April/May 2014 Issue of Auxiliary Magazine

the music issue

megan massacre allie schell angela ryan sharon TK

johnny hollow trust fostercare

wallace playford

prospero

autumnlin kietponglert reneĂŠ masoomian pin up girl clothing APRIL / MAY 2014

ISSUE PREVIEW APRIL/MAY 2014 to read the full issue : purchase the print edition or the digital edition print edition auxiliarymagazine.com/shop $20 digital edition kickstarter.com/projects/jenniferlink/auxiliarymagazine-subscriptions-launch pledge $1 or more subscribe to continue reading : print & digital subscriptions kickstarter.com/projects/jenniferlink/auxiliarymagazine-subscriptions-launch

contents

johnny hollow : 18 trust . fostercare . prospero : 22 . 24 . 26 megan massacre . wallaceplayford : 36 . 44 allie schell . angela ryan . sharon TK : 32 . 58 . 58 autumnlin kietponglert . reneĂŠ masoomian . pin up girl clothing : 36 . 58 . 50 Photographer : Ian Compton Creative Director : Pretty Deadly Stylz & Vincent Marcone Makeup : Lessa Arsenault for Pinch Cosmetics Image Manipulation : Vincent Marcone Model : Janine White

beauty

29 music reviews Combichrist, God Module, Liars, THYX, Angelspit, Crosses, Blac Kolor, and more

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powder paint on the face you choose 10 devotion statement gold and statement lips 16 runway to vanity textured hair and geometric eyes from Reem Acra and Roksanda Ilincic

lifestyle

32 the PinUp Allie Schell 36 Megan Massacre interview and fashion editorial with the tattoo artist, painter, and model 43 ask arden advice on relationship strategies

media

17 media reviews Goldfrapp: Tales of Us, Mad World, and Quiet Ones

fashion

music

44 designer spotlight WallacePlayford 49 style bohemigoth 50 haunted mansion spooky prints and retro perfection 58 rendezvous loungeable pieces for that secret escape 66 summer fun gear up for festivals and parties 72 must tie tack 73 where to buy

18 Johnny Hollow Vincent Marcone and Janine White on crowd funding and the new album 22 Trust Robert Alfons on experimental confidence and the new album 24 Fostercare Marc Jason on being labeled witch house and his three-album journey 26 Prospero Wade Anderson and Steve Sandford on the new album and the alt club scene 3

april/may 2014 AUXILIARY

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Powder Cloud definitions, blur gender lines, paint on the face you choose. photographer Ema Suvajac creative director Pretty Deadly Stylz fashion stylist Pretty Deadly Stylz makeup artist Carrie Tibbs of Beauty Marked Makeup Artisty hair stylist The Proudest Pony Salon models Christine MacGibbon & JayJay Kings

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Devotion Statement gold paired with statement lips in tropic hues to sultry shades. photographer Saryn Christina makeup artist Illyne Michel hair stylist Illyne Michel model Alexandra Mathews

AUXILIARY april/may 2014

ISSUE M U S I C PREVIEW

interview by Dylan Madeley photographer Ian Compton creative director Pretty Deadly Stylz & Vincent Marcone makeup artist Lessa Arsenault for Pinch Cosmetics image manipulation Vincent Marcone

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Johnny Hollow

Vincent Marcone and Janine White of Johnny Hollow, a band that blends dark electronic music with orchestral sounds to a result described as “gothic chamber music for the 21st century”, chat with Auxiliary about going indie, crowd funding, art and music, and the most challenging song to record on their new album, A Collection of Creatures.

we felt that we just needed to create an umbilicord directly from us and to the people who have been supporting us throughout the years. And we’re just more comfortable that way. So to continue, we decided to pose the question, well will our fanbase actually support a new album, and so it was basically a litmus test and we put it out there and we’re really surprised and happy with the results, I think this is the way we’re going to keep moving in the future, they supported the album, where we raised $17,000 which is still not a lot to put an album together, but it was enough to support us, and we were really pleased with those results, and that’s why it came into being.

Johnny Hollow has done their best to stay on the fan radar during the four years since their previous release, the 2010 EP Devil’s Night. They played numerous live shows, using the audience to test songs that would eventually populate an album.

They made the bold leap to independence and put their faith behind their fanbase, and also at least a year’s worth of hard work and preparation. This fanbase came through for them with a successful Indiegogo crowdfunding campaign. Auxiliary talks with Vincent Marcone and Janine White about the years-long journey that resulted in self-releasing their newest album, A Collection of Creatures.

It’s been six years between the last full album, Dirty Hands, and your most recent release, A Collection of Creatures. But with the Devil’s Night EP in 2010 and your numerous live performances, it feels like Johnny Hollow never left us. Was there anything that happened between full length albums which drove your decision to release this new album independently?

Vincent Marcone : I think one of the biggest things that drove our decision to release independently, and I’m glad it sounds like Johnny Hollow has still been around because we do take our time when we put an album. A lot of these songs by the way were created as we’re playing live, and we’ve been working on these songs for quite some time, which is why we asked help from our audience to make this album. And basically it’s because of our fanbase we like to refer to as patrons, that’s the reason why the album came into being. To answer your question more specifically, I think the music industry has just quickly changed, especially within the last five years, and the idea of middlemen facilitating sales just isn’t working anymore. And it’s not something we’re saying to be mean to record labels and whatnot, and I think they serve their purpose to particular artists, but for us now, AUXILIARY april/may 2014

Crowd funding is a big thing today and that’s how you brought this new album to us, and it seems to have gone very well for you. Given the unique campaign video, art, and organized tiers of rewards, for how long in advance of the campaign did you have crowd funding in mind?

Janine White : Several months, when did we start?

VM : It was a year, basically.

JW : Yeah, when we started talking about it and planning it.

VM : Yeah, Janine and I really strategized for a year, we researched to see how to, we had a lot of kind people to help us out in terms of giving us advice, and it was, there was AJ, there was strategy involved in terms of.

JW : Yeah, we were looking at other artists who had done campaigns and figuring out what they did write that we can imitate [laughs] and what not to do, we did a lot of research and we still once we got into it, there was still a lot to learn but I’m glad we took the time we did to examine it before we actually put it out there, because it needed the research.

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AUXILIARY april/may 2014

Trust

MUSIC

ISSUE PREVIEW interview by Anna DeMeo & Mike Kieffer APR/MAY 2014 purchase the print or digital edition at auxiliarymagazine.com

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Fostercare

Marc Jason of Fostercare doesn’t feel like his music is witch house, but he spends no energy fighting what people decide to call him.

Jason discusses the decades of genres that influenced his project at the start, what’s on his mind today, and his three-album journey stripping away the fluff and getting down to what’s real.

You’ve had quite an impressive discography that’s been well received in the last few years. The new release is just as hard hitting and consistent as its predecessors. Do you feel that it’s important to remain fairly consistent with your sound as an artist?

Marc Jason : That’s a hard question because I feel my sound is fairly inconsistent in places but still maybe recognizable. I guess I’m into so many divergent things that it’s sometimes hard to say “I am X” or “I am Y”. Besides, most of the musicians I like never really cared about being defined as a particular genre. So in a roundabout way I think I’ve been consistent in being spontaneous and not being too defined by genre. Although I think with me there’s two different instincts which are influenced by what I like in 80s and 90s electronic music which has nothing to do with EDM, and what I like in more 80s to 90s underground rock and industrial music. In a way I’m trying to meld the two sometimes and pursue one over the other sometimes.

think it’s a correct assessment?

MJ : No. My music is not witch house. But by way of association early on it started getting called that. I guess there’s nothing wrong with people being into this dark type of music per se, but really witch house and these sort of generic micro-genres aren’t really my thing. Gimmicks aren’t my thing. I think I get most frustrated because my music isn’t really a gimmick and to me, witch house and sea punk and all these things just became these stale gimmicks. All the songs sort of just disappear into each other, except for the early stuff put out by the original bands like Salem, White Ring, etc. The only reason I’m sometimes called witch house is because I released with Disaro in 2010 and was connected in some music articles to some witch house acts before witch house the term was even invented. But I don’t know, it seems futile to fight what people call me.

On Innerspace vol. 1 there is a definite early 80s industrial sound going on, what music influenced you while creating the album?

MJ : Often when I’m putting together an album, but particularly this one, I will

Your music has been described as falling into the genre of witch house. Do you AUXILIARY april/may 2014

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Prospero Prospero is back with new energy, an evolved sound, and a new member in Steve Sandford as known as Hangedman, all without losing the core synth industrial identity of the band. Auxiliary caught up with creative lead Wade Anderson and newcomer Steve Sandford to discuss how they met, what they chose to do different on the new album Paradise or Apocalypse, and the struggles of the alternative club scene in Toronto. interview by Dylan Madeley

Artoffact Records’ website listing describes your new album Paradise or Apocalypse as “an electro-tribal departure”. While the tribal aspect is readily apparent to the listener, are there any other neat things that you did different from your previous albums that may fly under the radar on the first listen?

Wade Anderson : I’d say the biggest change to Prospero over the last little while I’d say on the Turning Point album, I added a lot of guitar, which was something I wanted to do for a long time. I used to play a lot of guitar in the 90s, Nirvana, Alice In Chains kind of stuff there, and I never really incorporated it into industrial music before. I used it a lot on that album, and I actually broke my guitar on that album, at the end of the song, I’m going to forget the name of my own song how sad is that, “Growth and Decay” on Turning Point, there’s the sound of a guitar doing weird wobbly distorted mangled things, and I’m in the basement, smashing the butt end of my guitar against a brick wall to get these weird distortion sounds.

AUXILIARY april/may 2014

It sounded really cool, and I didn’t think I had broken my guitar, I was fine, so I went on recording for a little while after that, and when I came back a couple of years later to do the new CD, Paradise or Apocalypse, the pickup was broken, probably from smashing it against the brick wall. So I get in these grooves where I want to record a lot of stuff really quickly, so I tend to binge record, and I didn’t have time to get the guitar fixed. So other than the first track which the guitar was actually recorded, the first track on the album still has guitar because it was actually recorded during Turning Point, and I edited it to use on the new CD. But everything else, since I was in the mood and in the studio and everything was set up and I wanted to record, I just dropped guitar and added arpeggiated synth where I would have put guitar.

The tribal sound has really taken off, hasn’t it? Especially recently even mo26

L IF E S T Y L E the PinUp

Auxiliary’s playful take on the sexy centerfold pin up.

Flip the page, cut out, and tac on your wall!

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Allie Schell Allie Schell, painter and model, also known as Little Mouse, hails from Merced, California. She loves summer and she loves to live in a world of colors, whether on her clothes or on the canvas. Getting a lot of print recently, she has been on the pages of several alternative magazines and has also been a guest model for the Duchess Elodie collection by Rock Star Wigs/Gothic Lolita Wigs.

AUXILIARY april/may 2014

photographer Le Mew Photography model Allie Schell

ISSUE L IF E S T Y L E PREVIEW interview by Rocki Lee

THIS PAGE Dress by Autumnlin Kietponglert, necklace by Heartless Revival, heels by Osbournexink, and crucifix by Matt Riser. Makeup from Sugarpill Cosmetics.

photographer Kyle Cassidy APR/MAY 2014 fashion stylist Ahn Mai hair stylist Mackenzie Day set stylist Matt Riser purchase the print model Meganedition Massacre or digital at auxiliarymagazine.com

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Megan Massacre

Tattoo artist on America’s Worst Tattoos and NY Ink, painter, and model, Megan Massacre discusses her experiences and shares a bit of personal wisdom.

Photographed in Autumnlin Kietponglert and Heartless Revival.

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F AS HI O N

THIS PAGE Surrealust Runway Collection jacket by WallacePlayford, 1980s vintage bodysuit

by Love in the Afternoon, and Surrealust Collection leg warmers

by WallacePlayford APR/MAY 2014 paired with vintage hat by Love in the Afternoon, stylist’s own vintage brooch, purchase the print and stylist’s ownedition vintageat heels. or digital

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44 interview by Jessi Van Miinx photographer Bailey Northcott of Through The Glass fashion stylist Pretty Deadly Stylz makeup artist Dannie Page Makeup & FX Artist hair stylist Dana Elyse at Fluid Hair Studio & Spa model Nymph Suicide

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Haunted Mansion

Mix equal parts: bright spooky prints, retro tailored perfection, and cool casual streetwear. photographer Jennifer Link fashion stylist Shannon Kramp makeup artist Leane Christine hair stylist David Gerard models Samm Haney, Gina McGinnis & Thomas Tubiolo location Hamlin House

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Draped and loungeable pieces for that secret escape.

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58 photographer Saryn Christina fashion stylist Renee Masoomian makeup artist Illyne Michel hair stylist Jeanna Kier models Sharon TK & Angela Ryan

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Summer Fun ISSUE PREVIEW

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Gear up for festivals, parties, and long days that turn into late nights.

photographer Ian Compton creative director Pretty Deadly Stylz fashion stylist Pretty Deadly Stylz makeup artist Lessa Arsenault for Pinch Cosmetics nail stylist Pretty Deadly Stylz model Dana Lawrence

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