Daniel Myer and Dejan Samardzic are back with a new Haujobb album, New World March, eight years after their last full length. Not focusing on club hits, but still aiming to return to the popularity they’ve had in the past, New World March is distinctly Haujobb. With this brand new material, Myer and Samardzic prove they still have it.

interview by Aaron Andrews

In 1993 Daniel Myer, Dejan Samardzic, and Björn Jünemann founded Haujobb releasing two industrial albums before Jünemann’s departure. The duo of Myer and Samardzic have continued on since and ushered Haujobb through a musical evolution away from their initial sound and explored the realm of electronic music trying sounds including drum & bass, IDM, ambient, techno, trance, and electronica. In 2003 they issued their last full album of new material, Vertical Theory, and became slowly quiet until 2009 when they remixed their reissued Homes & Gardens single with the promise of more on the way. This year Myer took a break from his other recent projects (Architect and Covenant) to focus on reuniting with Dejan as Haujobb on their all new full length release, New World March. We got the chance to interview the creative team of Daniel and Dejan to ask about Haujobb, working together and the brand new album.

It’s been eight years since Vertical Theory came out and for the most part Haujobb has been quiet. Why such a long hiatus?
Daniel Myer : It’s very simple actually. I moved away from Bielefeld and it was kind of tough, working apart. We were still working on music together but it took forever to get things done. When Dejan also moved to Leipzig the whole thing became new dynamics. We focused on the album, started to focus.

Was there any difficulty in working on this album so that the Haujobb sound was identifiable and current?
DM : No. We knew what we wanted and like I said before, we were focused on the sound.
Dejan Samardzic : Current? We don’t care about such things.

read the full interview in the December/January 2011/2012 Issue

Check out all the great music that was played out our 3 Year Anniversary Party on Friday in Buffalo, NY!  We’d like to thank all the DJs for playing and keeping the party going all night!

Set lists from the Auxiliary Magazine 3 Year Anniversary Party

Darago (Mike Kieffer)
Artist – Song
Android Lust – A New Heaven
Combichrist – Through These Eyes of Pain
Necro Facility – Skirk
We Love – Underwater
Mondkopf – Day of Anger
Ghost & Writer – Nightshift
Shiv-R – Lingerie
Aesthetic Perfection – The Little Death
ohGr – traGek
Emika – Professional Loving
Caustic – Orchid (feat. Unwoman)
Mind.in.a.box – Redefined
Dillon & Coma – Aiming for Destruction
Ellen Allien – Sun The Rain
IAMX – Volatile Times

Listen to this set list on Spotify : Darago – Auxiliary Magazine 3 year

DJ Aaron Andrews
Artist – Song
Röyksopp – What Else Is There? (Trentmoller Remix)
The Prodigy – Girls (Rex The Dog Remix)
Yaz – Situation (Richard X Remix)
Sisters of Mercy – When You Don’t See Me
The Activator – Hate Lazer City
Massive Attack – Angel
Bauhaus – The Spy In The Cab
Goldfrapp – Ride A White Horse (Ewan Pearson Disco Odyssey)
Motor – Kick It
Daft Punk – End of the Line (Boys Noize Remix)
iVardensphere – Here Lies Lily Brant (iVs Vs. Pull Out Kings)
Psy’Aviah + Leæther Strip – Sheet Hard Revenge (Endziet Mix)
The Chemical Brothers – Believe
Underworld – Between Stars
Wolfsheim – Find Your Gone
Sneaker Pimps – Bloodsport
How To Destroy Angels – Fur Lined
Chemlab – Scornocopia (Scorpio Remix Die Warzaw)

Listen to this set list on Spotify : Aaron Andrews – Auxiliary Magazine 3 year

Edwin Somnambulist
Set list on ISNradio.com.

Jason Draper
Artist – Song
M83 – Midnight City
New Order – Ceremony
The Raveonettes – You Want The Candy
Crystal Castles feat. Robert Smith – Not In Love
Fischerspooner – The 15^th
Killing Joke – Love Like Blood (Gestalt Mix)
Tricky – She Makes Me Wanna Die
SSQ – Walkman On
Depeche Mode – Policy of Truth
The Chameleons UK – Swamp Thing
School of Seven Bells – Half Asleep
My Favorite – Homeless Club Kids
Pet Shop Boys – Home and Dry

Listen to this set list on Spotify : Jason Draper – Auxiliary Magazine 3 year

We are approaching our 3 year anniversary!  On Friday, December 9th, join us in celebrating three years of Auxiliary Magazine! The party is at Club Diablo in Buffalo NY and it will be a night full of fashion and music!  There will be a Cats Like Us, the Buffalo based retro clothing boutique, fashion show and music will be provided by Edwin Somnambulist of Industrial Strength Nightmares Radio and the monthly Toronto event Neurodance, plus Aaron Andrews (regular Auxiliary Magazine music contributor), Jason Draper (Auxiliary Magazine contributor), and Darago (Auxiliary Magazine music editor Mike Kieffer). In addition we will be raffling off tons of gift certificates and great items from the event’s sponsors. If you’re in the area, we hope to see you there!

Our great sponsors!

Cats Like Us www.catslikeus.com
Chez Ann Salon www.chezannsalon.com
Das Bunker www.dasbunker.org
Dungaree Dolly Bags www.dungareedolly.com
Fluevog Shoes www.fluevog.com
Gloomth www.gloomth.com
Heavy Red www.heavyred.com
Industrialshirts.com www.industrialshirts.com
ISNradio www.isnradio.com
Jason Masarik – Renaissance Tattoo www.monsterlabtattoos.com
Jennifer Link Photography www.jennifer-link.com
Plastik Wrap www.plastikwrap.com
Rose Mortem www.rosemortem.com
Sourpuss Clothing www.sourpussclothing.com
Spragwerks www.spragwerks.com
Zach Rose Photography www.zachrosephotography.com

more info on the facebook event page

Influencing a generation of musicians and artists, a founding member and mastermind behind Skinny Puppy, Ogre gets behind our lens and talks about the newly released ohGr album unDeveloped on Metropolis Records, his role in the cult classic Repo! The Genetic Opera, the upcoming long awaited Skinny Puppy album, and more.

interview by Aaron Andrews

Since 1982 Ogre (aka Kevin Ogilvie) has been bending our minds and breaking new musical ground. First as a founding member and the vocalist for the hugely influential and infamous Skinny Puppy and later in the starring role of the self-named duo ohGr, Ogre’s one-of-a-kind vocal style combined with his visually engaging and in-your-face stage persona have been widely copied and his contributions can also be heard with bands such as Ministry, Pigface, and KMFDM, in addition to being a cast member of newly minted cult film classic, Repo! The Genetic Opera. OhGr’s fourth and latest musical effort unDeveloped builds on this strong legacy and reputation.

Ogre was nice enough to talk with us and discuss the premise and sound of the new material, aging, costuming, death, the creative culture of Skinny Puppy and ohGr, and last but not least, even Michael Jackson.

I heard great things about the Auxiliary Magazine shoot of you for this feature.
Ogre : It was fun, she’s a great photographer.

I’m glad to hear you enjoyed the session.
O : Well, it’s always a bit daunting at this point in life. I call it the Dorian Gray effect. So it’s always a bit daunting. When you work with nice people who understand all the subtleties and sensitivities that go along with watching yourself decay on film over a lifetime, it isn’t so bad.

Tell us a little about the new album. What have you been exploring and thinking about with unDeveloped?
O : unDeveloped is kind of a beginning point and also closure for me. It’s something that began with Devils In My Details, so it’s a continuation of the concept of Devils In My Details but closure to the content; in that I think the last four years of my life I’ve had a number of revelations and experiences that have been very profound to me. I tried to correlate that in a much more journalistic way in Devils In My Details in the moment and unDeveloped is a different look at the same situation through a much clearer resolution lens. Almost akin to looking at something through a childhood microscope and then taking it into a lab and looking at in under an electron microscope and re-examining the same information. So unDeveloped really came out of that, it was the continuation of a really great project with Mark that we have a lot of fun with and we’re really actively involved in fomenting and creating an immersive experience and taking that one step further. Obviously this time period is rife for tons of information both confusing, I’m sure terrifying to most people; but to me, somebody who’s had their head up the ass of all this spectacular and covert and, um, left over right, right over left, even when they’re all the same. I’ve had my head seasoned to this for so long that there’s just so much interesting stuff to write about in the fashion that I do that it’s a bit poetic. I think with unDeveloped too is I’m getting closer and closer to the process of my own writing. I’m not trying to say to sound bigger than life, I say that with a great deal of humility in the sense that my writing has lead me to where I am now and on the route has had things that were almost prophetic and very mysterious to me.

read the full interview in the June/July 2011 Issue

After a four-year studio hiatus, EBM staple Covenant is back with their new album Modern Ruin, and this time they have brought Daniel Myer, the mastermind behind Haujobb, among many other electronic acts, along for the ride. We had the opportunity to talk about the state of this predominant EBM group with band member Joakim Montelius, and together with Myer and frontman Eskil Simonsson, it is clear that there are more new and different chapters to be written to their story.

interview by Aaron Andrews and DJ ArcaTek

Can you tell us a little about the new album Modern Ruin? Are there certain themes, ideas, or techniques that have been important to its creation?

Joakim Montelius : Like every full-length album, Modern Ruin is a collection of ideas and reactions. So there is no overall message. It’s a selection of songs that we think represent what we felt over the last four years. The title itself refers to the loss of some of the ideals that Modernism was about: the idea that we can make a difference, our ingenuity and our power of will can help us build a better world, that positive feeling and the ideological eagerness to dedicate a lot of work and energy to such a project. Somehow it got lost and grew into cynicism and confusion and our new technology, our knowledge, even our art became tools to maintain the old paranoia and selfishness that Modernism was supposed to oppose. So, to me, that’s the ‘modern ruin’.

How long was the process of making Modern Ruin? There were push back dates on this album; was it due to record company issues or was it you going back into the studio to perfect the Covenant product?

JM : There were many reasons for the long delay. We toured a lot after Skyshaper, we made a DVD of the tour, then we moved our studio twice, we were busy with personal matters, our record label went bust, we lost our founding member Clas Nachmanson and Daniel Myer took his place, Eskil got married and divorced, I got a daughter… Let’s just say that for us these last four years were anything but quiet but it made the process of recording the album slower. We worked on it on and off for the last couple of years, wrote songs and shuffled demos back and forth, but the work in earnest only started last year. It’s hard to say exactly how long it took since it was so split up and fragmented. A somewhat realistic estimate would be perhaps four to five months in total. Something like that.

read the full interview in the February/March 2011 Issue

This past Thursday, we threw a party to celebrate our two-year anniversary at Club Diablo in Buffalo, NY. It was a great night and we’d like to thank everyone that came out to party with us! Hear are a few photos from the evening.

most of the Auxiliary gang [left to right] Steve Prinsen, Aaron Andrews, Adam Rosina, Jennifer Link, Molly Hoeltke, Mike Kieffer, Luke Copping, Meagan Hendrickson, EJTower, and Paul Morin

starting the night off

Meagan Hendrickson playing some tunes

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It’s been two years!  On Thursday, February 17th, join us in celebrating two years of Auxiliary Magazine! The party is free, at Club Diablo in Buffalo NY, and music will be provided by Darago (our music editor Mike Kieffer), Jason Draper, Meagan Kyla (our fashion editor), and Aaron Andrews (also of Auxiliary). If you’re in the area, we hope to see you there!

more info here

Bill Leeb has been in the electronic music scene since 1985, when he started out with fellow Vancouver boys in Skinny Puppy. Following a need to find his own personal voice he set out on his own and produced music under the name Front Line Assembly, creating a massive body of music from 1987 to now. This eventually wasn’t enough to contain his creative juices and his musical catalog now also includes projects like Delerium, Noise Unit, Intermix, Equinox, and various FLA remix credits.

Front Line Assembly’s newest album, Improvised Electronic Device, came out on June 22. Leeb was kind enough to answer my questions and shed some light on some things I’ve always wondered.

interview by Aaron Andrews

How long did you work on your new album, IED?

This album took the longest out of any Front Line album ever. It almost took three years to make it. In the first year we took about six months writing a bunch of the songs then we decided we’d just walk away for a couple months. We’d never done that before, you know see if you still liked the record. Also all four members were inputting equally, where as before it was just me and Rhys or me and Chris. So it’s kind of a whole new way of doing it like a band almost, which was kind of interesting. In the end we got what we wanted to get. I think we’re all happy with the outcome.

Who else was involved in the making of this album?

Me, Chris Peterson, Jeremy Inkel, and Jared Slingerland. Since we’re on the subject, usually we use Greg Reely to mix the albums but this time we used Greg and Ken (Hiwatt) Marshall, who does all the Skinny Puppy stuff. So this is the first time we’ve used two engineers/mixers. We also have another guitarist on some of the tracks, Justin from a band called Three Inches of Blood. We also did a track with Al Jourgensen of Ministry. We really went around and used a whole bunch of people, I guess after making so many records it got to me. It’s fun to get other people involved and see where we can go with this kind of music. Just see if we can find new ways to turn stones over and stuff.

This album, IED, and the last one, Artificial Soldier, were made with more cast members than most of the previous FLA catalog. Was this intentional or did it just fill out that way?

Well, the thing is because we have a revolving door with Front Line, people sort of come and go, I never say never on anything. So on Artificial it was kind of Rhys had minimal participation on four tracks, he hasn’t toured with us in years and years. So these four guys I just mentioned we played over a hundred shows in a couple years and we formed a good unity. So when it came to working on our next album they wanted to be really involved. I found that the only complaint was there were too many people trying to steer the helm. With Rhys in the old days, and Jeremy and Jared are both 25, you know their pretty young, so it became a bit of a cluster… bomb. You know with everyone trying to get their ideas in.

But on this one there’s no Rhys at all and we’re just forging that idea from Artificial Soldier, it just made for a smoother transition and even though there was more input from everybody it still had more of a calming integral feel from everybody in the band.

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Auxiliary Magazine’s June/July Issue Release Party will be in Toronto, ON at NEURODANCE v6.0!  ISN Radio army presents NEURODANCE at the legendary Club Neutral; ground zero for another evening of cutting-edge industrial / ebm and other selects from the subculture music scene.  Auxiliary Magazine’s Aaron Andrews and Darago will be DJing and Auxiliary Magazine crew will be there to show off the new issue.

more info here

[:SITD:] – Rot

release date : October 27, 2009
released by : Metropolis
info : 5th album . 11 tracks . 54:46 run time
genre : EBM
reviewed by : Aaron Andrews

In color psychology, “rot” (red) is associated with energy, heat, blood, and strong emotions like: aggression, passion, and love. Furthermore “rot” represents revolutionary movements and symbolizes wrath, one of the seven deadly sins.

After reading that statement I have to say Rot is aptly titled in a few ways. There is a certain intensity and energy throughout the album. It’s not exactly revolutionary but it is carefully crafted and an enjoyable listen.

My familiarity with [:SITD:] before listening to this album was through their remixing, where I found the songs they touched always came out excellently. The band understands dance music and has put together an album that proves that in all of its faster tracks. The song structures are created with the steady movement forward and intelligent use of both breaks and build ups. Soaring string synthlines are anchored by the even, low vocals and a strong bed of intense rhythm. The compositions are focused on the music and there’s little misplaced loyalty to the lyrical content. Vocals aren’t always the focus but when they are added they make a positive contribution.

The dance songs are really where it’s at for me on this album and with most of the album being made up of these, it is kind of disappointing hearing the slower stuff like “Destination”. With such a firm grasp on making thrilling dance music the shift to more vocal focused ballad-like songs at several points was disappointing. Those pieces came up feeling a little forced and didn’t have the emotional energy that the album’s name implies.

[:SITD:] do so many things right that I have a great time listening to this album, it was worth investing the time for repeated listening and quite a few of these songs are welcome to my ears at the club.

recommended tracks : Catharsis (Heal Me, Control Me), Rot v1.0, Pride, Pharmakon
if you like you may like : Rotersand, Project Pitchfork, VNV Nation
overall 7 . lyrics 6 . music 7 . recording quality 8

check out [:SITD:] on tour now with VNV Nation