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A New York music and culture fanzine. LOVE INJECTION ISSUE 33 — NOVEMBER 2017 CLUB 57 DAVID DEPINO KAITLYN AURELIA SMITH RIOBAMBA Free in NYC, USA $6, EUR €7, JAP ¥1000 © Most Excellent Unlimited LOVE INJECTION ISSUE 33 — NOVEMBER 2017 A New York music and culture fanzine dedicated to documenting and preserving our communities’ creative output since February 2015. In print to give you a break from the digital noise. EDITOR-IN-CHIEF & ART DIRECTOR Paul Raffaele EDITOR-IN-CHIEF Barbie Bertisch FRONT COVER 57 Boys, Xerox by Raulin Ogle Rogers from Club 57 Invitational Xeroxes, May 1980, curated by Keith Haring. The Mu- seum of Modern Art, New York. Department of Film Special Collections. On view in MoMA’s Club 57 exhibition. EDITORIAL ASSISTANT Michael Mandeville CONTRIBUTORS Antal Heitlager Brian Chase David DePino Greg MacAvoy Kaitlyn Aurelia Smith Kris Petersen Luke Jenner Matt Holyoak Mijke Hurkx MoMA Nathaniel Jay Nik Mercer Paul Raffaele Phil Moffa Piotr Orlov Riobamba Rob Thijs Tim Lawrence Tim Saccenti PUBLISHER Most Excellent Unlimited Recordings, Inc. mostexcellentunlimited.com ADVERTISERS Cinderblock People Iris Records La Rama Records Output Nightclub We Mark Japan SPECIAL THANKS Alex Raouf Duke University Press Isaac Amerling Kristi Evans Mijke Hurkx The Museum of Modern Art PRINTED BY On Demand Print Group [email protected] SUBSCRIBE 1 year / 12 issues Physical copies shipped internationally subscribe.loveinjection.nyc COMMUNICATIONS Submissions, Advertising, General: [email protected] MXU-Z33 EDITION OF 1,000 FREE IN NYC, USA $6, EUR €7, JAP ¥1000 - loveinjection.nyc @loveinjection.nyc LOVE INJECTION their three biggest tunes - “3AM Eter- nal,” “Last Train to Trancentral,” and “What Time Is Love?.” These tracks are a skillful blend of diva vocals, alt- By Kris Petersen rock guitars, sweeping trance synths, and nonsense lyrics, with an impeccably costumed cast of backing musicians and Love Notes From Brooklyn extras miming with vigor atop gigantic NATHANIEL JAY speaker stacks. The success of the KLF and its related products depends on a careful balance of vapidity and preten- BRIAN CHASE sion, with both sides thoroughly rep- resented in this volume. And honestly, YEAH YEAH YEAHS No one in the media answers questions NYC EXPERIMENTAL SCENE quite like the KLF did - group member Drummond once described the move from 12” singles to albums as “…when you Jackie Brenston and his Delta Cats, have a crap and you squeeze it out and “Rocket 88” (1951) (Chess) think I’m never going to need another This cut is often cited as the first RocknRoll one. Then half hour later you’re think- ing maybe you will.” Meet me in the record for whatever reason – well it’s got the bathroom, indeed. distorted guitar and most definitely got the (Jesus was a bike messenger) rawness overall. Credit for the track got stolen Kelly Moran, “Hallucinations” by the guy on the mic but actually the band is Self-released Ike Turner (19 y/o) and his Kings of Rhythm. The drummer sounds like he’s on the kit for — the second time in his life and barely hits the Fresh from Riker’s Island snare in favor of riding hard on sloshy hi hats. Kelly Moran is a composer and pianist based in New York. She’s released sever- al self-produced and engineered albums, Brimming with bravado primarily involving prepared piano and Gunter Lee Carr, “We’re Gonna Rock” synthesizer. She previewed her upcom- Bound by a litany of moral codes (1952) (Decca) ing effort Hallucinations at Brooklyn Another mis’namer’ Gunter Lee Carr was an avant-garde stalwart Roulette, perform- occasional pseudonym or whatever for Cecil ing solo with nature-based projections. Covered in tattoos of your namesake The compositions were largely inspired Gant, a Boogie Woogie/R&B/etc. pianist from by psychedelia - the notes brightly Extending your hand to me the Midwest/South/East/etc. Towards the glimmer on their borders, mingling and end of his life (37), there is in his playing the merging with their neighbors before And asking that I “excuse the left” foreshadowing of what was to be most defi- disappearing into the natural ambience nitely RocknRoll. As a bonus, the guitar solo of the venue. Subtle electronic ele- ments provide gentle counterpoints, al- hits so many wrong notes it almost foreshad- though I’m honestly not sure what is ows sophisticated jazz. with shredding organ solos and funky Jungle Music, “Mixed With Love: coming from where most of the time. I’m bass vamps. This version of the compi- looking forward to digging into this Your world comprised entirely of Essential & Unreleased Remixes lation swaps a totally leftfield mix of deeper when the material sees a commer- Johnny “Guitar” Watson, “Space Gui- Arthur Russell’s “Calling All Kids” for 1976-1986” cial release next year, and will report the rare-ish Walter Gibbons mix of Go Rescuing cats from scaffolding tar” (1954) (Federal) back. Strut Bang! by Dinosaur L, previously only The first use of reverb on a guitar amp? — available on vinyl in a 4xLP box set. I In Stanton Street projects and Complete with novelty hooks and spy-themes probably don’t need to say much more to Sharp Veins, “bleeds colors and and pervy baritone saxophone, wrapped Walter Gibbons was an undeniable influ- the readers of this ‘zine - this comp is puddles” Going up to West Harlem around licks of hot guitar and what it must ence on the New York disco underground, worthy of a backspin if you’ve heard it, feel like to discover one’s knob (reverb) for and essential if you haven’t. UNO NYC his effortless edits and dramatic ex- the first time. It’ll make you dizzy in a way tensions define the blueprint for con- To get “the wet” — both good and queasy. temporary dance music culture. He was Ian Shirley, “Turn Up The Strobe” a pioneer of beatmatching, with a keen Book by Ian Shirley Sharp Veins is a leftfield music pro- And then riding all the way back to LES ability to coax out jubilant percussion ducer from Alabama, now based in New Johnny Burnette & The Rock ’N’ Roll from the most disparate sources. This — York. He is the most recent signing compilation was initially released on CD to the groundbreaking left-field in- High out of our minds Trio, “The Train Kept A Rolin’” (1956) and vinyl in 2010, but has been reissued Rave agitators The KLF, AKA The cubator UNO NYC, first homes of folks (Coral) on vinyl for 2017 with couple alter- Timelords, AKA The Jams, made their re- such as Arca and Gobby. bleeds colors 5th Avenue our glittering path This amount of distortion on the guitar at ations that make this a better fit in the turn this year, with some cryptic events and puddles is a collection of tunes this time? The track is that dirty regardless. average DJ bag. The compilation opens and an equally cryptic new novel. You’d that are equally concise and thought- with “Sun… Sun… Sun…” by early West assume this would be a teaser for dig- ful. burnished purple begins with ten- Washington Square the signal The distortion just adds to the rockabilly End affiliates Jakki (it’s rumored that ital remasters, a full PR campaign, tative bass but morphs into a shrill, paranoia of the vocal delivery - suaveness of Gibbons was an uncredited member of new remixes by flavors of the moment, shuddering freakout, with pointed me- That we’d almost made it back R&B transformed into white boy angstiness the group), a glimmering slice of disco and all of that other crap, but alas. tallic stabs piercing the haze. grayer of not being able to approach a “dame” - a sweetness, with clear splicing between Turn Up The Strobe is the first written shadows meld begins with an oscillat- “pretty” “hipster” “from “New York City” (all segments that fall a bit outside of the history of the group, jam packed with ing sandblaster that refines itself to a grid, giving it an wonky, intuitive feel interviews with friends and collabora- diamond point, before focus is pulled lyrics) - he saw on a train. rarely heard in today’s digital efforts. tors, pointed attacks on the music in- to marauding bass and keyboard lines. This is followed by the the Acetate Mix dustry, and deep insight into what is The sonics are eclectic and surpris- of Gladys Knight’s “It’s Better Than A often dismissed as a novelty act. Truth ing without seeming gimmicky or incon- Esquirita, “Rockin’ The Joint” (1958) Good Time,” unreleased at the original is handily separated from legend, with gruous. learn boxing miami begins like release of the compilation. This re- (Capitol) much discussion of the practicalities 16 bit electro - clipped samples and Esquirita is known in legacy as being a key mains a centerpiece, with hazy snare of running an independent music enter- massive distorted bass stabs. bye is a breaks and meandering piano making way prise, the broad strokes of which are comparatively neat affair, synths chirp influence on Little Richard. They share styles: for flowery trumpet stabs and sweeping applicable today. This survey comes at around a 4/4 rumble. The EP ends with both R&B pianists with the flavor of the strings. The levels of each element are the perfect time - Their albums and empty, a suitable denouement of glossy South/NOLA and sing with a similar voice a total surprise, as well - the drums twelves were taken out of print over synth pads and disintegrating bass. and R&R wildness, except Esquirita was begin the track far louder than the two decades ago, but the scope of their wilder.
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