
august/september 2013 AUXILIARY name : Deanna Deadly
birthday : July 25
birthplace : Suburbs of Chicago
eye color : Hazel
hair color : Fire engine red!
turn-ons : People that know what they want and are determined to get it, horror movie buffs, latex, redhead women, men in all black that look like vampires.
turn-offs : Smoking, bad manners.
why do you model? : I’ve always been artistic but felt I wasn’t good at painting or anything similar. I’ve always loved fashion/fetish and am a very visual person and also love traveling and working for myself. These all go hand in hand with modeling.
how did you get into modeling? : I paid for my first photoshoot on my 18th birthday, did it for fun for two years and then started being more comfortable with artistic nudity and the like, and started doing it full-time, and traveling, and have ever since.
favorite musical artist : The Damned
favorite movie : Harry Potter
favorite tv show : True Blood
favorite cocktail : Just give me Magners Cider!
favorite color : Red and purple.
favorite tattoo : My favorite tattoo on myself is my upper arm piece with a phonograph, bats, and “Stay Creepy” in traditional style.
favorite article of clothing : Latex!
favorite fashion designer : Vengeance Designs and Bettie Page Clothing.
favorite star/icon : Dave Vanian and Vampira.
favorite outdoor activity : Biking and hiking.
favorite club/club night/place to go out : Late Bar in Chicago on Saturday night! 80s pop and goth until 5am.
anything you’d like to say to our readers? : Find me on Facebok at for my upcoming performances all over the world!
follow Deanna Deadly on Twitter @deannadeadly
AUXILIARY august/september 2013 Deanna Deadly
AUXILIARY august/september 2013 photographer Steve Prue
fashion stylist Clara Rae
makeup artist Clara Rae for Kryolan Makeup
hair stylist Clara Rae
model Clara Rae
photographer and fashion stylist assistant Tita
Garments, accessories, and attitude worn however you like.
Gold leotard by American Apparel paired with leather harness by The Leather Spot.
Lower right, black crop top by Akira paired with black high waisted underwear by American Apparel.
Breaking Boundaries
Black belt worn as a top and black peplum pants both by Akira.
Upper right and lower left, white button up top, tie, and white underwear all by BDG Clothing.
august/september 2013 AUXILIARY AUXILIARY ONLINE CONTENT See more of this editorial by searching “Breaking Boundaries” on
AUXILIARY august/september 2013 photographer Le Mew Photography
makeup artist Mather Louth
hair stylist Mather Louth
model Mather Louth
lighting tech Armando Esquivel
location Wonderland Studios OC
Bound in luxury, embellished with finery.
Red corset with black contrasting embellishments and matching ensemble by Cheri Chagollan of Wonderland Corsets.
august/september 2013 AUXILIARY AUXILIARY august/september 2013 THIS PAGE
Couture rabbit ears and cat claw half gloves both by Cadaver Couture paired with matte black corset and matching ensemble by Cheri Chagollan of Wonderland Corsets.
august/september 2013 AUXILIARY AUXILIARY ONLINE CONTENT See more of this editorial by searching “Opulence” on
AUXILIARY august/september 2013 photographer Gail Kilker
makeup artist Porcelain
hair stylist Porcelain
model Porcelain
Rhinestones, feathers, fishnets, and fur: glamour meets nature.
Ruffle shirt, long button up gloves, and black underwear all by Renee Masoomian paired with headpiece by Rae Beth Designs.
Vintage fur paired with sunglasses by Ritchie White Designs.
august/september 2013 AUXILIARY Showstopper
august/september 2013 AUXILIARY AUXILIARY ONLINE CONTENT See more of this editorial by searching “Showstopper” on
AUXILIARY august/september 2013 photographer Maria S. Varela
makeup artist Luzia Bono & Sara Sanchez
hair stylist Luzia Bono & Sara Sanchez
models Sara Loeh, Viktor Sousa, Melon Blonde, & Agoraphobia
Spiked and studded, chains and grommets: choose metal adorned latex to stand out at night.
Shine in the THIS PAGE
Maia Strapless Latex Bra With Spikes, skirt, and Ann Choker With Chains all by CocoLate Latex.
Bustled coat, gloves, and studded choker all by CocoLate Latex.
august/september 2013 AUXILIARY AUXILIARY august/september 2013 THIS PAGE
Outfit by CocoLate Latex.
Ruffled top and Maia Body both by CocoLate Latex.
august/september 2013 AUXILIARY AUXILIARY august/september 2013 THIS PAGE
Miss S Latex Cape, briefs, and Ginger Toeless Latex Stockings With Spikes AppliquГ© THIS PAGE
Outfit by CocoLate Latex.
august/september 2013 AUXILIARY AUXILIARY august/september 2013 THIS PAGE
Ultra High Waist Knickers Mel, Latex Nipple Pasties, gloves, and studded choker all by CocoLate Latex.
Coco Latex Top, skirt, corset, and Ginger Fingerless Latex Gloves With Spikes all by CocoLate Latex.
august/september 2013 AUXILIARY AUXILIARY ONLINE CONTENT See more of this editorial by searching “Shine in the Dark” on
AUXILIARY august/september 2013 photographer Ian Compton
creative director Pretty Deadly Stylz
fashion stylist Pretty Deadly Stylz
makeup artist Erin Heather
hair stylist Katie Gabinet
models JayJay Kings, Emmanuel G, & Kehli_G
Polish up and pull together with the best fall styles.
The End of Summer
Lower left, Union Jack Vest by Dr. Martens, Spine & Leather Mens Jacket by WORTH by David C. Wigley, and Thor Kilt by Dystropolis by Wendy Ng.
On left, Union Jack Vest by Dr. Martens, Thor Kilt by Dystropolis by Wendy Ng, and Dalton Re-invented Core Boots by Dr. Martens. On right, Union Jack Shirt by Dr. Martens, Black Leather Shorts by WORTH by David C. Wigley, and Baxter OPPOSITE PAGE
Upper left, sweater by WORTH by David C. Wigley, Union Jack Shirt by Dr. Martens, and Black Leather Shorts by WORTH by David C. Wigley.
On left, Union Jack Shirt by Dr. Martens, Grey Mens Pants by WORTH by David C. Wigley, and Beck Casual Chunky Wedge Shoe by Dr. Martens. Middle, Orian T-shirt by Futurstate, Fringe Harness Belt by WORTH by David C. Wigley, Sliced Leggings with Bows by Sxc GRRRL Xcessories, and august/september 2013 AUXILIARY Spike Re-invented Core Applique by Dr. Martens. On right, Dress Shirt, Leather Vest, and Neck Fringe Tie all by WORTH by David C. Wigley paired with Flight Pants by Futurstate and Dai Core Applique Boots by Dr. Martens.
AUXILIARY august/september 2013 THIS PAGE
Orian T-shirt by Futurstate. Sliced Leggings with Bows by Sxc GRRRL Xcessories, Fringe Harness Belt by WORTH by David C. Wigley, and Studs Black & White Med Satchel by Dr. Martens.
august/september 2013 AUXILIARY OPPOSITE PAGE
On left, Null T-shirt by Futurstate, Odin Pants by Dystroplis by Wendy Ng, White Studded Belt by Dr. Martens, and Baxter Core Applique Shoes by Dr. Martens. Middle, Freyja Cloak by Dystropolis by Wendy Ng, Leather & Harness Top by WORTH by David C. Wigley, Idoru Skirt by Futurstate, and Britain Re-invented Quad Retro Boots by Dr. Martens. On right, Zone T-shirt by Futurstate, Grey Mens Shorts by WORTH by David C. Wigley, and Caden Originals Boots by Dr. Martens.
august/september 2013 AUXILIARY THIS PAGE
Mini Black Satchel by Dr. Martens.
Lower left, Neo Shrug by Futurstate, Lace & Swaraski Crystal Bows Corset by Sxc GRRRL Xcessories, Vixx Shorts by Futurstate, and stylist’s own ring. Lower right, Union Jack Shirt by Dr. Martens paired with Ribcage Harness and Grey Mens Pants both by WORTH by David C. Wigley.
Upper left, Black Leather & White Dress Jacket by WORTH by David C. Wigley, Null T-shirt by Futurstate, Odin Pants by Dystroplis by Wendy Ng, and White Studded Belt by Dr. Martens.
august/september 2013 AUXILIARY OPPOSITE PAGE
Upper left, Mystic Cincher Belt by Futurstate paired with Top With Shoulder Detail and Grey Wool Skirt both by WORTH by David C. Wigley and Spike Re-invented Core Applique Boots by Dr. Martens. Upper right, Britain Re-invented Quad Retro Boots by Dr. Martens. Lower right, Studded Overcoat and Spike Re-invented Core Applique Boots both by Dr. Martens.
august/september 2013 AUXILIARY THIS PAGE
On left, Wool & Knit Jacket and Black Leather Pants both by WORTH by David C. Wigley paired with Odr Cape worn as shirt by Dystropolis by Wendy Ng and Beck Casual Chunky Wedge Shoes by Dr. Martens. Middle, Thor Tunic and Thor Half Waistcoat both by Dystropolis by Wendy Ng paired with Stud Collar Dress Shirt by WORTH by David C. Wigley, stylist’s own wristband, Zero Pants by Futurstate, and Dai Core Applique Boots by Dr. Martens.
written by Jennifer Link
photographer Bailey Northcott hair stylist Lindsay Alcorn
model Elle Munster
This season’s must-have.
AUXILIARY august/september 2013
Fall is the season for fashion, but under all those great outfits you need great undergarments. Lingerie doesn’t have to be about anyone but yourself. The Red and Black Skull Brocade and Latex Bra, Underwear, and Garter Set by Cinched Tight follows their motto of, “beauty is in everybody and every body needs to be celebrated.” Celebrate yourself and the female spirit as well as the female form. With a dark and decadent blend of skull motif blood red brocade and shiny black latex this lingerie set is must-have for under your favorite fall season dress.
Red and Black Skull Brocade and Latex Bra, Underwear, and Garter Set by Cinched Tight
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