Photo by Zach Carlson
October
ISSUE NINE Edited by Mike Arellano and Iain Oldman
WORST WEEK EVER I know I mentioned stepping in dog shit back in our June issue, but I have to bring it up again. Bear with me. Every year- every year -I get a wild hair up my ass and decide my personal health is at risk, that I need to go explore the beautiful marble we’re all trapped in. I’ll go out to a park (usually Purcell Park) to watch the last scenes of stray cats catching the last bands of afternoon
sunlight, impromptu team sports, or artists drawing the endless stream of nature’s influence. Without fail I’ll step on a pile of dead leaves, and hiding under those dead leaves will be a pile of dog shit. And I just know that will happen in October. That’s what always happens in October. Sure, I love Halloween. Man, I fucking love Halloween, but that’s on October 31st! We all have to wait through four weeks of skincracking dry winds, endless invitations to kitschy pumpkin carving get togethers, yankee candles, and worst of all, pumpkin beers to get to the best day in the year. You suck October, just be Halloween already. This is the Worst Week Ever. All poetry, short stories and artwork are submitted by people that live here in the Harrisonburg area.
Cara Walton Photography
by Zach Carlson
Elwood “Trip” Madison
October 3 Blue Nile Mike’s Art Show 6 PM free
Worst Week Ever co-publisher, designer, and just all around rad dude, Mike Arellano, has his register of stencil, paint, and sharpie art displayed at the Blue Nile during the month of Sowen, beginning October 3rd, this First Friday. I’ve personally watched this guy labor for hundreds of hours preparing for this show, forcing me to put up with his neglected cat (lil’ Sebastian is a dick) so be sure to show up at 6 PM to catch the unveiling and call dibs on your favorite piece. The following are just a small sample of what will be on display.
October 5 Blue Nile Suter Bay, The Nocturnal Blume, Keith Moon & Kurt Cobain Live Unplanned 9PM $3
Descend into the Blue Nile basement on Sunday, October 5th to soak in a night of Harrisonburg-only acoustic anti-folk bands. Suter Bay (who we have reviewed before HERE) headline this bill with their own take on acoustic punk, joined by the Nocturnal Blume, a jam group fresh to the scene. Nathan Granofsky’s project Keith Moon & Kurt Cobain Live Unplanned rounds out the show, so don’t be sure to miss this night of Harrisonburg’s newest and youngest acoustic artists!
October 9 Blue Nile Supermagical, Go Jaguardini, Pandastar 9 PM $4
Go
Leche,
The Blue Nile basement hosts an expo of Harrisonburg’s best and dopest electronic acts and Supermagical (formerly White Gold) touring all the way from Chicago, land of Ferris Bueller and Ditka. Locals Go Go Leche will be showing off new stuff and Jaguardini is always a lock to put on a great show and while we’ve never seen Pandastar personally, their bandcamp is bonkers and awesome. Let’s just say we’re excited to finally check ‘em out.
October 14 Blue Nile Open Mic Stand Up Comedy 9:00 PM Free
Another month, another night of free stand up comedy. Free, people, free! The Blue Nile continues to fill up with young, beautiful faces eager to watch the area’s best comedians talk about masturbating, so make sure you come out on October 14th or else you may be left sitting with the band nerds at lunch. Be a Fonz, make it out.
October 16-19, 23-26 Court Square Theater Neil Simon’s “Rumors” 8 PM $12
Directed by Rockingham’s own Mary Ruberry, “Rumors” is Neil Simon’s own personal spin on the indelible dinner mystery theater production. When a couple hosts a dinner party for their 10th anniversary, everything falls apart at the seams when a mysterious injury befalls the husband and the wife simply disappears, leaving the guests scrambling to find out just what the hell is going on. Funny, cunning, and genuinely original, “Rumors” promises to be one of the best productions of the year.
October 20 Blue Nile Dendritic Arbor, Eviscera 9 PM $4
MACRoCk alumni Dendritic Arbor swing down from Pittsburgh for the first time since the springtime festival. The perfect band to help usher in the oncoming cold weather, Dendritic Arbor are as brutal as they are weird, which is always nice. Mixing grindcore with black metal with sludge metal with drone music (etcetera etcetera) these Pennsylvania boys will be sure to put on a great show with local shredsters Eviscera kicking off the ceremonies.
October 21 Blue Nile White Violet, Ruby the Rabbitfoot, the Dawn Drapes, Humanzee 9 PM $6
If by this point in October you’re all metal-ed out (pussy!) then holy hell, do we have a show for you. Continuing the trend of awesome indie exports from Athens, Georgia, White Violet and Ruby the Rabbitfoot promise to leave the audience with ultimately pleasant overtones. White Violet stir up soft indie-driven tunes (in the vein of Olivia Tremor Control) and Ruby the Rabbitfoot fuses simple acoustic alt-country (more alt than country) with the perfect amount of electronic overlay. Harrisonburg’s jam? groove? indie? band Dawn Drapes always put on a great show, and are joined on the bill by the town’s newest rockstars, Humanzee. Be there at 9 PM SHARP!
October 28 Old Wounds, Vices, Thrones of Deceit, Whorecough 9 PM $5
Get ready for a night of flying elbows and just, like, brutal as shit hardcore. New Jersey’s (and MACRoCk alum) Old Wounds blast the barn doors open with their unique take on hardcore, mixing powerviolence with good ole fashioned hardcore, with a little d-beat and good metalcore to put icing on the cake. Oh yeah, and Vices (fucking Vices!) come up from our favorite music city in Florida, Jacksonville, to display their AWESOME stoner hardcore. Seriously, it’s rad. You have to check it out. Harrisonburg’s crust wizards Thrones of Deceit and the most brutal riot grrrl group around, Whorecough, round out one hell of a night.
Photo by Zach Carlson
Photo by Brandy Somers
WORST WEEK EVER
By Mike Arellano
Go Go Leche talks to Worst Week Ever about their new release, Blue Ivy Vol. 1
Never Enough Drugs An undeniable benefit that Mike and I pick up from publishing Worst Week Ever stems from the necessity, or obligation to dig up Harrisonburg’s newest music. For a while that wasn’t easy, though most of that falls on the fact that I just recently discovered I can search the tag “Harrisonburg” on bandcamp. That made me feel like a real jackass. But anyways, a few months ago on our last minute shit shit shit runs through the depths of common contacts and music social media forums to find just one more band to review, we found Go Go Leche, and suddenly the world got a little bit funnier. Tea tasted better. Days grew more mild and I swear, the number of paper cuts in my life drop to nearly nothing. When we listened to Go Go Leche, it’s like we never had enough drugs to fully soak it all in, and that’s not a detriment. I don’t mean that in a way like dude, you haven’t HEARD Further until you’re on enough drugs (spoiler alert: Further always sucks) but rather, in the sense that I just can’t reach the level of chillness put off by Go Go Leche without the aid of a cannabinoid sauna or MDMA eye drops.
We were ecstatic to learn that our favorite Harrisonburg doped out, hip hop duo were releasing a new album, Blue Ivy Vol. 1, out October 1st (HERE). The new release continues from where Go Go Leche left off, boldening the sound as a whole and remaining distinctly themselves. Recently we got a chance to ask Kevin Zabo about Go Go Leche’s new album, and what he and Liv Zohr will be up to in the future.
WWE: The production value on this album has noticeably more depth than your releases in the past. How have you found producers to work with you on Blue Ivy Vol. 1? Did you have some specific people in mind when you started writing? Kevin: This release is especially important to us because it is the first time where we’ve really handpicked each beat and had in mind a certain dreamy cohesiveness that will allow for more of a story to develop as you listen. Even though it is our fourth release, it feels like our debut in many ways just because it’s not so cringe-worthy for us to listen to as far as the lyrical content and because of the production and sound. Liv is a complete genius when it comes to taste in beats, which is wonderful because we end up with a really great workflow between the both of us. She’ll usually pick the beat from a random and crazily talented producer off soundcloud and then usually I’ll start writing to the one’s I really respond to...then we’ll chat back and forth about the song’s direction and lyrics until it feels finished. It is sometimes difficult to find producers who are quick to reply with consent/giving us the ‘ok’ to lay vocals down on their beat, but once they say yes it’s always such a fun feeling.
WWE: When can we expect Blue Ivy Vol. 2? Kevin: You can expect Blue Ivy Vol. II pretty soon actually !! We want to release it while the momentum from Vol. I is still somewhat relevant to us so we don’t lose it’s essence. No promises though ! Anything can happen with future plans, and if a Vol. II feels forced, we could very well go in another direction. (Although, I’m pretty fckn sure it’ll happen). Liv and I have also been chatting about experimenting with other elements from separate genres... possibly a dance album, or an R&B release *even though we can’t sing*. Rap-style will probably always be our central motive though. WWE: The hip hop scene in Harrisonburg is growing, but still fairly constrained. How hard is it for you to find shows in town?
Kevin: I found it somewhat surprising how welcoming and warm Harrisonburg venues and house shows have been as far as ‘booking’ us. It was intimidating to approach such a punk-dominant environment with the idea of doing hiphop, although now that we’ve played quite a few shows in town, I’m starting to recognize certain elements that relate our shows to punk shows. We’re all loose when performing and welcome the unexpected or distortions that may come with playing in a quick-set-up type of environment. What’s beautiful about shows in Harrisonburg is that you’ll always be able to see an artists raw sense of movement through their music, no matter what genre they decide to implement. WWE: You’ve ditched conventional hip hop throughout all of your releases, which is real rad. What artists have inspired you over the years? Kevin: What is so funny about this question for me at least is that this is my attempt at being a rapper- and I really enjoy that it may be perceived as an intentional split from conventionality. My main influences are women in music, artists that are still very much developing their lyrical sound. Junglepussy, Kitty, and Kilo Kish are probably my most direct idols that can help form ideas.
WWE: The lyrics on this album are kooky and awesome, jumping around from your cats to just chilling out by the pool. How do you decide what to write about, and what ideas have you scrapped that just didn’t work? Kevin: What’s so endearing and empowering about Liv’s lyrics is that she is especially honest, or at least that’s how I perceive them. I love that her writing isn’t limited by what she hears in most rap songs, (sex/power/fame/self-indulgence) she rather takes direct experience and what she feels NOW and translates them into her lyrics after abstracting the content a bit. She’s incredibly mysterious- and if you really look into what she’s saying, even when she sounds “kooky” it usually always has such a piercing message. For Blue Ivy Vol. I I think what we’ve done is instill our fears, our insecurities, our vulnerabilites- and convey them in a way that isn’t sad. Even when Liv and I are in completely different moments in life as far as our relationships and interests and personal struggle go, it’s our love and experience as friends that somehow relate the content in our lyrics- hopefully making it enjoyable to listen to. Go listen to and purchase Go Go Leche’s Blue Ivy Vol. 1 HERE, and read our review of the album on page 62.
Go Go Leche
www.friendlycitylens.com
Celebrating Life:
The idea is to choose a random existing holiday each month. I’ll do a call for interest, then document the activity celebrating the holiday to share it with the world (as far as I can reach). --Brandy Somers
ASHLEY & HER DUMPLINGS
www.friendlycitylens.com
It has been five years since Ashley lost her father and only three years since she lost her grandmother but they are very much alive in her home. For Ashley, her rooted appreciation for cooking didn’t come solely from her grandmother. While Ashley wrangled three of her four children to the kitchen counter, kept multiple conversations going at once, measured ingredients and made me coffee, she reminisced about her dad’s presence
in the kitchen when she was a child. She told me a story, one I’m personally familiar with, of the aromas that fill a home during a big cook…and the sounds. These things create connections to your younger self. Just as the salty air and sound of the sea; just as the smell of those ol’ jeans you wore to the last bon fire; just as your sweaty little puppy-dog-smellin’ son after playing outside in his fort all day. Her dad did this for her…he created memories and connections…and meals.
Her content children helped with both dumpling prep and dumpling devouring. They left and rejoined us and went to play again and then helped some more. Those kids don’t even know the information their noses and ears and tastebuds are recording with each moment like this. None of us do I guess. As Ashley chopped, boiled, mixed and baked, loved on her children, wiped noses and laughed and talked the echoes of her father and grandma filled her kitchen in the form of smells and sounds and love. John and Zona were surely smiling from above‌with their mouths watering. Read the full story here
www.friendlycitylens.com
FIRST FRIDAY OCT 3RD *5-8 | Spitzer Art Center That’s My Dog! paintings by Elaine Hurst *5-8 | Arts Council of the Valley’s Darrin McHone Gallery | New Metal Sculptures by Michael Hough *5-8 | Hardesty Higgins House Hand-dyed Scarves by Katherine Phillips *5-8 | Ten Thousand Villages Watercolor Paintings by Charles Raisner *5-8 | Linda S. Hoover, CFP @ Ameriprise Financial/Denton Pocket Park | ARTERY (live painting troupe) with live music by Mike Simpson *5-7 | Clementine, Ruby’s Lounge Painter Ryan Compton *5-8 | Oasis | Every Tree Tells A Tale: Turned Wood by Alyce Pollock *5-8 | Wilson Downtown Gallery @ Kline May Extended Exhibit: That Girl: Paintings by Denise Allen *5-8 | Larkin Arts Jon McMillan & Tisha McMillan
*5-7 | Blue Nile (upstairs) Gemini: Artworks by Laura Thompson *6-9 | Blue Nile (downstairs) Work by Mike Arellano *5-8 | Three Notch’d This Guy: Paintings by Denise Allen *4-8 | MACROCK Presents Pop In! a pop-up gallery at Orange Chair Collective (Flyer attached) *9pm | Clementine | FREE (music) SHOW with Many Nights Ahead!
By Mike Arellano
DANIELLE CAMPBELL PHOTOGRAPHY
WORST WEEK EVER
Cara Walton Photography
Ruthie’s Closet Hidden behind a large southern hip; one eye peeking out towards the noise shushed behind the nearest doorway her mouth breathing from a third lung glass bottles breaking against the walls-some she will nurse back to health later when the screams tire-others she’ll bury, that died on impact. Her mother’s bottom lip trembling as the man grasps a fist of her hair. Behind the wall, he grows many more arms and tongues. Not far away, her mother learns to play dead. Ruthie hides in the bedroom closet she hears the future muffled through the walls. She hugs three stuffed animals and kicks away the smiling doll. She wonders why the doll never turns black and blue; she hits the doll with all her might-she insists that something so happy, in all this mess, must be broken, too.
ANGELA M. CARTER
Cara Walton Photography
The Followers You spoke of a revolution during breakfast. By dinner-time, you mentioned surrendering to the world. We talk about this world like we are not included in it. You smoke cigarettes while the cigarettes’ thoughts smoke you. I watch your mind play hide and seek with your heartbeat; one of them never finds the other. It’s in these moments, the belly full the lungs half-mast with the earth spinning for everyone else, we stop and watch each individual raindrop through the window panes. “Try to keep your eye on one its entire lifetime—as soon as it enters your sight.” “I’m not sure that is possible”, I say half smiling.
We name each drop by their speeds. “That one is Downward Comet.” “You just missed fucking Speedy Gonzalez,” I say. You look over with plateaued lips. “That one is doing much better,” you say while pointing at me. “If you only go by what your eyes are able to follow, I suppose so.”
ANGELA M. CARTER
i’ve already come to terms with the fact that i will probably die of cancer. no one can stop me. not even the light bulbs or the tv screen can cure me. i’ve already died inside and had everything twice. i’ve paid the bills. they still send me letters. ex girlfriends get jobs at schools teaching children about the environment and how smoking is bad for you. my mother tells me how smoking is bad for you. new ones wear yellow dresses on sundays so they do not stand out among the others.
Cara Walton Photography
one wears pink and is hated by everyone. she dreams of making love to the son of her pastor but he does not love her because she is ashamed. on christmas eve she touches him slowly he does not move but manages to brush the velvet bandages, one at a time, from her limber shoulders. they lie naked in a beach of snow.
A. LOGAN HILL
Cara Walton Photography
today i am wearing a wrinkled shirt because it is wednesday. a lover is gone and so she no longer dances with me to miles davis. all the lights in the city turn on at 5 o’clock. the strand of lights above us glistens.
A. LOGAN HILL
3 by Zach Carlson
Elwood “Trip” Madison
WORST W
Cara Walton Photography
WEEK EVER
Iron Reagan The Tyranny of Will
Written by Iain Oldman
If you scour the internet for reviews of Iron Reagan’s Relapse debut album The Tyranny of Will, you will inevitably run into dozens and dozens of pieces that start and end with the word “thrash”. And sure, they’re right, to an extent. Iron Reagan has been able to keep a close relation to Municipal Waste in that sense, providing Richmond with it’s insatiable need for a trash metal band that all the hipsters and train hoppers can circle pit to. Particular songs like their single “Miserable Failure” or “Obsolete Man” create and maintain the blistering pace of this album, like slamming meth while riding a lightning bolt down into the Richmond Speedway. However, diluting The Tyranny of Will down to just speed, speed, speed is doing the album, and the band itself, a huge disservice. Layers and layers of youth crew hardcore live and breath throughout the songs, and indeed, some of them sound plucked right out of Fast Times on the Jersey Shore, like “Bet on Black” or “In Greed We Trust” or “Class Holes”. See, that is where Iron Reagan can confidently separate themselves from the shadow of Municipal Waste. Their inclusion of heavily used gang chants and hardcore-style riffs aren’t pure thrash or party metal, it’s their intentionally manufactured signature and shit man, it’s great!
Thrash and hardcore bands continually fall into the pit where each song sounds like a carbon copy of the last, and the album as a whole is just one giant, stereotypical riff that gets you ready for the breakdown. Thank God, Iron Reagan stayed away from that shit. Each song is distinct and inspired, and don’t worry, these guys have maintained their best quality: humor. Tracks like “U Lock the Bike Cop” and “Your Kid’s an Asshole” leave you muttering they’ve still got it, though if you saw them at MACRoCk or the Blue Nile last month, you already knew that.
Lush! Hopes and Dreams Usually when you hear the words “artist collective” or “collaboration” associated with electronic acts, you feel the incessant need to sigh out ugggghhhhh. It’s overdone and unnecessary, for the most part, and the final product is sloppy or overproduced or cramped or a million other little things that just drive you crazy. Like, the music could be great, but having ten people working on it fucked the whole thing up.
Written by Iain Oldman
Hopes and Dreams by Lush! bucks that trend, with over a dozen (!) artists collaborating on the entire album, producing a crisp, clean throwback to 80’s synthpop that is as irresistibly fun as it is aesthetically pleasing. Each track gives you a lot of EDM and dreamy house music to eat up, and you will, I promise you. The second you hit play you’ll start texting that shady dude you know who sells molly, buy some leather pants and a gold chain, and head downtown to find the most heady club, earbuds in and bobbing your ass to “Sunset Drive” or “Testarossa”. Lush! fills in the spaces with a bit of shoegaze to keep the tracks from slipping into that dangerous sounds like a goddamn video game valley that so many EDM bands die in. Overall, the production on the album is great, not overdone or inexplicably lo-fi, and polishes off the dripping pop lines with expert candor.
Expect a new album from these producers sometime within the year, but for now, be sure to get your respective genitalia wet while listening to all the hot tracks on this album.
New Turks Cassette Release
Written by Iain Oldman
A frequent visitor to our creepy college town, I first saw New Turks opening up for Gull at the Blue Nile for the MACRoCk pre-show (which turned out to be one of the better displays from the festival weekend). Richmond’s two piece punched their powerful noise and energy right into my fucking face, leaving the basement bar with one of those sets that makes you just say Whoa. And that’s what’s greatest about New Turks’ new cassette, (available for purchase here) if I had to pinpoint one thing. The energy is all there, and don’t you just love when a band pulls that off? Their finished product is soaked in their signature fuzz, floating around the rhythmic, pounding bass and frequent time changes, and after the last song ends you swear you just listened to something recorded by Steve Albini. Crashing drums are continuously vicious track after track and the vocals are perfectly performed and recorded, the spark that lights the firecracker. New Turks’ cassette release has an awesome sound that is simultaneously unique, yet distinctly a nice throwback to the true grunge of the 90s. Seriously, I’ve been listening to this tape all week. I think I have a problem, guys.
Go Go Leche Blue Ivy Vol. 1
Go Go Leche have been one of our favorite local bands to chill and listen to for a few months now, and I’m glad to report that the duo has really upped the bar on their new release Blue Ivy Vol. 1. From song one, a forward-fading intro into a decadent, lush track wrapped around with the velvet rhymes of Liv Zohr, the album is noticeably well planned and executed. Everything just seems a little bit more grown up on this new release. Go Go Leche throws in dual tracked vocals, fades, drops, and classic hip hop beats previously untouched by the group. The result is a dreamy, perfectly rounded soundscape of trippy and soulfully smooth hip hop tracks, each track more vibrant than the last.
The real meat of Blue Ivy is right in the middle, the guts. Tracks “Blue Ivy”, “Visuals”, and “Poolside” are perfectly produced conversations of back and forth rhyming from Zabo and Zohr, casual little diddies that ponder the comfort of home, or the bliss of hot concrete at the pool. Blue Ivy isn’t your typical hip hop album, and that’s great. There’s so much more complexity to the final product that Go Go Leche have put together, extra doses of subtle pop mixed in with the hazy, drugged up flow. It’s exciting, really, to see a group like this growing in Harrisonburg. The town always needs more and more musical diversity, and Go Go Leche is an ideal place to start.
Worst Week Ever Throwbacks
Written by Iain Oldman
El Cid
Once upon a time, a distance of space and memory supplanted by the emergence and subsequent death of venues like Jimdels and Guzman’s and barely before JMU decided to make Harrisonburg’s city council it’s expansion committee, Waynesboro was manufacturing bands with industrious fury. Bands like Beyond the Throne and Disaster in Alcatraz came to Harrisonburg every weekend, it seemed, showcasing the area’s musical breadth. While most of the acts were metal outfits, (and one distinctly horrible deathcore band) the most unmistakable and memorable of all these bands was the boastfully entertaining El Cid.
My most vivid memories of El Cid come from the now defunct Cups to Go music space, (and cafe, I guess) where the cheap plaster walls would shake from the melodic static erupting from El Cid’s cornucopia of instruments, the musicians bathed in blinding, pale fluorescent light, or a dim red light, showcasing the band like a troupe of whores. They worked well in both, to be honest. El Cid made their bread and butter from a curious combination of their undying desire to remain a punk band...with keyboards and synths. Circulating, abundant with scenester buzz, was their second release Death.Disco. Magic. which featured one song longer than two minutes (the final song of the album, at that). It was a sound completely new to the Harrisonburg scene, only previously seen from French band Robotnicka at MACRoCk, the combination of fuzzed out math-punk driven by thunderous bass lines and disco beats with pop hooks played on the keys. Death.Disco. Magic. was new and exciting, but drenched with the sense of untapped potential, a source of vibrant entertainment but ultimately lacking a diverse, mature sound. Luckily, the group continued to serve up albums that shifted those opinions. Adding new members and instruments over the next couple of years, El Cid would produce their EP follow up, We Believe in Alchemy, featuring the song
“Dance! Dance! Party! Party!”, a traipse in minor key screamo, layered with dual vocals and overwhelming synth chords. El Cid continued to explore their songwriting with Sup Yo, four tracks of spazztastic pop powerviolence. It was awesome. Each new song was furious and composed, blasting vocals back and forth and letting the keyboards float in the background, creating a drone sound that counterbalanced incredibly fast bass lines. The quartet from Waynesboro called it a day after releasing their most diverse album, We’re Awkward, an experiment in atmospheric influence on top of more indie driven compositions. The album is noticeably more chilled out and melodic than any of their previous releases, more thought out and composed, like the guys switched to mescaline after years and years of methamphetamines. El Cid left behind an extensive catalogue of pop laden, lo-fi synth-punk songs that retain relevance to this day. Members of the band have gone on to contribute to Harrisonburg’s music scene in diverse manners that reflect their old group as a whole. Kendall Furrow went on to produce awesome as fuck tracks under the guise mcrcsms and Vince Paixao’s newest project, Azores, showcases the indie and 90’s college punk brain trust of the old Waynesboro outfit.
If you remember seeing El Cid, good for you. It was a blast, wasn’t it? For those of you who didn’t have the fortune to soak them up, be sure to check out their full catalogue HERE, and absorb their lasting influence on Harrisonburg’s music culture.
Cara Walton Photography
Check out some more independent music at: www.themodernfolk.net “The goal of my site is to feature what i think of as “folk music”, which is music made by people who are trying to get by leading lives in our modern world who love to express themselves through music. any genre or medium is welcome. I prefer submissions via soundcloud, bandcamp, or youtube, because these formats allow me to easily embed your music in my post and it leads readers directly back to your site, video stream, etc.”
the.modern.folk@gmail.com
Now booking shows for local and out of town bands, contact Michael Steele at
worstweekeverbooking@gmail.com
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