Arts Of Darkness: Jay Barnard Photography / Deadstar Modelling

Jay Barnard Modelled with Nala

Photography by Giovani Pasta of Pastacore Alternative Photography

Edited by Jay Barnard of Deadstar Models.

“[...] I love old school “B” movies with stacks of tacky sounds effects and acting but its super cool so decided to mix the models I shoot and this together, the models star in a slasher movie of there very own.”

Alternative modelling and photography are a growing sector, and one that is increasingly being seen as a vibrant genre in its own right with many photographers and artists taking on multiple roles as performers stylists and event organisers to see that the art form continues to grow and thrive.

One such photographer is Jay Barnard who has not only begun to carve a niche for himself and a photographer and videographer, but also isn't afraid to get stuck in as a model and has even gone so far to found his own agency (Deadstar Models) in order to give other models a leg up in what can often be a daunting world.

Intravenous Magazine spoke to Jay about his art, agency, the current climate for alternative models and his many projects.

“I guess I have been into art in one for or another all my life but as in photography three years give or take but really got into it in the last two years when I found that I could be just as creative shooting models.”

From looking at his work as a both a photographer and videographer it is hard to pin down a personal style for Barnard's work. However there are certain reoccurring themes, at least from a technical standpoint.
“It's a tough one as I jump through so many styles but I always have a dark element thrown in somewhere weather its in the editing or the actual scene its self and if I can throw in blood and gore then bonus.

“I guess the only thing that continues in each piece is the fact that I do not over edit what you see generally in the image is actually there and not photoshoped into it except on the rare occasion

I keep swapping from scenes to scenes now I’m working deeply on horror style stuff but then could quickly jump into say more punky stuff or Rock. my head is filled with all this craziness then things just jump out hardly ever in order so never presume you know my next move haha.”

In addition to his work behind the camera Jay is also a keen model and his passion has extended to founding his own modelling agency to foster his work and help put other likeminded people in contact with each other.

“Deadstar Modelling initially was simply all about the alternative model creating creative shoots and creating a platform for alternative models to get good portfolios and getting exposure, I find that allot of alternative models don't like signing to agency's as they feel like there can be restricted so I decided to create a label that supports them but without all the ties of agency modelling can create at times.
“The reaction has been overbearing at times but in a good way, I don't see my self as out special just doing something I enjoy doing but since the DEADSTAR label has been created just over a year ago its gone mental and from strength to strength.
“It's really as simple as dropping me a message have a chat throw our ideas together and see what comes of it, I'm happy to work with new and experienced models, there really is no criteria no age limit, no hight or size limit if it works it works.”

Though it is hard to deny there are a lot more people embracing alternative modelling these days, Barnard still knows exactly what to look for in potential models.
“To me its all about the attitude behind the person just because you think you look alternative doesn’t mean you are, and I definitely think you can't be afraid of stepping out and being different to everyone else. In fact I believe you have to be different to the next model that steps through the door.”

In addition to his photography and model agency, Barnard has extended the Deadstar franchise into videography as well, which he is very enthusiastic and optimistic for.
“Yeah this is going to be cool if I do say so my self, I moved into film as I felt I could put a new twist into what I do, also to hit new media platforms like YouTube, make it more interesting and appealing as well as work on new skills you sit still doing the same old too long you will be left behind and forgotten.
“You can expect more craziness but with sound and movement and see models in a new light.”

Deadstar TV is kicking things off with an original web video series called 'Hell In A Cell', which he is more than happy to tell us about.

“This is a series of small videos around three to ten mins long, I love old school “B” movies with stacks of tacky sounds effects and acting but its super cool so decided to mix the models I shoot and this together, the models star in a slasher movie of there very own. The story line is about a mad man The “Doom Maker” played by my self that brings girls home and tortures them in his basement sell in all crazy manors I let my mind go wild and always ends with a model covered in blood.”

But this isn't the only ongoing project that Barnard has in the works, with his promotional team Dsgirls about to hit the catwalk at one of the UK's biggest fetish events.

“There is so many things going on I have set up a Alternative promo/model team called the DSgirls that are taking part in this years “KFS Summer Time Ball Catwalk Show” in Leeds, We are teamed up this year with Rogue Model Management based in Manchester for a catwalk show for those who saw last years that I did will know I step away from normal expected catwalk shows and stick my hint of unique creativity.
“This year like last year the models are modelling the awesome latex creations of Cathouse Latex. Its a massive deal for us and gives everyone a look on how we have moved forward compared to last year.”

The Essentials:

Intravenous Magazine: How do you typically approach creating a new piece and do you have any particular creative rituals? 

Jay Barnard: There is no rituals and the process is all in my head 24/7 then bits seep out and I go with the flow and see where it takes me.

IVM: What tools and techniques do you use day to day? 

JB: Ummmm this is a tough one I start with the set then the model shoot and see what comes of it don't even decide how to edit that piece till I see it after and I look at each picture as its own pice even if in a set. Tool wise I use a old Cannon 500d that I also film with and I still edit most of my work on shockingly enough photoshop elements 7. Don't use light room or other programme’s like that as I don't need to I spend time in getting the set and lighting the way I want it before even taking the first shot. There is no big expensive tools or equipment involved at all.


IVM: Which artists have been your biggest inspirations and/or continue to inspire you and why? 

JB: Wowzers!! Marilyn Manson and Ozzy Osborne is a huge influence to me as they show me that crazy is good and to go with what feels right... a lot of my influences are by the way of the music I like as I relate to it, they put there minds into music as I do my photography and also as stated before horror and gore films even more so lately.

Photography wise I don't think I do I just do things my way without worrying what other photographers think of me and my work.

IVM: Which piece of art did you find the most challenging to create and why? 

JB: I can't think of anything to mind to be honest sometimes pieces just flow and happen others I get a block and I have to sit on it for a week or two during the editing process I guess its just a natural stereotypical artists mind weather its photography, painting, music or what ever else.

IVM: Which piece or pieces are you most proud of and why?

JB: I think it must be the recent work I have shot with model Juju called “A nurse and her Patient” as I think its an awesome dark peace mixing insanity with love and care! The scene is a dingy old mental asylum and I believe the pics speak for themselves. Very twisted sinister and gory

IVM: Do you have any show/exhibition/art book plans for the future?

JB: Show wise it has to be this year's KFS summer time ball in Leeds on 5^th of September, as mentioned before Its going to be fun mixing Amazing latex with a new turn on Cat-walking I have been given the job and full control of choreography with help of an amazing burlesque p reformer called “Lolita Latex” that will also be preforming in the show along with other amazing models provided by my own DSgirls and Rogue Model Management.

IVM: If someone is new to you and your art, how do you feel they typically react to it? 

JB: Normally ether “Wow” or “What the F*#k!!” is a fair statement I’d say haha. 

To see more of Jay Barnards's work and to keep up-to-date with his projects, please visit his official website. For more information on Deadstar Modelling and Dsgirls, please visit their official website.

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Review: New Zero God – 'Zona Pericolosa'

NEW ZERO GOD
'Zona Pericolosa'
B-OTHERSIDE RECORDS

Greek post-punk/gothic outfit New Zero God have been keeping the black flame burning for nearly a decade now with their mix of gothic keyboards, spiky guitars and powerful bass. The band's last outing was in the form of 'MMXIII' which featured solid song writing and performances, but suffered somewhat from poor production values. Their newest offering, the live EP 'Zona Pericolosa' on the other hand plays to the band's strengths.

Recorded live in Italy in April of this year, the production is still a little high on the treble and the mix isn't quite to par, but it is full of fervent energy and passionate performances that see the band on top form. The band tear through five songs from their songs such as 'Bang Bang', 'Love Means Death', 'The Love Hate Song', 'Love Commandos', and 'Damaged' which bridge the band's previous incarnation as The Flowers Of Romance with their current form and provides a nice cross-section of moods from both bands.

As far as live recordings go it is a rough and ready style that would pass for a pretty fine soundboard bootleg. The crowd noise is a little too low which detracts from the ambience – although the brief introductions make up for this – but when all is said and done it is still a nice unfiltered performance that shows just what the band are best at – and that's performing to a crowd.

'Zona Pericolosa' may not be the casual listener's cup of tea. But for long-time fans of New Zero God and their related projects it will be an essential purchase. It is a warts and all / what you hear is what you get presentation without overdubs or spit and polish, which is actually quite refreshing. Hopefully though this release will signal that a new studio album isn't too far behind.  

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Review: Arkham Angst – 'Sounds And Images Inspired By H.P. Lovecraft'

ARKHAM ANGST
'Sounds And Images Inspired By H.P. Lovecraft'
SELF-RELEASED

Weird fiction author H.P. Lovecraft was a relatively minor literary figure in his own lifetime and probably couldn't have foreseen how his works would go on to become so ingrained in the collective consciousness of western culture. Nevertheless they have and in turn have been inspiring subsequent authors, artists and musicians ever since.

The latest in this long line is a collective known as Arkham Angst from Germany, who blend musical genres such as Experimental, Ambient, Soundscape, Noise, and Electronics into lush and richly textured soundscapes, with Dada-esque collages to illicit the stories they are sound-tracking.

The group's six-track début kicks off with a piano and gloopy bass driven intro, interspersed with hanging strings and subtle noise that has the feel of an old Playstation horror game soundtrack. 'The Nameless City' fares a lot better with its ambient pads creating a sense of space, while scratchy sounds, quiet footsteps and light metallic rhythms create an otherworldly sense of presence. 'The Temple' blends the ambient strings with noise textures to evoke a grimy forbidden space, while vocal samples crackle through like a broken radio and the voice of Markus Küsters gives a subtle narration in German.

Küsters gives a more overt English reading on 'The Dreams In The Witch House' which forces the ambient and experimental sounds a little further into the background initially before they let loose with a cacophony of maddening vocal samples and swirling synths. The longest track on the album 'The Case Of Charles Dexter Ward' repeats the set up and formula of the previous piece with a spoken intro seeing the music take a step back, though the cheesy wolf howls do nothing for an otherwise strong track but detract from the strong vocals. The final track 'Nyarlothotep' is a nice and noisy piece with a more overt use of rhythm that almost veers into witch house territory when the synths and vocal samples come in.

The production is a bit rough and ready for the most part with a definite favouring of the experimental end of the group's sound. But this doesn't detract from it too much. One or two pieces sound a little dated in places but other than that the sounds, mix, and execution are all pretty solid.

This is an interesting release that fans of experimental, dark ambient and noise, as well as those with a complete Lovecraft fixation will find easy to get into. It isn't the most daring or ground breaking in terms of the scope of the compositions, however they are solidly written, well performed and on the whole pretty enjoyable and accessible.  

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Review: Pentagram – 'Curious Volume'

PENTAGRAM
'Curious Volume'
PEACEVILLE RECORDS

The US legendary doom metal pioneers Pentagram return with their eight full-length studio album in the form of 'Curious Volume'. Despite originally forming in 1971, it wasn't until the mid 1980s that the band would take a foothold in the annals of doom metal. But they have made their presence felt ever since even through multiple line-up and record labels changes. Pentagram are still referenced by many upcoming doom metal bands as a major influence on them.

So what do they have left to offer in 2015? Well, quite a bit actually. With the return of Victor Griffin on guitar (again) and coming home to Peaceville Records, the band have a fire lit underneath them again. Which is evident right from the start of the album's opener 'Lay Down And Die' is an old school riff-o-rama in classic pentagram style that still feels right at home these days considering bands such as Orchid, Uncle acid And the Dead Beats and Ghost are doing well with their own take on the formula.

The album continues in a similar fashion for the most part letting the heavy guitars lead and Bobby Liebling's distinctive vocals power through the mix. The likes of 'Dead Bury Dead', 'Curious Volume', 'Misunderstood', 'Sufferin'', and 'The Devil's Playground' are particular stand outs with their raw and to the point execution, great riffs, throbbing rhythms and great vocals they easily hold their own with the young bucks as well as stand up against Pentagrams already legendary discography.

The album enjoys that raw 1970s/80s bluesy mix that harks back not only to their own early recordings but also to the likes of Black Sabbath and Uriah Heep. It sounds timeless, rather than dated and definitely delivers what the long-time fans will be looking for.

'Curious Volume' is another strong chapter in the Pentagram story. It may not quite capture the heights of 'Day Of Reckoning', but it definitely builds on the strong foundation of 2011's 'Last Rites' with the end result being one of the band's strongest outings to date. 'Curious Volume' shows that Pentagram are still a force in doom metal and still have a lot to give.  

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Review: Various Artists – 'A Dying Breed...'

VARIOUS ARTISTS
'A Dying Breed...'
NIGH† †ERRORS

Love it or hate it, Witch House and related genres such as vapourwave, chillwave, dark trap, and other underground occult electronic styles are here to stay. Injecting their music with a mixture of house, ambient, psychedelic and trip hop elements the artists of these genres have been creating some genuinely interesting music for a number of years now. Throughout that time the Nightmare And 808s you tube station, and the associated record label Nigh† †errors, have been championing the genres and spreading the word and generating some much deserved interest, particularly with their free compilations.

The latest compilation 'A Dying Breed...' rather than an entrance point for the genres as the previous ones ('Suicide Serenade' and 'Scary Music To Play In The Dark') have been, attempts to show more of an evolutionary step. Recent works by bands such as †Я▲СΣS ΘF GΗО5†5, †RIɅLS, V▲LH▲LL, OKKVLT KɅTT, and gℓo come together to show a more progressive path that leads on from the now familiar trappings of the scene.

Tracks by the likes of ATMSSPHERO, Gnothi Seauton, †Я▲СΣS ΘF GΗО5†5, †RIɅLS, РΣ▲ϾΣ ⱧΣȊL, V▲LH▲LL, and OKKVLT KɅTT provide the album with its undoubted highlights drawing on industrial, witch house, ambient, metal, folk, trip hop, hip hop and experimental elements all adding to their appeal. While the compilation's closer by gℓo, with it's twelve minutes of delicate ambience and emotional vocal sample shows off the most progressive path of the album.

In terms of production and mixing, with it being a compilation there are always going to be variances in recording quality. But the album has been constructed and laid out in such a way, that those variances don't seem very overt.

This is another great compilation from Nigh† †errors that shows off some of the best that the occult electronic underground's has to offer. When listened to in order with the previous albums it shows a clear evolutionary path of the past present and future. It is a solid album with some great tracks that will have fans digging for more.  

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Editorial: August, 2015

They. Still. Live!

It has been a sad week with another spate of high profile deaths. Not just amongst the music scene but also from popular culture. And while I have lamented the recent passings of several influential musicians recently, my childhood received a major knock with the passing of former professional wrestler 'Rowdy' Roddy Piper, AKA Roderick Toombs. A man who was an integral antagonistic figure in the rise of the WWE/F in the 1980s with his trademark Scottish rage and sharp wit leading him to be affectionately known amongst fans as “Hot Rod”.

Like many wrestlers before and after Piper would briefly trade the squared circle of the wrestling ring for the silver screen of Hollywood. And in doing so would create a genuine cult classic in the form of 1988 sci-fi thriller 'They Live'.

Directed by the legendary John Carpenter ('Halloween', 'The Thing', 'Christine', 'Big Trouble In Little China') Piper takes on the role of drifter turned construction worker John Nada, who after an encounter with a blind preacher discovers the world's rulling class are aliens who control humans through subliminal messages in mass media.

It hasn't dated well. There are some seriously cheesy effects, inconsistency, and the plot on paper is b-movie at best. But it is utterly brilliant – a subversive blend of sci-fi and horror that simultaneously parodies the hyper capitalist consumer society of the late 20^th century. Piper and co-star Keith David's performances are strong (even if some of those around them aren't), and one highlight of the film comes in a five-minute long alleyway brawl between the two over a pair of sunglasses. It is also the birth place of some brilliant quotes including the now infamous “I have come here to chew bubblegum, and kick ass. And I'm all out of bubblegum” which has cropped up in comics, television shows, computer games and music ever since.

It may be an acquired taste at best, and it is certainly no masterpiece. But it is a damn enjoyable film that worms its way into your affections with dry wit and brilliant action.

Piper would go on to have a long acting career and make sporadic come backs to his first love of pro-wrestling. But even if the mainstream never get to explore the depths of his talent inside and outside the ring, then at least in 'They Live' they can get a taste of what he was good at... chewing bubblegum and kicking ass!

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Review: Mr Kitty – 'Fragments'

MR KITTY
'Fragments'
NEGATIVE GAIN

Forest Carney AKA Mr Kitty returns with his fifth full-length studio album and the first since the conclusion of his acclaimed “Dark Youth” quadrillogy that encompassed 'Death', 'Eternity', 'Life', and 'Time'. The new album 'Fragments' sees a much more open and vulnerable side to Carney's song writing coming through. Musically the icy synthpop and trippy witch house elements that characterised the first four albums remains at the core of the album, but with an air of stark and clinical futurism that recalls turn of the millennium ebm.

The album is a deeply satisfying of melodic synthesizers, throbbing bass, steady dance beats and soaring vocals drenched in delay. It feels delicate and brittle, but altogether more hopeful and optimistic than his previous albums.

Songs such as 'Mother', 'Shanghai', 'In Your Blood', 'Flowers For Boys', 'Cycle Of Violence' and 'Spirit Of The Forest' best exemplify this formula and easily blend dance appeal with introspective allure that compels you intimately explore the album further.

The best thing about this album is despite all of the potential club singles on display, 'Fragments' has that true album feel to it, as though a thin but distinct thread of narrative ties everything into a linear whole. It's certainly lighter in sound for the most part but it still remains devoid of any throw away filler tracks.

In terms of production the album is wonderfully airy and grand in the sense of space it creates. It sounds as though it should be played in a crystal cathedral. It is a bright modern mix that nods its head towards ambient music as well as pop. But as with the last album it has just that little bit of rough edge to keep its feet in alternative waters.

This is another great and solid album from Mr Kitty that heads in new directions with ease. It is more emotional, measured, and instilled with a strong sense of purpose that sees him firmly close the door on the quadrillogy and look ahead to a very bright future.  

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Review: Big Time Kill – 'Big Time Kill' EP

BIG TIME KILL
'Big Time Kill' EP
SELF-RELEASED

Boston, USA based duo Big Time Kill have set out to hit the industrial rock world hard and fast with their début self-titled EP. Blending new wave melodies with synthpop leads and nasty industrial beats and guitars, the band walk a fine line between pop sheen and grunge grit. It's a formula that will appeal to fans of The Faint, Killing Joke, Mindless Self Indulgence, and Nine Inch Nails. It's a style that should play well to both club audiences as well as on the road live.

They open with a big sing-along synth number in 'Hold On' with its pop hooks and slick new wave synths taking the lead. While 'Please' presents a more desperate and frantic sound that is spiky and fun. 'It's Nothing Personal' returns to more commercial territory with it's synthpop meets new wave core displaying a real knack for strong song writing. 'Are You Ready For Love?' returns to the harder but still hook laden waters of the first two numbers but broken down into a more straightforward approach. The EP is then rounded off by the jumpy electro meets synth rock of 'Gone' that presents the band's best soaring chorus to close proceedings.

The EP is nicely produced and mix. To such a high quality in fact that it easily matches anything on the Metropolis label. The songs aren't very densely layered, but they're not stripped back either. The band have the room to play around and experiment but they always retain an accessible structure to the tracks.

This is an impressive début from a duo that have a lot to offer and big ambitions. The songs are strong, commercially viable alternative rock with great and sometimes playful electronics throughout. There is a lot of potential here, so it will be worth keeping an eye out for their full-length début.  

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Review: My Dying Bride – 'Feel The Misery'

MY DYING BRIDE
'Feel the Misery'
PEACEVILLE RECORDS

There's nothing quite like a good dose of musical misery, and nobody does it better than Yorkshire's gloomy doomsters My Dying Bride. For a quarter of a century their slow anguished litanies of sex and death infected fans around the world with a bleak melancholy that reflects the gothic and haunting isolation of the ragged landscapes of the county. Just as with their fellow harbingers of Gothic Doom Paradise Lost have done with their most recent outing, My Dying Bride have marked their quarter of a century and their twelfth album with a heavier sound that looks back to their early years for inspiration. Throw in the return of original guitarist Calvin Robertshaw and all the ingredients are there for one of the darkest and most majestic albums in the MDB canon to date.

'And My Father Left Forever' clatters into life with a classic My Dying Bride riff the band are immediately on top form as Aaron Stainthorpe's anguished vocals exhale tortured laments bolstered by atmospheric synthesizers and sorrowful violins setting the overall form of the album. The band are at their most monolithic here with eight long and densely layered tracks. 'To Shiver In Empty Halls' breaks out the demonic death vocals over the slow menacing guitars and steady bludgeoning drums interspersed with some delicate piano.

The likes of 'A Cold New Curse', 'Feel The Misery', 'I Celebrate Your Skin', and 'Within A Sleeping Forest' this formula of heavy riffs, stunning guitar work, and lofty atmosphere with the odd death vocal thrown in for good measure. While songs such as 'A Thorn Of Wisdom' and 'I Almost Loved You' turn the band's typical approach around a little emphasising gothic elements such as the prominent bass, violin, and keyboards, or

The album as a whole is not a grand departure from their recent work, but the emphasis on looking back to the band's earlier releases certainly has had an effect. It isn't just heavy in terms of guitars and drums, but atmospherically, lyrically and in a few places even experimentally it is heavier. It is executed and produced with the skill and experience that a band of My Dying Bride's stature should always be delivering.

Whether you are a long-time fan of the band or have only recently begun to scratch the surface of their discography, 'Feel The Misery' is an album that ticks all the boxes. Heavy, haunting and most of all deliciously gloomy, it is 25 years of My Dying Bride distilled into one intoxicating elixir.   

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Book Review: C J Skuse – 'Monster'

C J SKUSE
'Monster'
HARLEQUIN

Ah, the girl's boarding school. It's the ideal setting for a good horror story really. If it's not the very real terrors of tyrannical teachers, or the verbal and physical violence perpetrated by hormonal teens locked away in a regimented environment, then the sheer ambience of an old stately home-turned school should be enough to set the imagination racing to things that go bump in the night. The girls boarding school setting may be a little higher in profile in the public mind a the moment thanks to series three of American Horror Story. But in 'Monster' instead of witches and ghosts, C J Skuse treats us to a modern tale of isolation, social politics, adolescence... and a large sinister beast roaming the snow covered countryside disembowelling animals and people.

It's a tried and tested backdrop maybe, but Skuse is a masterful storyteller whose writing style is bang up-to-date and very accessible for the younger reader. With the emphasis more on the thriller aspects of the story, the horror elements as a result become more mysterious and atmospheric.

The book is written in the fist person through the eyes of potential head girl Nash. Her brother is missing in South America, her parents have had to leave her in the old boarding school over Christmas with her rival Diana, her nemesis Clarice, a young “pup” called Tabitha, the “weird girl” Reagan, and her new found ally Maggie, all of whom are under the watchful eye of the school matron until they are picked up by their parents.

The book really hooks the reader in the first few pages as Nash spies a beastly shape in the snow that almost hypnotises her. From that point on the plot evolves through Nash's internal monologue and the conversations with her peers, with the occasional grisly death and louche character coming in to add twists. It's a book that does a good job of keeping you guessing until the end, which is an increasingly hard thing to do these days.

Skuse is a great descriptive writer who makes small observations and details speak volumes about a character or place. The teenage girls interact and speak as you'd expect a modern teenage girl at a boarding school to do, and their observations will undoubtedly ring true for her target audience. While the well-placed use of humour and wit serves to ground the story nicely.

One thing that did stick out in the novel though was the heavy referencing of pop culture. Referencing thing such as Snapchat, Britain's Got Talent, Vernon Kay, and Harry Potter grounds the story quite firmly in the 2010's. But as pop culture can move on quite rapidly, such references may inadvertently date the text so that in five years time, the next wave of readers may find less relevance in those cultural citations. If those references were a little less specific, the time of the story could be a little more vague and enjoy a bit more longevity.

'Monster' is a fast-paced, dramatic, endearing and often tense book that is just as much about the characters as the potential horror lurking around them. As far as young adult novels go, this is a gripping and satisfying read that has everything needed to become a best seller and will endear itself to readers beyond their teenage years.

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