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C R E A T O R S Christine Lunday Editorial Director

Toi Green (Lasha) Artistic Mediums Director

Irene Mar Aesthetics Director


Sarah Anstead

Jason Nicholls

Aesthetics Director

Video Production

Natasha Vi Contributing Editor

Paulina Woods Copy Editor

Levan TK Concert Photographer


(Please contact appropriate vein)

Editorials: Artistic Med.: Aesthetics: OR General Inquiries:

No part of this publication may be reproduced in any manner or form without the written consent of the publisher or publication. All submitted work such as reviews, advertisements, photographs and written works are copyrighted by their owners. For permission requests please email ŠdeVour Magazine 2013.


deVour - Book I - October 2013



SOCIAL MEDIA Facebook Twitter @bedevoured Instagram @devourmagazine

TwoTwentyTwo Clothing Wonderland Corsets Wonderland Studios OC Ellie Shoes Privileged by Dossier Katie Kutthroat Exquisite Restraint Metropolis Records Lip Service Vespertina Vi L.E.M.G. Weekend Front Line Assembly The Adversary Covenant My Beauty Mark Academy Madame Grotesque Jaime Brown

Dina Douglass Shannon Jankula Mather Louth Des Arellano Gercy Galang Abigail Nuezca Rebecca Taylor Emily Lazar Melina DeSantiago Christina DeSantiago Nikki Lopez Ashley Gannon Lisa Appelqvist Nancy Morales McKenzie Eckels Nicole Castillo Valerie Jean Alicia Vigil Kim Beltran Kevin Warn Rene Salvador Marc Pacheco


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62 38

Aesthetics Feature: Des Arellano



Interior Design Feature: Dark of Light

Aesthetics: THE VOID

Aesthetics Spotlight: My Beauty Mark Makeup Academy

Artist Feature: Madame Grotesque

Designer Feature: Exquisite Restraint

94 80

Artist Feature: Jaime Brown


Aesthietics: They Hide in the Shadows...

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Aesthetics: Far Beneath my Nightmares



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Editorial: Humming Haunted Somewhere out There

130 122

Editorial: Dancing on Plastic Tears

Front Line Assembly

Music Feature: WEEKEND

Music Feature: The Adversary

Music Feature: Covenant


112 108

148 207 She Speaks to Us

186 Editorial: Devoured By Hours

168 Editorial: You’ll Be Lost Before the Dawn

We dedicate this book ... Christine Lunday: I want to dedicate this first issue to my mom and dad for giving me a warm place to call home, always supporting my wild ideas and for the chance to chase my dreams.To my family for their love and ongoing encouragement to go after what I want out of life. Thank you to my grandpa for teaching and guiding me in life, now and forever. To Adam for your unconditional love and pushing me to keep going no matter how hard it gets. Without these people behind me, I wouldn’t have made it this far. I am forever grateful. I love you.  Thank you to my team for all your hard work, trusting me with your time and believing in my vision.  To the ladies who were crazy enough to start this project with me; Toi, thank you for the motivation to take the next step and working with me day and night, everyday, to follow this passion of ours. If it wasn’t for your devotion, none of my ideas would be down on paper. Thank you for allowing me into your world. To Irene for holding my hand as we jump into the darkness. Your inspiring words have kept me on track during this process. With them, I’m a little less lost. Lastly to my other half, Sarah Anstead, for not questioning our path to create as one. Thank you for fueling my passion and relentlessly marching forward into the unknown with me. You have forever changed my stars. I love you. 222

Sarah Anstead: Dedicating this first issue to my Husband and my children for giving me the time, inspiration, and the support to do what I love. Also a special thanks to my mother for always pushing me to follow my dreams and to run full speed at my fears of failure.  A huge thanks to my team for being the driving force behind this magazine. Without the endless hours of work and the blood sweat and tears of these ladies this wouldn’t be possible. Last, but not least, I want to thank Christine Lunday for always seeing the very best of me even when I can’t. For picking up the pieces with me when I fall. For always excepting my special kind of twisted. Thank you for being the Tim Burton to my Johnny Depp. I love you.

Irene Mar: To my Husband, Mother, Father and Mother in Law, for their unconditional love and support. ”Thank you.” To my daughter, nieces and nephews, Emily, Alana, Bella, Daniella,Matthew, Emmett and baby Marcenari. “Anything is possible so never give up and reach for your dreams!”


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Toi Green (Lasha Lane) To my amazing family; My mother Teresa (yes you are a saint) my Father Johnny, my brothers (Nick and Noel), my sisters (Ma and Debbie), my nephews (Dominik, Myles and Furious), My Grandad and Grams and all my extended family… I love you more than words could ever say and I thank you for going through the trenches for and with me. Thank you for supporting me and pushing me and calling me out on my shit when you needed to. Thank you for taking care of me and challenging me. I could not live if it were not for each and every one of you. To my beautiful baby girl, Gia Rose James. You are the reason that I breathe and I would die 3 deaths to do whatever I can to make you safe and happy. I know that we have had to struggle and sacrifice, but I hope that all my hard work and time away from you will pay off In immeasurable ways. You are the reason that I do everything in this life. I always want you to be proud of me and I want to leave a legacy of success, beauty, love and a whole crap load of silly! You are my LIGHT AND LIFE! To my very best friend Levan, you are my hero and my soul mate. Thank you for always fucking being there! I trust no man more than I trust you and I will spend the rest of my existence being as good of a friend to you as you have been to me. There are no words. To my girls…my partners Irene and Sarah, please please please know that you mean just as much to me as I do to you. I admire your creativity, passion, resolve and talent more than you will ever know. You entertain, encourage and fuel my fire. are the perfect example of why I believe that everything in life happens for a reason. If not for Ali, we would never have met and I thank the gods for you. I have never met anyone like you and I don’t think that I ever will. You are such an amazing, dedicated, focused and ambitious person. Thank you for being my compass. Thank you for your artistic eye. Thank you for being my right brain when I have to stay in my left. Thank you for doing this with me! You really, honestly, complete me. Thank you to my friends and extensive network of people who do me favors all of the time. Thanks to Adaora, Ali, Rey, Natasha, Paulina and everyone else that I have come to rely on to get this work done. All of you have helped me in some way to get where I am right now. Last and most certainly never least I want to thank all the artists, especially the musicians that will grace these pages. Art has saved my life. Music is my church and I hope to spend every minute helping to create a place to showcase all the things that I love about you. I owe you my breath, my soul and my gratitude. Thank you for moving me.

... to you.

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deVour - Book I - October 2013

aesthetics deVour - Book I - October 2013


They Hide in the Shadows... Art Director: Christine Lunday Photographer: Shannon Jankula Models: Nicole Castillo & McKenzie Eckels MUA: Sarah Anstead & Irene Mar Hair: Abigail Nuezca 10

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deVour - Book I - October 2013


Face: Maybelline: Fit Foundation: 110 M.A.C. Cosmetics: Mineralized Powder: Light NARS Cosmetics: Blush: Taj Majal Eyes: Anastasia: Brow Powder: Brunette MAC Cosmetics: Eye Shadow: Black Tied Benefit Cosmetics: Stay Put Eye Shadow Primer Michaels: Glitter: Gold L’Oreal: Eyeliner: Black MAC Cosmetics: Mascara: Haute Naughty Khroma Lashes: Flirty Lips: deVour - Book I - October Cinema Secrets: Clown Makeup 4 pk: Orange MAC Cosmetics: Lip Glass: Clear



deVour - Book I - October 2013


Face: Make Up For Ever: HD Micro Perfecting Primer: Neutral Make Up For Ever: Face & Body #20 Senna: Face Powder: Vanilla Senna: Bronzer: Sun & Sand Senna: Highlight: Cool White Eyes: Make Up For Ever: Flash Pallet: Pure Black Benefit Cosmetics: Eye Primer: Stay Don’t Stray Senna: Eye Shadow: Turn Coat Sephora Collection: Colorful Eye Shadow: #53 #56 Make Up For Ever: Smokey Lash: Black Khroma Lashes: Sparkle


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Lips: Kat Von D: Lipstick: Rosary MAC Cosmetics: Lip Glass: Clear

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deVour - Book I - October 2013

Face: Maybelline: Fit Foundation: 110 M.A.C. Cosmetics: Mineralized Powder: Light L’Oreal: Blush: Hollywood Icon (Eye Shadow Pallette) Eyes: MAC Cosmetics: Eye Shadow: Bamboo MAC Cosmetics: Mascara: Haute Naughty Khroma Lashes: Flirty Lips: L’Oreal: Liquid Eyeliner: Black MAC Cosmetics: Lip Glass: Clear

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Face: Make Up For Ever: HD Micro Perfecting Primer: Neutral Make Up For Ever: Face & Body #20 Senna: Face Powder: Vanilla Senna: Bronzer: Sun & Sand Senna: Highlight: Cool White Eyes: Lime Crime: Eye Shadow: Incantation Sephora Collection: Microsmooth Luminizer: Startdust Benefit Cosmetics: Eye Primer: Stay Don’t Stray Make Up For Ever: Flash Pallet: Black, Gold and White Illamasqua: Liquid Liner: Scribe Make Up For Ever: Mascara Smokey Lash: Black Khroma Lashes: Sparkle Lips: Make Up For Ever: Flash Pallete: Gold Make Up For Ever: Glitter: Multicolored Silver #13 - Book I - October MAC Cosmetics: deVour Lip Glass: Clear



deVour - Book I - October 2013


Face: Maybelline: Fit Foundation: 110 MAC Cosmetics: Mineralized Powder: Light Maybelline: Fit Foundation: 110 (Brows) MAC Cosmetics: Blush: Ambering Rose Eyes: MAC Cosmetics: Eye Shadow: Brick Red MAC Cosmetics: Eye Shadow: Black Tied MAC Cosmetics: Mascara: Haute Naughty Khroma Lashes: Flirty Lips: deVour - Book Lime Crime: Lipstick: Serpentina


I - October 2013

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deVour - Book I - October 2013

deVour - Book I - October 2013


Face: Make Up For Ever: HD Micro Perfecting Primer: Neutral Illamasqua: Skin Base: 1 & 4.5 Make Up For Ever: HD Micro Finish Powder Eyes: Illamasqua: Eye Brow Cake: Vehement Benefit Cosmetics: Eye Primer: Stay Don’t Stray Sugarpill Cosmetics: Eye Shadow: Tako Senna: Eye Shadow: Noir Make Up For Ever: Lipstick: Moulin Rouge (Eye Liner) Lime Crime: Eye Shadow: Fly Dragon Fly Khroma Lashes: Heavy Gaze Lips: Senna: Eye Shadow: Noir & MAC Cosmetics: Lip Glass: Clear (Lip Color Blend) Lime Crime: Eye Shadow: Incantation (Neck) - Book I - October Make Up For EverdeVour Flash Pallet White (Collar Bones) 2013


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deVour - Book I - October 2013

deVour - Book I - October 2013


Far Beneath my Nightmares Art Director: Christine Lunday Photographer: Kevin Warn Models: Natasha Vi, Alicia Vigil, Valerie Jean & Kim Beltran MUA: Sarah Anstead & Irene Mar Body Painter: Des Arellano Hair: Gercy Galang 28

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deVour - Book I - October 2013


Mehron Body Paint: White & Black deVour - Book BH Cosmetics: 120 Palette: 1st Edition


I - October 2013

deVour - Book I - October 2013


Face & Body: Cinema Secrets: Face Paint Clown Pallette: White Eyes: Cinema Secrets: Special FX Blood Cinema Secrets: Color Creme Face Paint: Red & Black  Cinema Secrets: Face Paint Clown Pallette: White Eyelash Color Effect Red Cherry: Eye Lashes Lips: Duo: Eyelash Glue deVour - Book Cinema Secrets: Special FX Blood


I - October 2013

deVour - Book I - October 2013


Face: Make Up For Ever: HD Micro Perfecting Primer Neutral Illamasqua: Skin Base Foundation 4.5:01 Ben Nye: Nuetral Set Colorless Face Powder Make Up For Ever: Camouflage Cream Pallette #1 Eyes & Body: MAC Cosmetics: Highlighter: Zero Ben Nye: Creme Color CL-6 Goldenrod Lime Crime: Eye Shadow: Fly Dragon Fly Lime Crime: Eye Shadow: Incantation Senna: Eye Shadow: Black Plum Senna: Eye Shadow: Black Iris MAC Cosmetics: Lip Glass: Clear (eyelids) Red Cherry: Natural Eyelashes #102 (Body contour all done with the same group of shadows)


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Lips: Ben Nye: Cream Color CL-16 Vivid Violet Laura Geller: Lip Spackle MAC Cosmetics: Cream Stick Liner: Rich Auburn Kat Von D: Lipstick: Rosary

Mehron Body Paint: Green, White & Black BH Cosmetics: 120 Palette: 1st Edition

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deVour - Book I - October 2013

deVour - Book I - October 2013


THE VOID Art Director: Christine Lunday Photographer: Melina DeSantiago Model: Christina DeSantiago MUA: Nikki Lopez


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deVour - Book I - October 2013



deVour - Book I - October 2013

Face: My Beauty Mark and Mac Foundations Eyes & Lips: My Beauty Mark Eye Shadow: Theatrical Palette (3rd Edition)

deVour - Mark Book I - October 2013 My Beauty Pigment: 1&2



deVour - Book I - October 2013

Face: My Beauty Mark Foundations MAC Cosmetics Foundations Eyes: My Beauty Mark Eye Shadow: Theatrical Palette (3rd Edition) My Beauty Mark Pigments: 1, 4, G9, G11, G08, G07 MAC Cosmetics Pigment: Reflects Transparent Teal Body: Dinair Airbrush Machine Mac Airbrush Makeup: Black Black

deVour - Book I - October 2013


Face: My Beauty Mark Foundations MAC Cosmetics Foundations Eyes & Lips: My Beauty Mark Eye Shadow: Theatrical Palette (3rd Edition) My Beauty Mark Contour and Highlighting Pallete Sugar Pill Pigment: Goldilux deVour - Book MAC Pigment: Reflex Transparent Teal I - October 2013


deVour - Book I - October 2013



deVour - Book I - October 2013

Face: My Beauty Mark and Mac Foundations Eyes & Body: My Beauty Mark Eye Shadow: Theatrical Palette (3rd Edition) My Beauty Mark Pigment: 4, G9, G11 MAC Cosmetics Pigment: Reflex Transparent Teal, Old Gold Silver Craft Glitter

deVour Book I - October 2013 Lips: Gold- Leaf



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deVour - Book I - October 2013



deVour - Book I - October 2013

deVour - Book I - October 2013


Aesthetics Feature MUA and Body Painter

~ An Interview with Des Arellano By Christine Lunday & Sarah Anstead


deVour - Book I - October 2013

deVour - Book I - October 2013


Born and raised in Southern California. At an early age, Des was introduced to art. Her mother would entertain her and her siblings with DIY arts and crafts projects. Her biggest inspiration was her Uncle Pini (Jesus Arellano): a self-taught artist who received two Associate’s degrees at San Bernardino Valley College, a Bachelor’s degree from Cal State San Bernardino, and was very close to completing his Master’s degree in art before passing, Her uncle was the first person to discover the little artist that was inside of her; That little something extra, from the very beginning. “I remember each visit he would bring me a sketch book along with a starter’s painting kit that included color pencils, oil pastels, watercolor, and acrylic paint. I like to think of my uncle as my very first art teacher; that’s when my love for art began. He has taught me everything that I know.” When Des was about 11 years old, her mom started to buy her lip gloss & glitter.”That was the start of my passion for makeup. As years passed, unfortunately, I overtweezed my brows to the point where I had no choice but to draw them in. Ugh, my chola days! So every day that I had to draw my brows was practice for me. It’s so funny that an accident, or mistake, lead me to perfect my skills in not only drawing, but shaping brows. I loved doing brows so much to the point where in high school I was known as “The Brow Girl”. I pretty much did everyone’s brows, (students, teachers, boys and girls). Anytime, anywhere; in the back of the class, lunch time, passing period, before, and after school, you name it!” “Growing up, nothing was ever handed to me. We didn’t have a lot of money. I learned to work with what I had and to improvise. For example, when I first started wearing eyeshadow, I literally owned one brush and I would use it for everything! Surprisingly, it looked great! That’s when people started complimenting my makeup and asking me to do theirs.” After that, Des realized that makeup was no longer a hobby. In mid-2012, she took her first professional makeup course, where she received her certification as a professional makeup artist. Now, she is an advanced makeup instructor at My Beauty Mark Makeup Academy. “I would consider myself an all-around mixed media artist specializing in pro-beauty, fantasy, high fashion, glamour, airbrush, face, and body art. I am also a self-taught, outside the box artist using acrylic, watercolor, oil, and pencil as my mediums; creating art in various forms throughout my life, whether it’s on canvas, doll heads, people, murals, walls, etc. No limitations! My primary goal is to paint for self-expression. “ “I am interested in art as a means of living a life; not as a means of making a living.” -Robert Henri 54

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deVour Magazine: What inspired you to get into the realm of body painting as a makeup artist? Des Arellano: It started off as an idea and I wondered if I could somehow bring my art to life. I was ready for the next step, and finally I let loose from all those years of holding myself back. At a certain point in my life, I felt stuck at a crossroad. I’ve always felt like I had to choose between makeup and painting. I can’t say that one made me happier than the other; I have equal admiration for both. Art has been the truest love of my life, it has lead me to makeup. They both allow me to express myself for whom I am and how I feel. Face and body painting came naturally to me, and for the first time I was able to be free. I didn’t have to make the choice anymore. I had fallen in love with something that combined both of my passions into one. At that moment I knew that this was what I was destined to do!

dM: In your industry, who is your biggest inspiration? DA: James Kuhn is a great inspiration to me as an artist, as he can create an illusion, and transform his face into a piece of art by using face paint and cut-outs made from pizza boxes. In my eyes he is the king of face-painting, a face illusionist, a master of his craft and imagination. He was my first introduction to face painting; I’ve never seen anything like his work. Kuhn inspired me to attempt my very first face-paint on myself called “tongue tied” -I painted over my mouth and drew a long tongue down to

my neck, tied in a knot. I was so proud of myself! Who would’ve thought that two years later I would be doing crazy face paint transformations? Sandra E. Artist is also a true inspiration to me, as she has mentored and taken me under her wing. She has taught me the basics of face and body paint. She came into my class in week nine to demonstrate how to create fantasy makeup and body art, and I was asked to be the model for the demo. I remember sitting in her chair, not knowing what I looked like. While the other students were admiring her work and what she was doing, I was admiring her words as an artist, and the story of her success; but mostly adoring her for who she was as a person. That day was the kick start of our friendship and shortly after, we became great friends. Since then we have been there for each other, and I am very grateful to have a wonderful role model. Alexa Meade is known for painting directly onto live models and found objects, in three-dimensional space; collapsing real-world depth into seemingly two-dimensional paintings. You could say that curiosity has lead me to this amazing artist. I remember thinking to myself: I wonder if anyone has painted themselves as a portrait? I personally feel as an artist you must take into consideration both what you want to do and what has already been done by other artists. So with that said, I did my research online and that was when I had first discovered Alexa Meade. I was in awe of her work and everything she did. I’ve been hooked since.

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dM: What drives your artistic vision? From where do you collect your inspiration? DA: My artistic vision comes from within myself. It’s something that exists in my imagination, as I have many envisioned ideas ready to burst. My inspiration comes from people’s facial structures; not so much what the person looks like, but what I could create. When creating a look, I try to make it almost impossible to find visual evidence of what lies beneath the paint -accurate placement is very important when face transforming. I like to challenge myself by tackling things that intimidate me and [cause me to] question myself. Anything that is very detailed almost seems impossible, but it takes me out of my comfort zone. If I can overcome those challenges, I have nothing else to fear. The majority of the time, I place my inspirations on hold until I feel that it’s the right moment, person, and atmosphere. Everything on my Tumblr definitely has the potential to become inspiration, regardless of the topic: photos, fashion, prints, movies, and other artists. Sometimes I go with the flow, I try to let it come through naturally. New images surround us everywhere; there are many things that catch my attention that I find beauty in.

dM: Along with makeup, do you have any other creative outlets or talents? If so, what are they? DA: I am a self-taught mixed-media artist. I love working with a variety of materials that allow me to create textures which include latex, paper, fabric, cardboard, and stencil cutouts, and also mediums such as pencil, watercolor, acrylic paint, and oil. I paint on pretty much any found objects: stretched canvas, wood, dolls, toys, shoes, caps, clothing, and more. I can create art from anything, or alter it by enhancing it with my painting skills to make it my own. For example, if I purchased a ceramic lamb figurine that was in poor condition, I would bring it back to life, not by giving it its previous appearance, but by renewing it with my own personal touch and style. I then give them as gifts to my family and friends. I guess I’m just a crafty girl!

dM: What limits do you want to push as an artist? DA: I want to be better than what I was yesterday and improve my craft as each day passes. As an artist we come across struggles and obstacles that help us continue to learn and grow. I am my worst critic; I can definitely be


deVour - Book I - October 2013

hard on myself at times because I know that I am capable of doing much better. The worst enemy to creativity is selfdoubt. I am determined to block those negative thoughts as far as I can. I really should look back from where I started and be proud of what I’ve already accomplished. I don’t think there are any limits. I am my own competition and I will continue to practice and challenge myself until I have reached my goals.

dM: What are your ultimate goals? Where would you be happiest at the end of your career? DA: My goals would consist of having my own cosmetics business, being my own boss, running a makeup school, having an art gallery, and taking my makeup artistry to the next level of special fx. I will be happiest once I have been able to inspire those who need that extra push and support, by influencing them to live their life in a positive way through their passion. Nothing would make me more content and satisfied than to know that my family is taken care of. I would love to give my family a better life with no worries and less struggles. Last but certainly not least, I want to open up a tattoo shop for that one person who has been there for me through it all: my hubby, Louis Rodriguez -the love of my life- I love you.

dM: What drove you to start teaching? DA: It’s always been a dream of mine. I never would have imagined that the opportunity would come my way. Being an instructor has allowed me to teach my students the freedom to express themselves and to be confident with their creativity. Teaching has also taught me to be more open with socializing and communicating with my students, and I have gained confidence within myself! It’s not very often [you] hear people say that they love what they do for a living. I love my job! Thank you My Beauty Mark Make-Up Academy.

dM: how would you describe your personal style and taste in music? DA: My everyday makeup consists of thick, winged liner, soft, wispy lashes, and my pouty, vamp lips. I wear black all day, every day! I would describe my style as grungy and

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casual goth. Did I mention that I have an obsession with beanies and combat boots? Deftones is, and always will be, my favorite band! They play a huge role in my life. They truly are my inspiration in everything that I create; their music speaks to my soul no matter what emotion or atmosphere I’m in. In my opinion, there is no comparison. [Additionally] Gwen Stefani has been my biggest role model since [I was] eleven -back in her No Doubt ska days. I would lock my door and blast the music out loud! From this day nothing has changed, Gwen is the queen of my world! Sublime will always be a classic and could never be played out! They’ve been one of my favorites since age 11. I always feel like an OG singing their music.

dM: Do you have any weird rituals that you do before working on a face? Any interesting facts that you can share? DA: When painting on someone, I normally have them facing away from the mirror. This prohibits them from prejudging my work in progress, or in some cases, I prefer it to be a surprise. I love when my models put their full trust in me and are willingly open to my crazy concepts. Interesting facts? Hmm.. [The] majority of the cosmetics that I own are inexpensive, from drugstores. An artist works with what they have. It’s not about the quality or the brand; it’s what you can do with it. Some people assume


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that owning expensive brands will make them into a better artist. Makeup products and brushes are tools, they aren’t jewels or collectables, they’re tools!

dM: How has being a mother affected your makeup path? Any setbacks or things that you haven’t gotten to yet because you decided to start a family? What advice can you offer other young girls who want to enter the industry? DA: Being a young mother with high goals is very challenging. I want to pursue my career to the fullest and put myself out there. I have so much to offer to this industry, and so much to learn, this just the beginning! At the same time, I want to continue to be the best mother I can to my beautiful, autistic son, J.Rebel. I want to be able give him everything he deserves, not only material-wise, but a better life. To be completely honest, when it comes to my career, there are days that I do feel a slightly restricted. I know that I could be doing a lot more with my profession and definitely be making great money. I don’t want to use my son as an excuse why I can’t be successful, because it is my decision to stay at home and take care of my responsibilities. There is nothing in the world that makes me happier than to know that my son is being loved and taken care of, and who better than it to come from his mommy. Luckily, my son is surrounded with love from his biggest supporters:

my family. So with that said, I know that he is in a safe environment. My answer is no, there aren’t any setbacks. I put my family before everything and I wouldn’t change that for the world. I’d love to be successful one day, but I am in no hurry. I have faith in God and that he has his plans for me. Until then, I will continue to do what I’ve been doing; express myself through my art. Every make-up artist was once an amateur. Some will be better than you and you might be better than some. It shouldn’t be a competitive thing, be at your own pace. Success takes time, patience, and practice. Remember, with struggle comes progress. Dream big, stay humble, stay hungry, and always hustle. Never forget where you come from and where it started. Thank your past for sculpting who you are today. You can accomplish anything!

Stalk Des: Facebook: Instagram: @des_artistry Email:

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deVour - Book I - October 2013

Aesthetics Spotlight

My Beauty Mark Makeup Academy

~ An Interview with Julisa Duran and Alex Ruiz By Christine Lunday & Toi Green (Lasha) deVour - Book I - October 2013


Julisa Duran is a Professional Makeup Artist and Master Makeup Instructor. Leticia “Alex” Ruiz is a Certified Makeup Artist, CEO and Co Founder of My Beauty Mark Cosmetics and Makeup Academy. “We started as makeup instructors back in 2008 at Riverside Training Center. We went in to present our Cosmetic line for them to carry. The director told us she had been following us for quite some time. She said she offered us Makeup Department Director positions and asked us to build a curriculum that covered 100 hours of makeup. We were in awe, but got to work right away. After two years of running the dept. and teaching we decided it was time to move on to bigger and better things. We opened My Beauty Mark Makeup Academy in the city of Fontana 2010. It was a hit from day one. Due to request from students in other  counties in 2013 we expanded to the cities of Pasadena and Anaheim.” Some of the courses we offer are Professional Makeup Artistry, Advanced Makeup Artistry, Hair Styling, and some Special FX. Our 80 hour Master Course covers everything from color theory to editorial, fantasy, bridal, makeup for men, drag, television etc. Our 40 hour up-do course covers everything from how to curl and style hair, high fashion and avant-garde up-dos. Our advanced intensive 40 hour course covers body painting, wounds, zombie looks, aging and more.


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dM: How did you both get interested in makeup? JD: I got introduced to the world of makeup by my mother at the young age of 13. My mom was always very interested in beauty and she carried that on to me. Occasionally she would bring friends over for me to give them makeovers. At that time it was very intimidating but it helped me build my confidence and has made me the Artist I am today. AR: I started as a sophomore in high school doing makeup for other dancers as well as myself. I was on the dance team. dM: Who are your makeup inspirations? JD: My Makeup inspirations would have to be our students. They are so fresh and new. They can do so much with their art. They inspire me to be better everyday and encourage me to keep learning and growing as a Makeup Artist. AR: My biggest inspiration is Alex Box dM: What is your beauty weapon of choice? JD: My beauty weapon of choice would have to be my hands. I know it sounds cheesy, but a lot of makeup artists forget how gifted they are and what they can do with just their hands. There are so many high tech tools coming out daily to make our jobs easier, but I believe that our greatest

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deVour - Book I - October 2013

tool at the end of the day is just simply our hands and fingers. AR: A great blending brush and red lipstick. I can do a full makeup look just using a red lipstick. dM: What made you decide to open My Beauty Mark and how does it differ from any other makeup academy? AR: We’d felt that we’d built enough experience running the program at RTC and we wanted to be set apart. Not be known as just teachers in a program in a vocational school but rather an actual Makeup Academy. Our school is different because we really take the time to not just teach a bunch different looks but the techniques behind all of the looks. JD: My love for teaching. I love to see a new student with no knowledge of Makeup Artistry grow and learn every week. Their brains are like sponges and they can take so much in. I think we are truly blessed to be able to share our God given talent with others. In all honesty I think that’s what makes us different from all other schools. We have the passion and we do all this for our students and nothing else. dM: How do you come up with your curriculum and what techniques do you love to teach your students? JD: My sister and I put the curriculum we have today together in about 2 weeks. We took everything we knew

and put it in a lesson plan. Our demos change every so often according to the trends and what is in demand. Our instructors are amazing as well and we have monthly meeting where we all sit and brain storm and come up with new looks. AR: We love to teach them that there is no wrong way to do anything with makeup, and that you will never stop learning. dM: How is it working with your family? AR: Working with my sister is great! We do have our rough patches but no matter how great the disagreement or argument, at the end of the day she is still my sister and best friend, so it is very easy to not hold a grudge and work through it all. JD: My husband is my number one supporter. He never complains about the long hours that I am away. The most difficult part of all is leaving my children everyday, but I know that one day they will see and understand that at the end of the day it is all for them.

Contact My Beauty Mark Makeup Academy: Website: Phone: 800.515.4718 Facebook:

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artistic mediums deVour - Book I - October 2013



“I want to make beautiful things, so the need to paint draw or mold something into the way I want it to be drives me to create.”

~ An Interview with Jamie Brown By Christine Lunday & Toi Green (Lasha)


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Empress Wasp

deVour Magazine: Tell us a bit about yourself and your Artistic Medium.

Jaime Brown: I live in the Northwest with my man and two loving kitties. Aside from art, I am a crafty type; I like to make things and find reasons for DIY projects. I have a passion for gardening. I also have a secret love for the sciences. I do model on occasion, sometimes for stock or paintings or other people’s projects. I spend a lot of time alone, but I am not a shy person. I just like working on things, or thinking about things I want to make. I am primarily working with a digital art platform; my choice of program is Photoshop CS5, but I have heard great things about Painter and I want to give that a try. I also work in other mediums, such as traditional paints (mostly oils and acrylic), I love sculpting with polymer clay, and I make accessories (fabric, feathers, hardware etc).

dM: What do you consider beautiful?

JB: I find beauty in a lot of things, but mostly in nature and its functions and how it forms over time. I enjoy the organic lines and textures, as well as how nature overtakes even man made things, i.e. rust on a pipe, broken down buildings, and in couture fashion, the intricacies are amazing.

hospital site, and found this dirty, broken, slightly burned doll that had a button on it that read, “all I need is a little TLC”. That doll had to have had a fascinating story behind it, so I kind of made one for it and did a few drawings and a shoot concept off of it.

dM: Do you feel your sketches lack in any way? Would you go to art school?

JB: I feel sometimes my sketches lack the motion I want to achieve. This has been my new focus as of late; capturing more motion and therefore more personality in the image. I am still debating the art school thing. If I were to go, it would be only out of the certainty that I did indeed want my art to work for other people in the future. I would have to have my eye on the job already and not lose my path to it. However, I have yet to decide if that’s where I want to go with my art, as I often like painting what I want to paint, and not what someone tells me to[paint].

dM: Would you consider collaborating with another artist? Who would it be, and why?

JB: I would love to work with other artists. I don’t have people I have been dying to work with, because I haven’t really thought about it, but I do enjoy Natalie Shau, Vallerie Bastille, Jennifer Healy, Serge Birault, and Kukula’s works. I wouldn’t mind painting with some of them.

dM: What inspires you to create?

JB: I want to make beautiful things, so the need to paint, draw, or mold something into the way I want it to be drives me to create. I love looking at other artists work: not just painters, but I look at photography, fabric makers, fashion designers, furniture creation, etc. It’s a great way to see different interpretations of the world around us, or the dreams within each person. It inspires me to go out and find my interpretation to share.

dM: How did you know that this was going to be the way to express your voice?

JB: I didn’t think I was any good at drawing but I couldn’t not do it. I remember trying to make my own paper dolls and fashion. I watched Sailor Moon avidly and would just kept trying to draw the characters over and over again. One day someone said I was good at it, and that’s when I attempted to learn things and really apply my efforts.

dM: What is the most interesting thing that has inspired you?

JB: I would have to say this doll I got to play with on one of my shoots. The photographer had been to an old mental


If money were no object, what artwork would you own? JB: Most any finished painting by Michael Hussar. I love his lighting and concepts.

Royally Sinister

dM: How do you think social media has helped your work? Do you have a preferred platform?

JB: I think social media has helped me spread to a larger audience and really not just me, but any artist or person with something to share. Social media is its own little world. I believe it has allowed me to see more information too; more techniques, more places to share my work, etc. My original favorite platform was That was the first place I posted my work and got some feedback, and it’s still growing from there. Now though I believe I utilize Facebook a lot more. It is easier to update, I can show progress on pieces in a stream instead of posting them in a gallery setting. It’s easier for people to share my work, and compare and communicate. deVour - Book I - October 2013


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dM: What kind of music is on rotation in your mp3 player? Do you listen to music during the creation process?

JB: I usually am listening to metal, rock, alternative, or trance-y, bouncy, dance music. I don’t often have music playing while I am painting unless it is something nonintrusive, like classical or some easy listening, background stuff, only because unless I am in the mood to hear it, music has a quick impact on my mood [and] emotions. If I am trying to channel one for a painting, then yes, I may play something specific, or something on repeat. Otherwise, I have some National Geographic or History Channel show on in the background.

dM: What can we look forward to seeing in the future?

JB: I am continuing my broken doll series. I am also planning paintings of the nine muses. I would like to do an ode to Sailor Moon also. Things can only get better with time.

Stalk Jamie: Website: Facebook: Etsy:


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Wind Me Up


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Beauty Carnivorous

Offering to Athena

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Suffocation 80 GirldeVour - Book I - October 2013


When things go bump in the night many climb under the covers and hope that whatever it is goes away soon. When blood is present some faint, look away or try to cover it up as fast as possible. Madame Grotesque does none of these things. She uses whatever medium she can lay her hands on to create/mold sweating until she knows in her heart that the most bloodiest, most gruesome piece of herself has been bared for all to see.

~ An Interview with Paige Carr By: Christine Lunday deVour - Book I - October 2013


The Boy who Collects Heads

Christine Lunday: What inspires you? Is there a backstory that fuels what you do and why you do it?

Madame Grotesque: Those are short questions with such long answers. I’m mostly inspired by how people and experiences have made me feel. There’s not really one particular back-story that I’d go back to every time I do a new painting. Admittedly, I am one of those people that can be lying in bed at night and end up resonating in my own bitterness towards particular people and past experiences. However, I try to shake that off in my artwork. It’s not so much to turn negative energy into something positive, as optimistic as that is; it’s more to get rid of frustration and anger. That’s one part as to why I do it anyway. From another perspective, despite my hostility, (a bad trait to have, I know), I feel that my art is the one way that I can communicate with others and show a level of empathy and sympathy. I didn’t really have someone there for me whenever I needed someone. I’ve felt an awful lot of suppression, despite being so in touch with my emotions. Sometimes I’m still upset about that, but knowing that I can be there for another person is important to me. There’s always going to be moments when we just need someone to tell us that they understand and that they’re there. Although words aren’t always enough, and in that sense, that’s what my monsters and creepy children are about. Much like all of us, they all have a story to tell; they all have scars, albeit physically, or mentally, or both in some cases. But those creatures are a reflection of my pain, and when people see them, and pick up on those emotions, it helps them realize that they aren’t alone. I too have felt those feelings they have, and so has everyone else. A part of me just wants everyone to feel loved.

CL: Most artists go through a process of self-discovery, have you reached the point where you know exactly who you are as an artist? Have you settled upon your distinct style?

MG: I’ve gone through a process of self-discovery so to speak. I do what I do and when I want to do it. If I think it “fits” then I’ll do it. If I don’t, then I don’t bother, because it doesn’t feel right. I think a lot of people relate me to a certain “style”, as I have been doing this for a little while, and I do have brilliant, solid supporters who have been there from the beginning; even before I was doing the illustrations I do now. They’ll spot my work a mile off.

CL: In what part of the day do you find yourself working the most? 82

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Nail Boy 83

The Girl Who’s Face Fell Off

Cleaver Boy

MG: Surprisingly, I work a lot in the morning/afternoon. I don’t paint much at night or do any ‘insomnia’ paintings; I just like to sleep far too much. Plus, I’m on my gap year at the moment, I feel like I’m being productive by doing things in the day.

most non-egotistical and least narcissistic way possible, a good 60 percent of each painting would be a form of retaliation to experiences in my life. The remaining 40 percent will be creativity, artist inspiration, and generallyseeping brain chaos.

CL: You have reached a point where you consider a piece “done”. How do you feel? What goes through your brain?

CL: If your work could be displayed anywhere in the world, where would it be?

MG: When I feel a piece is done, it’s very satisfying and mostly a relief. When I put it in that way it makes it sound like I don’t enjoy painting. I do, it’s just when I’m painting, I feel all those emotions from the past. At first, when no one really saw any of my work, I didn’t think so much about how other people would respond to it. But nowadays, I do occasionally think, “Will they like it? Is it like the others? Will they still think it fits?”, and at the end of the day, there are people that claim not to think about what other people will think, but they do. Everyone does, since in any form of art, somebody is always going have an opinion, which is completely fine; it makes art more interesting. But I do instantly think of the next painting and new ideas the moment I’ve completed one.

CL: How much does personal experience weigh in your work?

MG: I think it really depends on the painting. If I’m feeling relatively happy when I’m painting, the outcome is never as good as painting when I’m angry or feel hurt. But in the


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MG: MoMA [The Museum of Modern Art], absolutely love that place, and I love New York. There have been so many iconic artists that have showcased there. I’ve not been there enough, and it’d be the biggest honor to have something hanging up in there even if it was behind the tiniest corner. Or, at the other end of the scale, having my work in someone’s house is a very big compliment too.

CL: What are your favorite mediums to work with, and why?

MG: I’ve always had a knack for working with watercolors/ gouache; it just feels like I connect with that medium the most, and express myself best with it. I’ve worked with other mediums like acrylic, oil paints, sculpture, etching, printing, used ridiculous materials like raw meat, human hair, finger nails, road kill, you name it, I’ve done it, and despite a very bizarre list of materials I’ve worked with, I’ve never been able to be as expressive on the same level as I can be with watercolors. Although admittedly, working with disgusting materials was fun, I’m sure I annoyed the people

Headless Boy

I worked alongside with at college. It smelt awful. Even made myself heave.

CL: How do you come up with the themes for your series?

MG: If I’m completely honest, I’ve no idea. I do love Tim Burton’s poems though. I don’t actually have a particular favorite, as all of his little creatures are awesome in their own way, but I like the whole set up of having a poem that harmonizes with an illustration. It just answers questions before people have to ask and it’s a cool way to be witty too. Occasionally I’ll get ideas from nowhere, or my brain will trigger while I’m reading or watching something. I remember waking up one morning, and the second I was awake I felt such a rush of creativity that I just had to scribble. It was like adrenaline, and it genuinely just came from nowhere. Within 5 minutes I had The Girl That Made Arm Chains poem completed, given it’s only 4 lines, (but still!), and a sketch for the final painting. I think a contribution of my humor has always been there too. It takes a certain person to pick up on it from a painting, but there have been people that find it amusing, which is awesome. I’ve always had a warped sense of humor. I’ll find slapping a slice of ham on a worktop hilarious. I really don’t know why. I’m an odd person.

Massacre Twins

MG: I’d absolutely love to start working in fashion. I’ve always wanted to, as being a bigger lady, it can be hard to find high fashion, gothic, and elegant clothing. Currently, alongside making more paintings and poems, I’m working with someone that’ll be getting Madame Grotesque tees made, and I’m sort of working on a book where I’ll have my paintings and illustrations alongside each other; kind of like Tim Burton’s The Melancholy Death of Oyster Boy and Other Stories book. I’m working on another book that a good friend of mine has written and very kindly asked me to illustrate. I don’t know when they’ll be finished, but I’d say Halloween would be a good estimate for both. And I mustn’t forget, I’ll be making gruesomely morbid plush dolls based on my paintings too.

Stalk Paige: Email: Website: Deviantart: Facebook: Tumblr:

CL: What’s next for you? What can we expect to see from you in the future? deVour - Book I - October 2013


The Girl With 3 Eyes


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The Girl Trapped In Ice deVour - Book I - October 2013



“It’s a misconception that boning hurts and that you need a ton of boning in a corset.  For some, it’s the quality and strength of the fabric as it wraps around the body.  The boning is merely there to keep that fabric stretched out from top to bottom.  And of course, this is only one method and ideology of corsetry.”

~ An Interview with Simone Williams By Christine Lunday


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& Black deVour - Book I - October 2013Purple89

deVour Magazine: What sparked your interest in fashion design, and why specialize in corsetry?

Simone Williams (Exquisite Restraint): I am an artist with a theatre background. You have easy access to corsets when you work in a theatre costume shop, and back in the day you could still spark a response if you used a corset as outerwear in a costume; I liked that. Godmother Madonna and Godfather Gaultier really created something, and all their crazed offspring have run wild with it. With theatre, I got a strong background in construction, patterning, and fitting. I had to pick up the fashion biz stuff on my own. Just the simple things like wholesale versus retail, looking at mass manufacture, and tailoring my own construction methods, or not. What not to do is as important as what to do. I can tell you that starting my own corset-making business twelve years ago made me well aware of how clothing construction left America and the sweatshop situation in other countries. “Made in the USA” has been gone for quite a while. I’m glad everyone has finally caught up and is creating a stink about it. It’s about time. I started my professional life in specialty costumes, puppets, and creature effects for TV and film, but wanted something of my own with my name on it. I knew I wasn’t on the “Oscar Award-winning costume designer” track, but knew I could create something to come home to after working for someone else. It makes you relax a bit when you’re a cog in a big machine and not the head honcho, which is what the vast world of practical effects and costumes is for most. I could sew a hundred snaps on a furry suit at a day job, but get fan e-mail from people telling me how much they loved my corsets. It’s been about 12 years since my website went up, and I feel very proud to be part of that wave of small-business crafters, pre-Etsy. I think about how many corsets my little company has made and how people have been willing and happy to give me their money, and I am eternally grateful.

dM: How long does it take you to construct a custom corset, and what size ranges do you cover?

ER: For custom work, I tell my clients six to eight weeks… sooner if I can. I am especially amenable to any special events people are going to, and hate to miss a deadline. Ideally, I like eight weeks to finish custom work. There’s a danger in being the person who creates things constantly in a rush. To me, Project Runway is a nightmare: pulling stuff out of my ass overnight? Been there, done that.

dM: What inspires your creative juices?

ER: Mostly things that aren’t just fashion and corset oriented. I leave my little world; go out to art museums, pick up books, get out in nature, and then realize there aren’t enough hours in the day to make all the things I want to make.

dM: Where does your own personal taste lie when it comes to fashion?

ER: I love how the ‘80’s are being unearthed for the younger generation. Azzedine Alaia blew me away when I was


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younger, and Hussein Chalayan was someone who inspired me before the master, of course: Alexander McQueen. I think the key is to be fearless; put your art our there, and don’t apologize or back down. That’s what Bowie did and what that beautiful, young Lady Gaga does.

dM: What are your least favorite steps in corset making? Are there any daunting tasks that are always a hurdle to get through?

ER: Hahaha! My least favorite is working alone! I have just enough work to keep me busy, but not enough to hire my friends as much as I would like to. It’s my dream to have a space where my friends and I work everyday and not be starving artists.

dM: What time of day are you at your most productive? Do you have any special rituals or things you need to do before you jump right into your work?

ER: I’m definitely more productive in the evening. No surprise, right? I love being master of my own day. I run errands and answer emails in the first part. I love nothing more than being out on a weekday, at 11 a.m. in the beautiful California weather, then starting my actual work at about 1 p.m. or 2 p.m. I value my freedom to be able to do that and I’ve paid a hefty price. But that’s the part they tell you about sacrifice, right? And as far as ritual, it has to be music, like most creative types. I can’t function without something playing. I’ve listened to Jagwar Ma, Cat Power, Big Black Delta, television’s Marquee Moon and Brian Eno’s Baby’s on Fire. Sometimes it’s about the albums, sometimes it’s about the singles. I think I could sit around and talk about music a lot more easily than corsets… not good for business, huh? But I have to get into a rock ‘n roller state of mind to get to the sewing machine since I don’t play guitar.

dM: What step is the single most satisfying part of creating a corset?

ER: Creating something frikkin’ cool that people want and people find infinitely interesting. Just say, “corset”, and you get reactions, opinions, and questions. And then you have entrée into all the subcultures: the vampires, who seemed to be big about a decade ago (where are they? Are they all steampunk now?), goth culture, fashionistas, the adult worlds of fetish, porn, erotica, and BDSM, historical re-enactors, costume makers, rockabilly and hot rod culture, tattoo and body-mods people, and the new kids on the block: steampunk. Seriously, it’s funny as hell when someone innocently asks me, “Who wears corsets?” I suppose this is a question about creativity, or how I feel after I make a corset, but honestly, getting it done, on the person’s body, and sent out into the world is what matters. All of those communities cross over and influence each other, and corsets are a mainstay of all of them. I’m proud to be part of that, and proud to be part of modern corset history.

dM: Is there a style of corset that has not been replicated that you would like to see reproduced?

Photographer: Hugo Velasquez ( Model/Hair/MUA: Scarlett River ( Underbust Corset: Exquisite Restraint

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Photographer: Tommy O Photography ( Model/MUA/Hair: Xanthia Pink ( Bra: Betsey Johnson Underbust Corset: Exquisite Restraint Tutu: Models Own (Vintage) Hair Accessory: Xanthia Pink Earrings: DiDepux Heart Necklace & Ring: Tarina Tarantino Petticoat: Leg Avenue


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ER: That’s a tough question. I think everyone has tackled every corset style of the last 500 years since people started cutting their tunics tighter and binding their waists. What we have now is about 100 years of modern corsetry since the corset supposed went out of style in the 19th century. As it went “underground” and out of the mainstream, it gave creative types and fetishists the freedom to replicate everything just for fun. Google “metal corset” and see how much fun has been had. The real question is, are there new corset silhouettes in our future? As someone with a love of history, I say no. People have gotten a taste of freedom in the form of jersey and spandex, freedom to let it all hang out, and freedom to move. People elect to wear constricting, tight clothing and maintain a perfect posture. It is no longer a requirement from society. Elizabeth Taylor and Julie Newmar, who kept their waists tightly belted as young women in the 1950’s, personified the last gasp in the popular mainstream. Corset-wearing to maintain a body shape is now the purview of a minority.

dM: Do you think it is at all possible to have both comfort and style when it comes to corsetry?

ER: Very much so. It’s a misconception that boning hurts and that you need a ton of boning in a corset. For some, it’s the quality and strength of the fabric as it wraps around the body. The boning is merely there to keep that fabric stretched out from top to bottom. And of course, this is only one method and ideology of corsetry. A ton of bones may be your thing. A corset silhouette different from the one I create may be what you like. My work has evolved into custom corsets patterned and constructed for each individual, and I have been called upon by people to create something they can wear for long periods of time, often under their clothing. This informs the comfort of my corsets… they don’t just look great in a photoshoots; they are functional for real people in the real world. When I am able to, I go crazy and create something visually spectacular that hurts a model like a shoe two sizes too small, but she suffers for the art… Nah, I’m just kidding. I’ve never had a model tell me my corsets were uncomfortable. Quite the contrary; it’s a gift, I suppose.

dM: Are you a purist? Do you consider anything other than metal boning and heavy construction to be a corset?

ER: I’ll take on the mantle of purist, and then snob, if I have to. Yes, to metal boning, and yes to heavy construction. I would also add incredible fit, possibly off the rack, if it works for you, or custom patterning, if that is what you need. But that being said, I am eternally grateful to Hot Topic and Frederick’s of Hollywood because they provide

the training bras of corsetry; people realize what they want and need after shopping there. ER: Fakir Musafar: create a corset for him, not restrain him! Restraining is what he does on his days off. Hahaha! I consider Fakir Musafar an American “National Living Treasure” of the modern primitives and body mods culture, along with a few other men and women from the gay, leather community. Fakir would be a tough customer because there probably isn’t anything under the sun he hasn’t done to his own body and experienced, including corsetry. He taught himself corset-making in the ‘70’s, and had a company for a while that morphed into another company with new owners in San Francisco. For anyone with an interest in this world who doesn’t know who he is, I suggest you get schooled.

dM: In your most wonderful dreams, what do you see for your line? Where would you like seeing your pieces one day?

ER: I am expanding my business into weddings, weddings and weddings! I have too many skills, and access to too many other craftspeople not to create entire ensembles, head to toe, for people working so hard on probably the greatest theatrical production of their lives. Marriage equality in California has me so happy because for years I’ve proudly created weddings for everyone, but had clients who were creating their own ceremonies that were not recognized in a court of law. Now all California citizens can move forward and marry the one they love!

In the future I’d love nothing more than a little atelier, with myself and my friends sitting around a sewing circle, stopping for coffee, or beer, with a client who is being pampered for their fitting in a sumptuous setting. I dream of this!

Stalk Simone: Phone: 323.665.0288 Email: Website: Facebook: Twitter/Instagram: @exrezcorsets Inset Image: Photographer: Hugo Velasquez ( Model/Hair/MUA: Scarlett River ( Underbust Corset: Exquisite Restraint

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KINEMA Pendant ($1,000.00) Stuart Fingerhut ( Photographer: Ben Gibbs (


deVour - Book I - October 2013


deVour - Book I - October 2013


ARIA and AVIA for Slamp `Zaha Hadid ( Photographer: Slamp (


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Zeppelin Cocoon Lamp Marcel Wanders (

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CONNECT SERIES #8 - Facaro Killian Chandelier ($995.00) Carolina Fontoura Alzago ( Marcel Wanders (


deVour - Book I - October 2013

CONNECT SERIES #4 - Facaro Chandelier ($995.00) Carolina Fontoura Alzago ( Marcel Wanders (

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Fandango for HIVE ($1,170.00) Danny Fang (


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deVour - Book I - October 2013

Custom Lighting Feature (Price Unavailable) Aqua Gallery (www.aquagallery`````

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“It’s always got to be the voice [my favorite instrument] because no matter what, the voice is direct communication from person to person…We live in the world in which we all communicate with similar voices and we hear birds chirping, and we recognized cellos and violins and what not.”

~ A Conversation with Andre Mistier By Toi Green (Lasha)


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Toi Green (Lasha): Why don’t you tell us a little bit about you?

Andre Mistier: All right. I started in New York City. I am half from New York and half from California. I went to Yale, and when I graduated I moved out to California and became a ski bum at Lake Tahoe. Sometimes when I was out there, I played music. I had my own little epiphany of finally getting it, and having a voice, and having something to say, and music went from an activity to the activity.

TG/L: Why did you want to become a musician?

AM: My mom has been a musician and I started playing when I was five. I kind of did the classical thing as a kid and predictably I always played, but if there wasn’t something that I found a voice in, it was just something I kind of did on the side. Then about a couple months after I graduated, my dad died. That was the beginning of a bunch of soulsearching. Since then music has been how I translate my world in ways that other people can experience.

TG/L: I read that you were inspired to create this project based on your experiences at Burning Man. Is that true?

AM: 100 percent true! Burning Man really changed my understanding of a lot of things. Part of it being kind of the visual scape of the world I’d been developing. Musically, I have been doing a mix of live and electronic stuff. I really had a problem figuring out how to do it live. What instruments did I want to use, what parts of the experience were going


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to be live, and what parts were going to be electronic. Going to Burning Man kind of made me understand what I wanted. I wanted the music to flow more like a DJ set, so I started looking at the strokes of how electronic music builds up and breaks down, rather than how live music builds up and breaks down. I make it more of an electronic music experience.

TG/L: What was the overall experience like at Burning Man as far as like the lifestyle portion of it?

AM: I’m not sure how much is describable in a way. The experience there was very powerful for me. There was one thing… there’s an understanding for myself that DJ music is as improvisational as live music is. When it’s improvisational, it’s guided by the melody. It really changed a lot of my understanding. I was looking for things that were interesting; mixed live and electronic music was happening there, and I didn’t really see that much. There’s a lot of electronic music, and a little bit of live music, so building shows that I could do at Burning Man, was part of the whole concept of what I’ve built since then.

TG/L: Now at one point you were working on film scores and sound tracks. If you could have sound tracked any movie, which one film or scene would you track?

AM: Oh, because of how much I actually like the soundtrack, maybe Blade Runner.

TG/L: That’s a good one. Now relying on the fact that music is in every facet of our lives, tell me what is your favorite instrument, and why?

AM: It’s always got to be the voice, because no matter what, the voice is direct communication from person to person. I’ve been really interested in the spectrum of modern sound. We live in a world in which we all communicate with similar voices, and we hear birds chirping, and we recognize cellos and violins and what not, but we also have the noises from your car, and your cellphone, construction noises, and elevator noises. And whether you choose to deal with it or not, the secular sound that we live in is this very broad range, from the very organic to the very industrial. I’ve always been interested in trying to find ways to bridge those two things. I’m really interested in what I call making hybrid sounds. Taking the voice and running it through 20 filters, cutting it up, putting in a bunch of other filters, using it as a percussion element, or a synthesizer, or whatever. You get these kinds of textures that sound electronic, but they feel a little bit more organic than a lot of electronic sounds do. When I isolate the sounds and play them for people they’re like, “Oh yeah, I can hear that there’s a voice in there somewhere. I wouldn’t necessarily hear that if you didn’t isolate that”. I think part of that is because I’m a human, not a robot. This whole thing is actually really hypertensive for me. I think what I’m trying to do with sound is what I’m trying to say about life and society; exploring the mix of the live and the human, with the hypnotic and mechanical of the digital.

TG/L: Would you say that it’s something that’s spiritually based for you now?

AM: Yeah. Absolutely. I mean to me, one of the things you get from the flawless rhythm of electronic music is that kind of matched, hypnotic experience where people kind of lose themselves and become part of this brief, core [sic] experience of more than just yourself.

TG/L: The collective high of electronic dance music?

AM: Yes.

TG/L: Do you ever find yourself afraid to sing certain songs; Is it intimidating to share your soul with people that just may never get it? Or is just one person getting it enough for you?

AM: You know, I used to feel that way. I used to be a little worried about it and a little worried about people getting it, but the closer I am to doing things that are exactly what I believe and what I really think, that kind of vanished. The music I’m making now I like better than any music I’ve ever made, and I like performing this stuff better than anything I’ve ever performed before. It just makes me really, really happy, and I would love for other people to feel that way too. I think if you spend too much time thinking about how they’re going to respond, you’re not going to spend enough time thinking about what you are trying to do in the first place.

AM: Oh yeah. I mean not dance like, choreographed, but I dance on the stage. Definitely. I love it, and that’s one of the central themes to me. This music is the most I’ve ever enjoyed dancing on stage by a long shot.

TG/L: So what are you looking forward to with this project? What do you see for yourself?

AM: This album is kind of a narrative structure that is developed into this future world. The album follows two main characters, and it’s all the narratives of them. I’m more interested in creating the whole world of them than just in creating their story, but I’ll tell you the story too. The idea was, instead of releasing an album, I’m releasing chapters. Like the way books used to be released: serially. So every three months I’m releasing like, three or four songs, with a video. For the video, it’s not going to be a straight narrative. I don’t want it to be that literal. So it’s not like if you put the four videos together it would look like a film and tell a story, it’s not that straight, but nonetheless, they do tell pieces of the story. The plan is to release it, the whole thing, as a compilation, with a graphic novel that actually tells this whole story of the whole thing. In addition, I’m developing a website right now. It’s a website that exists in the fictional world, not a website in our world about that world. So for example, the first single of the first chapter is called “Maybelline”. She’s one of the main characters. I’m interested in the website having Maybelline’s diary. These websites are going to treat that world as if it’s completely real and what I’m really trying to do is to make that world an open source; try to get as many people involved with it as possible.

TG/L: So it’s like Second Life?

AM: Kind of, yeah I guess so. I don’t have at my hand and disposal to make it into a video game.

TG/L: Of course, but the basic concept.

AM: It’s definitely a small element of that in here.

TG/L: So what chapter are we in now?

AM: We leave chapter one. We’ve finished the music and the video for chapter two. I’m just trying to not get too far ahead of myself. I really would like to be kind of pushing myself, creating a lead ahead of time. I’m interested in the idea that this story can go in a lot of different directions, and I’m basically trying to just keep up.

Stalk Andre: Website: Facebook: Soundcloud: Twitter: @AdversaryMusic YouTube: Adversary

TG/L: Do you dance? deVour - Book I - October 2013



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With their edgy, electro-pop cadence, ever-empathetic lyrics, and Simonsson’s slightly portentous, yet powerful vocals, it is no wonder that Covenant has become a legend of EBM. Amidst a chaotic tour schedule and the release of their new album, Leaving Babylon, the band graciously fielded my most inquisitive of queries. For the new album, Covenant makes a “return to a more intuitive, spontaneous approach to making music”. Naturally, I wanted to dig even deeper.

~ An Interview with Daniel Jonasson By Natasha Vi deVour - Book I - October 2013


Natasha Vi: Leaving Babylon seems to be quite reminiscent of earlier albums. What inspired you to return to this particular musical-incarnation of Covenant? Covenant: We wanted to return to a more intuitive, spontaneous approach to making music. Skyshaper and Modern Ruin were both very time consuming, conflict ridden albums. The more options you have the harder it gets to find your way. So we decided to end the “trilogy” with open minds. Like we did in the beginning of our career. So it’s not so much a conscious return to a certain sound as it is a step back towards a more immediate and less “planned” approach to creating music.

NV: What are the most significant obstacles that you have had to overcome since Covenant’s inception? How has that strengthened you as a team? C: Hm. As a band we’ve had surprisingly few obstacles. We were lucky to get a recording deal even without asking for one and we were invited to go touring right from the start. So we never had to deal with that painful process of convincing people that we had something. I think those lucky breaks made us confident enough to dare paving our own way and I’m that was in turn the key to our success. But quick and easy progress can backfire. And it did, eventually. From about 1994 to 2002 everything we did turned out bigger and better than we expected and we climbed effortlessly up to a major deal with a major record company, recorded a fantastic album with a major producer, made high budget videos and high profile tours. Until suddenly, the record company crisis hit us. Out of the blue we stood there, without a recording contract and virtually no money. That was a rough awakening. It did turn out all right but we’re still in the process of learning stuff that most bands already know when they start getting successful. We had to do everything backwards. In the process we lost a founding member when Clas Nachmanson decided to leave the band, another hard blow that I personally thought would kill the band. But we reinvented ourselves and we changed a lot of the basic structures in both our music and the way we work as a team. So, indeed, we came out stronger than ever before. And a lot more humble.

NV: Many artists experience a profound moment when they realize their aspirations have become accomplishments, when, or have, you experienced your own? C: Like I said, we didn’t have to struggle to get the basic foundation a band needs to develop. Our focus always went towards putting our dreams and ambitions to music. Accomplishment can mean many things. We’ve had more club hits and more chart success in the scene than virtually any other band, which is an amazing thing. We have traveled the world and played our music in more than 40 countries. That’s another unbelievable success, because that was always a dream we shared: to get to see the world. But none of that would ever have happened, I think, if we didn’t


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have the drive and ambition to make the music we dream of. And that’s an unattainable goal. It keeps changing and there are so many aspects of music that a lifetime is not enough to achieve it. We haven’t yet reached that point where we feel, “this is perfect, it could not possibly be done better.” And I don’t think we ever will.

NV: Covenant is known for their look; how would you describe your style, and what influences or inspires your fashion preferences? C: Our style? Classic elegant, I guess. The reason that we chose black suits on stage was actually a matter of convenience. We used to do very elaborate stage costumes in the beginning, looking like space samurai manga characters. But it took many hours before each show and as our touring schedule became more demanding we switched to some sort of space priest/crusader dresses for a while. But we usually wore suits and ties in private, simply because we like the classic, timeless look of a good suit. But as we spent ever more time in clubs and hanging out with “scene” people we realized that our suits actually set us apart, they were unusual in that environment. So we simply decided to be ourselves on stage. Very convenient and as a result it also became a trademark. It also has the advantage of being minimalist, taking the focus away from us as people and letting the music speak for us. If the music is strong enough there is no need to “enhance” the message by wearing a certain type of clothes. Suits just suit us. ;)

NV: Are there any songs on Leaving Babylon, or past albums, that you feel to be particularly significant personal triumphs; tracks that you really had to endeavor to complete? C: I know how this might sound, but really it’s true: every single one is a triumph. Music is a struggle for us. Not because it’s difficult to write songs, but because it’s very difficult indeed to make it right. I am proud of every song we have ever recorded and released, in one way or another.

NV: “I Walk Slow” and “Not To Be Here” seem to be the most emotionally vulnerable songs on this album; what are your thoughts or inspirations behind these tracks? C: Again, I’m not sure those two tracks are the most emotionally vulnerable ones, but I see what you mean. “I Walk Slow” began as a long piece of theatre music by our new live member Andreas Catjar. Eskil edited it down and tried out a few lines from a text that I wrote some years ago during a very dark phase of my life. And it fit perfectly. That track almost wrote itself and the vocals were done in just a couple of takes. “Not To Be Here” is actually a cover version of a song written by our fellow Swedish artist Dimbodius. We played at a festival in Gothenburg, Sweden some years ago and he performed there as well. Eskil was really taken by this song and contacted Marcus to ask if we could make a version

of it. He liked the idea and sent us the original audio files from his 2001 recording. Eskil used them as a steppingstone for the arrangement and this amazing version came out of it. I love the song; it makes me cry every time I hear it. Really, I need to skip it sometimes because it touches me so strongly. I love the original version as well but Eskil’s vocals are absolutely amazing.

NV: The song “For Our Time” is an emotionally heavy yet inspiring track. Do you feel that this song expresses your personal perception of the band’s journey and accomplishments? C: “For Our Time” was written by Daniel Myer and I think it speaks more about his journey than Covenant’s. We’re just glad and proud that Daniel still feels connected to the band.

NV: This album seems to explore a new emotional angle of the band, there is a lot of vulnerability and exposed pain within the lyrics; what influenced your decision to proceed with this exploration? C: I don’t agree. We have always been dealing emotional issues. If you listen to “Tabula Rasa” from Sequencer or even “Shelter” from Dreams of a Cryotank they are also about vulnerability and pain. Many of our b-sides over the years as well, but we have become more personal and direct. Actually I think that’s mainly because we have more guts to expose ourselves as the insecure, vulnerable people we sometimes are. One of the great advantages of gaining

wisdom by experience is that it’s more important what you have to say than what people might think about what it is that you say.

NV: “Thy Kingdom Come” seems to speak of an overwhelming desire to overcome a particularly difficult obstacle, yet ultimately succumbing. Was there any particular experience that served to fuel this song? C: Many different experiences are collected into that track. This sense of struggle and ultimate defeat is something I think we can all identify with. It’s about trying your very best, doing all that you possibly can and then you find yourself lost, defeated, disenchanted. That happens to us all, sooner or later, that’s just how life is. And it’s very important to have the guts to be able to tell yourself: “I can’t do this. If I struggle too hard the price will be too high to pay. If not for me, so for the people I care for. So I give in. I can break, it’s OK.”

Stalk Covenant: Website: Facebook:

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“It was a little bit like setting off this bomb. We’d been talking about being in this band forever. And by the time we finally got together and started writing songs it was just, it was a really intense cathartic release and I think some of that translated to the record.”

~ A Conversation with the Band By Toi Green (Lasha) Photos By: Levan TK


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deVour - Book I - October 2013


Toi Green (Lasha): Welcome back! How is it being back as opposed to New York? Shaun: Weird, it felt foreign. Abe: Same, It feels really distant now. Kevin: This is the first time I’ve been back to San Francisco, and definitely didn’t identify with it. It’s really yuppie-fied now. It’s changed a lot. It’s just a lot of wealthy people that work in the tech industry. All the places we used to hang out have turned into artisanal ice cream shops and stuff like that. So it’s a little weird, but LA’s nice. [There’s] a really good vibe down here.


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Nick: I love LA. It’s my favorite.

TG/L: We’re always really excited to hear new music. I immerse myself in it and I begin to think of where it would fit within the world. What feeling it evokes or what it equates to. And the only thing I can even come close to seeing in my mind’s eye is the movie Valley Girl. You could play your music throughout the entire movie and it would make sense. It would be a perfect fit. Abe: That’s flattering!

Shaun: Logistics, like you know, I think we all feel inspired on a regular basis to write and play music and stuff, and we don’t have as many creative challenges as we have sort of just logistic and financial challenges. TG/L: Before working on your own music, what did you guys play together? Were there any covers involved? Shaun: I don’t think we ever played covers, it was always kind of writing our own stuff. I think I stopped being understood and playing other people’s music when I was really young, my first couple years of playing guitar. Nothing really intrigued me about learning how to play someone else’s music. And the guitar has always been a good creative thing, not necessarily just a talent or something.

TG/L: Is it possible to explain where your sound comes from? How it’s evolved from Sports to Red and now to Jinx? Abe: It seems on Sports it was this huge outburst of energy that just needed to be documented. Kevin (Shaun): This latest album it’s much more a product of being in a band for a few years together and playing tons of shows and just kind of maturing as people and as musicians. Wanting to focus more on the craft, bring in other influences that we might not have shown as much on sports Shaun (Kevin): We’re all eclectic people and we have lots of different influences We wanted to use that to our advantage and make a record that played off all those influences not just the few that we were using on Sports.

TG/L: Have you guys picked your favorite tracks for this album yet? Shaun: I think they’re all unique and special in their own way. Otherwise we wouldn’t have put them on there. I have certain tracks I think are more fun to play live and certain tracks that I think turned out better on the record for sure. I think they all serve their purpose on the record in certain ways.

TG/L: Since it’s release, there have been a lot of great reviews on this album. How does that feel when you know that your art’s being appreciated on an even wider scale than before? Shaun: Yeah that’s great. TG/L: What have your biggest challenges been as a band? Kevin: Surviving. Shaun: Yeah I think it’s like being able to lead a lifestyle that is conducive to actually being creative and making music, and not having to be totally obsessed with working a day job in order to afford to live, in order to make music. It’s hard to balance making a living and making art. Abe: It’s definitely a tightrope walk making everything fit into place.

Shaun: It’s cool. I think this record has the power to reach a lot of people that the first record didn’t. And so it’s cool to watch that happen. People who didn’t know who we were three years ago, and are now discovering this record are kind of like discovering our band in reverse, you know? Going back and listening to the older stuff and now that they understand this record they can sort of appreciate where the older record was coming from. I think the older record had a lot of, pop moments, but you had to sort of dig for them. This record’s a lot more blatant pop choices.

TG/L: This record sounds a lot better than the first in terms of deVour - Book I - October 2013



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the production value. A lot more polished. It was just much easier to listen to than Sports.

Kevin: I tried. Abe: I’ve always been secretly gay!

Shaun: I think that was a conscious decision on our part in both cases. Like the first record we wanted it to sound really fucked up and challenging and abrasive, because that’s where we were. And I think once we did that we wanted to expand and try new things. It would have been really easy for us to make a record that sounded like the first record again. We had to figure out that process and sort of, hone in on that. I think it’s important for us to challenge ourselves as musicians anytime we make something new.

Stalk Weekend: Website: Facebook: Email: Twitter: @weekendtheband

TG/L: Good. Evolution. Shaun: Yeah I mean there’s no point in recording the music if it’s just going to be rehashing what you did three years ago. It wouldn’t be representative of our development as people. Kevin: As far as reviews, I feel like I’ve been listening to this record for so long, and I’ve been so stoked on the way it turned out that I haven’t even really thought that much about them or cared too much about them. I just kind of understood it so much on my own I haven’t had the same interest in how other people respond to it.

TG/L: Alive or dead, who would you want to make music with? Abe: Wow. Tupac. Nick (Kevin): Robert Smith. Shaun: I think the biggest one, someone like Malcolm McLaren would be really interesting, just because he approaches music from such a strange angle, you know. It’s like this weird art product and I think it would be interesting to try something like that.

TG/L: That would be quite nice! What inspires you? You stated once it was love and death, but would you want to expound on that? Shaun: Just extremes of emotion, I guess. Horror, super natural… Abe: For me it’s new, foreign environments. Shaun: Photography, films, writing and stuff. All the songwriting and stuff comes from a personal place, but try to make it a little more universal. Kevin: I think turmoil has always been a part of our music. You know it’s emotional or an environmental turmoil. All of us kind of felt that in some way and wanted to respond and reflect on it.

TG/L: Last words before you die, if you’re going to be eloquent about it? Kevin: Peace! Abe: Fuck! Nick: That’s what they say on the black boxes of like planes crashing, that’s always the last thing the pilot says, “oh fuck!” Shaun: Sorry.

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deVour - Book I - October 2013

deVour - Book I - October 2013


deVour - Book I - October 2013 122Courtesy Photos of:


“[My life] it’s kind of like a long crazy strange road,” Bill Leeb starts out by explaining. “I’m committed… and yeah, for the most part I think it’s pretty exciting and pretty fun, and [I feel] pretty fortunate just being able to do what I’m doing,” and what he’s doing is working and drawing in fans from around the world..

~ A Conversation with Bill Leeb

By Toi Green (Lasha)

deVour - Book I - October 2013


Toi Green (Lasha): What is life like for Bill Leeb? Bill Leeb: It’s pretty hard to put it into a few sentences. It’s kind of like a long, crazy, strange road. Some days you love what you do, other days you hate what you do. Some days you feel like it makes a difference, sometimes you don’t. You have to be careful you don’t lose sight of how and why you got into what you are trying to achieve, and so forth. It’s definitely not for everybody. It sort of picks you; you don’t pick it. So now that I’m committed, I put my whole life into it, and sometimes I get to stand back and sort of take a breath. I think it’s a continuing, evolving story in my life. And yeah, for the most part I think it’s pretty exciting, and pretty fun, and [I feel] pretty fortunate just to be able to do what I’m doing. I guess no regrets.

takes between the two. To me the lyrics are so personal. That’s what differentiates those two projects so greatly, despite that concept.

TG/L: Does what returns to you, ever disappoint you? Does it ever just not work? BL: I think there were a couple demos before that were kind of like, yeah they’re pretty good but they’re not special, but for the most part we like to think that we are pretty selective about the artists that we approach or work with. 95 percent of the time it always comes back to me and I go, wow, really this is really great and I really like it. We’ve been pretty lucky.

TG/L: Good! So where does the music come from? Can you describe that part of you that needs to write and compose?

TG/L: You’ve chosen some great people to accompany you this go around. What did you see within your current lineup that made you decide they were just the right fit for Front Line?

BL: Well I think first and foremost I can appreciate all types of music, whether it’s classical, electronic, or rock. I think the thing that’s always really fascinated me about music is that it’s such a fleeting thing; you know like when somebody paints a picture, they paint it and it’s done. No band plays the same song exactly the same twice. There’s so many subtleties when you’re playing an instrument; how you hit the keys, how you hit the chords, whatever. So you feel like you can never write the perfect song. Just when you think that, then you hear something and you go wow, why didn’t I do that? It’s just like this never-ending journey of involvement and it’s pretty much elusive. Like great composers and some great rock bands, they have so much material. I think they’re just really striving to be better, to write that one song where they go okay, I could die tomorrow because I know I wrote this song now. And so it becomes this target that you’re reaching for but you can’t. That’s kind of what inspires me. Just waking up every day, whether I see a news story, I watch a film, or a new song or something, things just sort of resonate in your mind and they stick there. You get ideas from things you hear, and read, and feel. Technology as well, has come so far and changed so much that there’s always a new way of doing something. Putting a new twist on it or spin. There’s definitely no shortage in inspirations.

BL: It’s kind of an evolvement. When Reese left to do his own thing, Chris Peterson stepped in. Then as Chris and I were doing our thing, his prodigy, Jeremy, would show up. He was friends with Jeremy, and Jeremy was friends with Jared, and they had a small band going. They were Front Line fans from… I dare say when they were teenagers. When we did a tour, eight, nine years ago, we needed a couple guys to come up on stage and play with us. So we brought Jared, because he was a guitarist, and Jeremy was more of a keyboard guy. As time went on they just evolved. Then Chris stepped out, and now those two guys are the full-time guys. They just kept stepping more and more into their own. When we did AirMech that’s when things really started to evolve. Just recently I told those guys, “You guys are in trouble now. This record is going to be one of those you get measured with in the future”. In some ways it’s good and it’s not. Sometimes when you get a plateau record, everybody will compare your next three albums to that and go, “Well this is pretty good, but not as good as this one”, so it’s good that we’ve all reached it. It’s taken us eight years to put this and AirMech together and reach this plateau. So it will be interesting to see if we can still evolve. I’m curious as to what’s going to happen with these guys.

TG/L: How do you transition into that creative space for Front Line Assembly? How is it different than what you do for Delirium or any other side project?

TG/L: This new album is tremendous. For some reason, this one speaks more to me than any of the others. It’s sexy. It radiates. It makes you want to move. What, or who, was your muse this time around?

BL: When I do the lyrics for Front Line, the songs become very personal to me. When we do Delirium we do just the music and then we hand over the music to potential singers that I admire. When it comes back to me I always get this kind of like “wow” factor, because everybody gets inspired differently by music, and they get different ideas on what you’re doing. When Sarah (McLaughlin) came back to me and she sang “Silence”, I couldn’t have envisioned that. I think it is such a high for me to have other people interpret your music; it becomes a true collaboration. That’s all it

BL: You know I don’t know if there was a rhyme or reason to how this whole thing evolved. It just kind of took on a life of its own. I think AirMech was a great precursor. Jeremy has a guy called Fracture who just sits there in the basement and makes crazy sounds, and Jared’s friend Craig is the same, so we have these two camps, and everybody was trying make sounds and write songs. I would just jump inbetween. We’d get together every few weeks and critique everything, and go over everything, just to see where we were. In some ways it was competitive, but it was kind of


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deVour - Book I - October 2013 126Courtesy Photos of:

good because you had two camps, and everybody wants their stuff to be on the record and to be really good, so a lot of work and time went into it. I think everything around us seemed to be interesting and evolving. We’ve had a few haters that have used the word ‘dubstep’, and so forth, I think a lot of the electronic music scene has so many different facets now, so I think we’ve actually appealed to them as well. I think we wanted to put a new twist on an old story. Jeremy and Jared are both 29 years old, so I think with putting all those things together, with me, the old man, and the young guys with their ideas, and influences, and different styles of music, you can’t replace youth and energy as well as the will. I don’t think we could have planned this record.

TG/L: I love that you incorporated some dubstep into your latest work. It gets a bad rap, as do most things that are genius, but have been butchered by mass production and shitty replication. How did you come to have an appreciated for it? Was it from Jeremy and Jared, or were you influenced by just by listening to it on your own? BL: I think the first thing that I heard that I really thought was good was a band called Noisia. They had some great stuff. If you like industrial music of any kind, some of their mixes are just so cutting edge and prolific and push the boundaries. And even some of Deadmau5’s stuff, and I think Skrillex had some really edgy sounds. I’m even a big fan of a band called Boards of Canada.

TG/L: I know them very well. Good music is just good fucking music; it’s universal. BL: Yeah I know right?! I think unfortunately the label factor always gets thrown onto everything, but you have to be a little more open-minded if you want to be an artist. I found, when you go to Europe and you go to play at these festivals, a lot of the bands truly do have a bit of the same sound, and technically I don’t think any of them were pushing the envelope. That’s why I felt some of the dubstep artists were really getting it. Another guy I really like is Amon Tobin. He did this special tour, it took him a year to put it together. The entire show and the visuals are all done with slide projectors and he does this imagery. The whole tour was sold out. You just couldn’t get in. It was just pushing the envelope by an electronic visual presentation. There is just so much lacking in our scene where there’s just too much emphasis put on blood and gore and I just think there’s so much more to creating electronic music, so that always inspires me and keeps me going.

after, rather than rest. I’ll buy a book from the place. I’ve accumulated a whole collection. I express myself by paying homage to other artists and people who do great things. I don’t paint, or write books, or anything, but I do patronize the arts and young artists, and stuff, so it’s always really kind of cool.

TG/L: Do you still get that fan experience when you go out locally? BL: Oh gee, I don’t know. When we go to the festivals in Europe, I always forget about it. Then band’s like, well, let’s walk around and check out all the stalls and all the stuff. Within two minutes I have to go back to the bus because it’s like [too much], I don’t mean that in a bad way. It’s just, people genuinely come up and are like, “oh my God! Bill Leeb, this is so awesome, can we get a picture with you?” And then you know, everybody sees, and the next thing you know this circle of people form around. I don’t want to alienate anybody. If you’re nice to one you got to be nice to everybody, but then all of a sudden the other guys are walking away and they’re doing their thing and I’m standing there.

TG/L: It’s overwhelming. BL: Like I said, you have to be nice to everybody, but that’s only in those areas. I’m not saying I dislike it, but I’m a pretty quiet person for the most part, and kind of low key, I like to think. And so I usually avoid a lot of that stuff. I used to like, go to a lot of clubs, but now I have to just sort of keep it on the down low.

TG/L: What do you hope to leave as your legacy? BL: Well the way I look at other artists is integrity, artistry, and honesty. Never really feeling that you’re doing it for more than just the artistry. Just hoping to have inspired and pushed things, this type of music, everything, forward. Hopefully inspiring other artists that come along and pick up the torch when we’re all gone. I can go off and die in a happy place, and let the next generation do their thing. Music and art, in general, is such an important thing and I’m just such a small part of it.

TG/L: How else do you express yourself artistically? What else do you do? BL: Music is really the way I express myself. I like films and art and so forth. I think ever since I started touring in the last 15 years, whenever I’m in a town, or city, or wherever I am, if I have a few spare hours, I’ll search out all the local art galleries and hit them up before a sound check, or

Stalk Front Line Assembly: Website: Facebook: Twitter: @F7A YouTube: deVour - Book I - October 2013



deVour - Book I - October 2013

editorials deVour - Book I - October 2013



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Dancing on Plastic Tears Art Director & Stylist: Christine Lunday Photographer: Melina DeSantiago Model: Emily Lazar MUA: Sarah Anstead Hair: Ashley Gannon

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deVour - Book I - October 2013

deVour - Book I -

Bra: B.Tempted Underbust Dress: Royal Bones Tutu: Models Own (Vintage) Hair Accessory: SXC GRRRL October 2013Page Shoes Shoes: Bettie



deVour - Book I - October 2013

deVour - Book I - October 2013


Bustier & Halter Bralette: Katie Kutthroat Tutu & Stockings: Models Own Shoes: Jeffrey Campbell


deVour - Book I - October 2013

deVour - Book I - October 2013


Halter: Charlotte Russe Underbust: Exquisite Restraint deVour Tutu & Shoes: Models Own -


Book I - October 2013

deVour - Book I - October 2013



deVour - Book I - October 2013

deVour - Book I - October 2013


Bralette: Katie Kutthroat Underbust: Exquisite Resstraint Tutu: Models OwndeVour (Vintage) - Book


I - October 2013

deVour - Book I - October 2013



deVour - Book I - October 2013

deVour - Book I - October 2013



deVour - Book I - October 2013

deVour - Book I - October 2013


Art Direc tor: Chri stine Lun Photograp day her: Rene Salvador Model: Ma ther Lout h MUA: Iren e Mar Hair: Reb ecca Tayl or Stylist: Toi Green (Lasha)


deVour - Book I - October 2013

deVour - Book I - October 2013 149Corsets Underbust & Tulle Skirt: Wonderland Dress: Lip Service


deVour - Book I - October 2013

deVour - Book I - October 2013



Dress & Jacket: Lip Service deVour - Book Shoes: Privileged by JC Dossier

I - October 2013

deVour - Book I - October 2013



deVour - Book I - October 2013

deVour - Book I -

Shirt: Lip Service Shorts: Lip Service Feather Skirt: Wonderland Corsets Tights: Leg Avenue October 2013 by JC Dossier Shoes: Privileged



deVour - Book I - October 2013

deVour - Book I - October 2013



deVour - Book I - October 2013

Corset & Bustle: Wonderland Corsets Skirt: Lip Service

deVour - Book I - Shoes: October Bettie2013 Page Shoes159


deVour - Book I - October 2013

deVour - Book I - October 2013



deVour - Book I - October 2013

deVour - Book I - October 2013



deVour - Book I - October 2013

deVour - Book I - October 2013 165Corsets Corset & Skirt: Wonderland


deVour - Book I - October 2013

deVour - Book I - October 2013


Art Director: Christine Lunday Photographer: Melina DeSantiago Model: Lisa Appelqvist MUA: Sarah Anstead Hair: Nancy Morales Wardrobe & Accessories: TwoTwentyTwo Clothing

You’ll Be Lost Before the Dawn 168

deVour - Book I - October 2013

deVour - Book I - October 2013



deVour - Book I - October 2013

deVour - Book I - October 2013



deVour - Book I - October 2013

deVour - Book I - October 2013



deVour - Book I - October 2013

deVour - Book I - October 2013



deVour - Book I - October 2013

deVour - Book I - October 2013



deVour - Book I - October 2013

deVour - Book I - October 2013



deVour - Book I - October 2013

deVour - Book I - October 2013



deVour - Book I - October 2013

deVour - Book I - October 2013



deVour - Book I - October 2013

deVour - Book I - October 2013


Devoured By Hours Art Director: Christine Lunday Photographer: Dina Douglass Model: Natasha Vi Lead: MUA: Sarah Anstead MUA: Des Arellano Hair: Gercy Galang Stylist: Toi Green (Lasha)


deVour - Book I - October 2013

deVour - Book I - October 2013



deVour - Book I - October 2013

Gown: Scala Earrings: Vintage Shoes: Chanel 

deVour - Book I - October 2013



deVour - Book I - October 2013

Corset & Skirts: Wonderland Corsets Necklace: Vespertina Vi Shoes: Jessica Paster 

deVour - Book I - October 2013



deVour - Book I - October 2013

deVour - Book I - October 2013


Underbust: Wonderland Corsets Skirt: Beautiful Bree Bree Tutu’s deVour - Book Necklace: Charismatico


I - October 2013

deVour - Book I - October 2013



deVour - Book I - October 2013

deVour - Book I -

Shrug : Twenty One  Bra & Garter: Wonderland Corsets Panties: H&M OctoberThigh 2013Highs: Models Own



deVour - Book I - October 2013

deVour - Book I - October 2013



deVour - Book I - October 2013

deVour - Book I - October 2013


Bra & Skirt: Wonderland Corsets Earrings & Necklace: Vintage deVour - Book Thigh highs: Leg Avenue


I - October 2013

deVour - Book I - October 2013



deVour - Book I - October 2013

deVour - Book I - October 2013


She Speaks to Us...


deVour - Book I - October 2013

Look between the sights, hear between the words, feel between your heart and mind, and there you’ll find me conspiring on your behalf, with magic, miracles, and more.  And look between the moments too,      The Universe

deVour - Book I - October 2013



deVour - Book I - October 2013

Book 1 - OCT 2013