Fans of both rural blues and singer-songwriter fare will be pleased to know Atlanta, Georgia-based Mouths of Babes have routed a stop in Sacramento on their current set of West Coast dates. After a handful of releases under the Girlyman moniker, singer and mandolin player Tylan “Ty” Greenstein decided to put together a duo with her girlfriend and partner in crime, Ingrid Elizabeth (from Coyote Grace). The result is a wonderful collection of well-executed soul with heaping dollops of celebratory blues and folk styling. This pair of road warriors sound refreshingly new and breathe life into a seemingly overcrowded genre. Although relatively new to the scene—the group formed in 2014 —the members quickly gained traction both within the general populace and the LGBT community in part to the well-timed Faith and Fumes EP (2014). Those who enjoy acoustic music rich in passion and fervor would be wise to check out their midweek show at Harlow’s. And while the two women are babes in their own right, their musical talent and inherent charm onstage is the real lure. Buy tickets now at Harlows.com and follow them at Mouthsofbabesmusic.com.

Without concert promoters like Brian McKenna (owner of Abstract Entertainment), Sacramento would be a lot more boring. Seriously, this dude has been putting his neck on the line to consistently bring amazing artists through our town for well over two decades! Point your browser to Abstractpresents.com or Facebook.com/abstractentertainmentsac (or check out his ads in the back of our print issues) and chances are you’ll find a few upcoming shows that you’ll want to go to. Too lazy to do that? Here’s one for ya: Legendary indie rock band Built to Spill, who is on tour in support of their 2015 album Untethered Moon, is hitting Harlow’s Thursday, April 14, 2016. Opening the show will be none other than hometown heroes Sister Crayon, an energetic electronic duo whose latest album Devoted deserves a spot on the rotating list of shit you listen to. There is no question about it, this show will be epic. And it’ll likely sell out, too, so get your tickets (just $30 in advance), like, right now or you’ll be suffering from a severe case of FOMO (“fear of missing out” if you’re not up on your Internet slang). Doors open at 7 p.m., show starts at 8 p.m., ages 21-and-over only.

Tweaker Dad-Rock

“Oh, so I can get comfortable?” Andy Harrison asks as he lights up a smoke. He’s up in my studio space, and it’s cold AF. I’m laughing at everything he has to say as I get acquainted with my audio recorder, some out of nervous habit, some because Harrison is just an amusing kind of guy. I’ve asked him to come up and talk about how things are going with one of his bands, Peace Killers.

I’m able to come to some sort of compromise with my digital device where it allows me to record a conversation so long as I keep it hanging precariously off the table edge. We both continue smoking as I rattle on about some nonsense, organizing some notes.

(Subsequent to sitting down with Andy, I was able to get a few answers from bass player Alex Dorame via email).

Harrison and his bandmates are steady faces in the Sacramento music scene. They started Peace Killers in 2012 as a couple of their other projects at that time were winding down.

You’ve most likely seen Harrison if you walk around town or frequent bars. He is a face among the line at the bar, the line to the bathroom, on the stage, talking to ladies and making them smile, etc. I can guarantee you if Ground Chuck sees him, it’s hugs-on-sight. I’ve long admired his effortless charisma. Harrison’s other band, Celestions, have been engaging crowds with their straightforward, driving, soul-influenced rock ‘n’ roll for years. It stands to reason that this endeavor would also showcase Harrison’s knack for catchy hooks and melodies, albeit in a different tone.

Having some songs, a general idea and some bandmates, the band recorded some demos with Pat Hills at Earth Tone Studios in Rocklin. Hills and his Pepsi-sweet Midas touch have blessed some excellent recordings by artists like Tera Melos, King Woman, Number Station and the Hanover Saints to name a few.

Peace Killers garnered some Internet buzz and began looking at labels that might put out the record. After some deliberation, the band decided that heavy music label Svart felt like the most promising. Svart is known for putting together a solid roster of heavy, sludge-driven doom and metal artists, as well as straight-ahead ‘70s psyched-out occult metal and experimental, atmospheric black metal. From Jex Thoth to K-X-P, from Tahtiportti to Dakhmandal, Svart has put together a diverse roster of bands.

Fast-forward to now, Peace Killers have just finished a video for the song “Devil’s Daughter,” with the help of Kill The Precedent’s Jesse Mitchell. The freshly dressed and configured new vinyl LP will be out Jan. 22.

What were some of your influences writing the songs for this record?
Andy Harrison: I really wanted to emulate Uncle Acid and the Deadbeats as much as I could. There’s sort of the obvious Sabbath nods. I think a lot about Queen, Queens of the Stone Age, those are kinda my immediate influences. At least for me playing guitar, some of my influences go back to Frank Zappa, the Allman Brothers, sort of big rock sounding guitars that doesn’t necessarily suck its own dick too much. Definitely a lot of blues influence, but trying not to do a straight-up dad-rock influence. I don’t mind dad-rock. The other band, the Celestions is sort of a construction-dad, Springsteen influence, and this band is sort of a straight-up, dead-beat tweaker dad-rock sound.
Alex Dorame: I feel there’s a lot of everything you can hear on our record. The bands that stand out to myself as influences range from Thin Lizzy, early-Iron Maiden, Motorhead, Murder City Devils, the Doors, up to the Cult. Also, Black Sabbath, the Melvins and maybe even the Smut Peddlers.
What Sacramento bands would you get together or resurrect to play a show?
AH: Holy shit. Black Mackerel.
AD: Black Mackerel!
AH: They’re one of the reasons that I even thought “maybe I should try playing some heavier shit.” I thought “we’ll start a three-piece and tune down”. So maybe if they’re reading this they can get their shit together and play a show with us. I think our drummer would probably say FAR. Tales of Terror.
AD: I would love to see Hotel Pistol, the Diseptikons, Filibuster, the Union Hearts, Who Cares, and Pocket
for Corduroy.

Who did you get to do the album cover?
AH: Her name is Annie Hooker. I saw a print of the buffalo head in the home of Celestions drummer Gabe [van Dyke], and I loved it. It represents something heavy, and hard charging, and noble, and western. We just kinda decided it was a good spirit animal for the group.

Is there a concept for the album? Is there a theme?
AH: I think probably the most consistent subject matter throughout the record is party fatigue, or how it takes you to strange, dark places living a hedonistic lifestyle.

We cover “Spoonful,” a Willie Dixon song. You know it’s kinda about people trying to get their fill on lusts and desires. You know, I’m not an authority on the song, but that’s kind of what I gathered from it.

What about a rock album now grabs your attention more than an album would have when you were maybe 21?
AH: Definitely the sonic qualities of an album, the way a melody is constructed. I find it harder and harder to relate to someone’s really personal lyrics, I don’t so much write myself into those stories. I need a hook, some sort of balance, some sort of syncopation, some sort of danceable rhythm. Even in heavy music, you know, it’s still there.

But yeah, not so much the lyrical content anymore. You know, I used to get really into Elvis Costello’s lyrics when I was really young, and analyze the shit out of them, and I still appreciate that, but nowadays … like when I listen to a band like Fuzz, it’s just so balls-out, and free, and rockin’. Higher voices, higher, rougher sounding voices, somewhere between Alice Cooper’s rasp and Freddie Mercury’s range.

What’s one Fuzz song you would want people to hear?
AH: “Loose Sutures.”

Peace Killers’ self-titled debut album is out on Svart records on Jan. 22, 2016 you can preorder it now at Svartrecords.com. Their album release show is Jan. 30 at Harlow’s with Kill the Precedent, Psychosomatic and The Number Thirteen. Go to Harlows.com for more info or to purchase tickets.

It isn’t March yet and it’s definitely nowhere near St. Patty’s Day. However, true Irish celebrations don’t operate by a strict calendar. This gathering of local Irish rock bands is sure to please on many fronts whether you enjoy the culture or not. Sacramento’s Whiskey and Stitches open this Friday night party and bring a wonderful concoction of nontraditional rock fare played with even more nontraditional instruments, such as the upright bass, accordion, banjo and mandolin. Also on the bill are Celtic/Americana act One Eyed Reilly, who will drop some green-colored science with their special brand of rock-infused folk. Closing out the night will be The Pikeys, who effectively mix punk, Celtic, Irish and rock into a mind-boggling stew. Fans of the fiddle and violin and such disparate acts as The Pogues, The Tossers, Tom Waits and Dropkick Murphys will find great reward in their set. The Irishpalooza party starts early (6 p.m.) and only lasts for three hours. When this party is over, you can roam the streets looking for another watering hole (preferably Irish in theme) to do even more damage to your liver and credit card. For the cost of one beer at most fine establishments, your $8 ticket secures you an early night you surely won’t remember. Buy your tickets now at Harlows.com

It’s time to say goodbye to 2015. From rock concerts, to dance parties, to comedy shows and everything in between, here is your ultimate guide to Sacramento-area New Year’s Eve parties! Have fun, be safe and please don’t drink and drive.

1) If you’re looking for a funky dance party head to Torch Club and get down with two fantastic local bands: IdeaTeam (featuring Aquifer) and Black Star Safari. Cover charge is $25, 9 p.m., 21-plus. Torchclub.net for more info.

2) Enjoy a soft rock explosion at Harlow’s with Mustache Harbor. Tickets are $30 in advance, doors open at 9 p.m., 21-plus. Hit up Harlows.com for a link to buy tickets.

3) Sing along to your favorite hard rock hits with Radio Heavy at our favorite downtown Roseville watering hole, Bar 101. This party is free and 21-and-over, with a 9:30 p.m. start time. Bar101roseville.com for more info.

4) Groove to late ‘80s and early ‘90s hip-hop, hip-house, and R&B at “New Jack Fling” at Press Club, brought to you by DJs Crook (featured in our current issue), BenJohnson and Satapana. $7 cover, 21-plus, 9 p.m.

5) Ace of Spades wants to party hard with you on NYE when they host legendary heavy metal band Y&T, with opening sets by locals Skin of Saints, ONOFF and Roswell. Tickets are $35 in advance, available at Aceofspadessac.com. 7 p.m. doors. This show is all-ages!

6) The newest dive bar on the grid B-Side invites you to check out their digs and get down to sounds by DJ Whores and friends. No cover, 21-plus. Search for “B-Side” on Facebook for more info.

7) We here at Submerge are teaming up with the Lipstick crew for an epic NYE dance party at Old Ironsides featuring live music from local dreamy/synth-y pop group The Good Fortune, as well as DJ sets by Shaun Slaughter, Roger Carpio and Adam Jay. 9 p.m., 21-plus. $8 advance tickets available at Cuffs.

8) Laugh away the new year at Punchline Sacramento during “2015’s Last Laughs” featuring sets by Ngaio Bealum, Keith Lowell Jensen and many other local faves. Two shows: 7:30 p.m. ($20) and 10 p.m. ($25). 18-and-over. Punchlinesac.com for more info.

9) Blackbird recently re-opened and they’re throwing a party this NYE co-presented by Rue 27, THIS Midtown and 1810 Gallery featuring live tunes by nu-disco act Figgy, and a DJ set from Sacto faves Sister Crayon. 7:30 p.m., $40 per person, $75 for VIP upgrade. Studio53.eventbrite.com for more.

10) Visit historic Grass Valley for Center for the Arts’ “Laughs, Lolo and Legs” party featuring comedy from Katie Rubin, neo vintage jazz pop music of Lolo Gervais, burlesque from the Bow-Tie Beauties, DJ dance party hosted by Jamal Walker and more! 8 p.m. doors, tickets start at $22. Hit up Thecenterforthearts.org for advanced tickets.

11) For a family-friendly daytime celebration that everyone can stay awake for, head to Crocker Art Museum’s “Noon Year’s Eve” event, which is free for all ages and runs from 10 a.m.–5 p.m. Performances from Germar the Magician, Ebo Okokan, Ohana Dance Group and many more.

12) Enjoy some amazing homegrown talent at Crest Theatre when Jackie Greene and his band perform a special NYE concert! Doors open at 8:30 p.m. and tickets start at $35 in advance.

13) The kind folks over at Blue Lamp are throwing a free NYE bash featuring great music, plenty of booze, good company and a champagne toast at midnight. 9 p.m. start time, 21-plus, no cover.

14) Groove to some soul, funk, disco, reggae, latin and more from a few of Sacto’s best selectors at Fox & Goose. DJs Larry Rodriguez, MC Ham and Wokstar will be spinning all night! $10 cover, 21-and-up, 9 p.m.

15) Bundle up and head up the hill for three days of SnowGlobe (Dec. 29–31) in South Lake Tahoe featuring headliners like Jack Ü (aka Skrillex and Diplo), Kaskade, Dillon Francis, Run the Jewels, E-40 and many more. All-ages event. Check out Snowglobemusicfestival.com for details.

16) NOW 100.5 FM and MIX 96 are throwing a masquerade party for the ages at the Hyatt Regency Sacramento featuring cover band and headliner Apple Z, plus DJ Rated R, Quinn Hedges and Ryan Hernandez. $75 in advance for general admission, 9 p.m. start time, 21-plus.

Still looking for something to do on Halloween? Just focus on getting your costume ready ‘cause we’ve got you covered with these 14 killer parties throughout the Sacramento region featuring live bands and DJs!

Don’t worry, The Nibblers won’t bite too hard, but they will bring the funky and soulful goodness that the local seven-piece powerhouse is known for to The Torch Club! 9 p.m., $10 with costume, $12 without. 21-and-over.

You’d think they’d be in some sort of post-fest hibernation right now but nope, the folks behind TBD Fest are throwing a Halloween rager. “Bleepy Hollow” will feature Com Truise {pictured}, Slow Magic, and local DJs Shaun Slaughter and Adam Jay. 18-and-over, tickets are $35 in advance. Facebook.com/tbdfest for details.

Blue Lamp and Abstract Entertainment are teaming up for a rockin’ Halloween with the legendary Tav Falco’s Panther Burns featuring Mike Watt and Toby Dammit. Tickets start at just $12.50, 21-and-over, doors open at 8 p.m.

Former Stone Temple Pilots vocalist Scott Weiland will bring his new band The Wildabouts to The Boardwalk on Halloween night! $30 in advance, $130 for a meet-and-greet with the man himself! All-ages, 7 p.m. doors.

Requiem’s “Things That Go Bump In the Night” at Midtown BarFly will satisfy your needs in the following departments: deep bass, much dancing, crazy costumes, epic light show. San Francisco’s Ardalan and Portland’s Dallas Cotton {pictured} headline with support from Young Aundee, DJ Whores and many others. $20 (21-and-over) or $30 (18-and-over) at the door.

The Hideaway will host a rock ‘n’ roll extravaganza featuring an Andrew WK cover set by members of Bastards of Young and City of Vain! Trash Rock DJs, costume contests, horror movies on the tiki patio and more! Just $5, 8 p.m., 21-and-over.

Two shows, one night! That’s how Harlow’s rolls! Seattle’s Noah Gundersen {pictured} plays the early all-ages show at 7 p.m., with tickets being just $10 in advance, $12 at the door. New York’s Matt Pond PA headlines the 21-and-over late show at 10 p.m., tickets are $13 ahead of time, $15 at the door.

Australian metalcore band Parkway Drive is currently on a North American rampage and will tear down Ace of Spades on Halloween night! All-ages, 6:30 p.m. doors, $25 in advance.

Well over a dozen local bands will descend upon Old Ironsides for their annual Dead Rockstars Show! Hear cover tunes from, well, you guessed it, dead rockstars! $5, 21-and-over, 8 p.m.

The Park Ultra Lounge will host SKAM Artist DJ Crooked {pictured} with an early set from Sacramento’s own DJ Peeti V. A whopping $1,000 is up for grabs in a costume contest! 9:30 p.m., tickets start at $15, 21-plus.

Two great local punk/rock bands, Garble and The Rollin’ Blackouts, will play a costume party at Fox and Goose. 9 p.m., $5 at the door, 21-and-over.

Starlite Lounge wants you to celebrate darkness and horror with them as they host two awesome bands, Children of the Grave (a “zombie tribute” to Black Sabbath) {pictured} and Archangel (a badass Misfits tribute group). 9 p.m., 21-plus.

Country Club Lanes will house Lite Brite Productions’ 9th Annual Beetlejuice Party with 35 DJs, five dance areas, free bowling, zombie laser tag, video games, two bars, an outdoor movie theater and more! 8 p.m.–4 a.m., $40, all-ages welcome, costume required.

The night before Halloween (Friday, Oct. 30) the Sacramento Convention Center gets invaded by KSFM 102.5’s Gravedigger’s Ball featuring a DJ set by Lil Jon, live performances from Natalie La Rose and Charlie Puth, a $5,000 costume contest and more. 21-plus, $35 in advance.

The Gratifying Circle

Florida melodic metal band Torche are anything but upstarts. The band formed from the ashes of stoner doom band Floor in 2004, releasing their self-titled debut in 2005, followed by their critical and commercial breakthrough Meanderthal in 2008, a number of EPs, splits and singles, and two more full-lengths including their most recent, Restarter, released earlier this year on Relapse Records.

In each case, these releases have been followed by the requisite national and increasingly international touring, which brings them through Sacramento, Aug. 2, 2015, at Harlow’s. But according to bass player Jonathan Nuñez, this repetition isn’t necessarily a grind.

“Its a cycle, and luckily for me, I love recording, I love equipment, I love playing; it’s a gratifying circle as opposed to a vicious circle,” says Nuñez via cell phone from the Fargo, North Dakota stop of band’s current tour with Japanese noise legends Melt-Banana. “I wake up and I want to go do that drive and play that show, or wake up and work on a record. And those two things complement each other, so I’m not complaining. I’m super excited and I want to keep doing both things for as long as I can.”

Torche’s consistent roadwork, paired with the band’s uniquely accessible take on sludgy, riff-driven metal has put Nuñez and his bandmates—vocalist/guitarist Steve Brooks, drummer Rick Smith and guitarist Andrew Elstner—in the enviable position of being able to not just continue to record and tour, but to attract fresh legions of followers with each release cycle. Although Restarter marks, in a certain sense, a return to the band’s heavier roots following 2012’s more upbeat (not to mention suitably titled) Harmonicraft, Nuñez says that one thing the members of Torche have learned over the last decade-plus of playing obscenely loud music, is that there’s certainly more than one way to be “heavy.”

{Photo by Janette Valentine}

How have the dates with Melt-Banana been so far? That’s a pretty far out pairing.
It’s been great. We’re big fans. We played with them in Tokyo years ago and it was awesome, so it’s been cool to follow up and do a proper tour.

Seems like you keep it pretty open, as far as the kinds of bands that you tour with.
For us, I feel like we have less limitations because we have a pretty broad sound. I mean, it’s all generally loud and heavy, but we try to do our own thing and have fun with it, and that allows us in the end to tour with different bands, sometimes bands like Melt-Banana, who are an influence.

It also seems like Torche has made a point to explore the different ways of being quote-unquote heavy with your music. Is that something that has been a goal?
Yeah. I mean, there were classic rock bands that were heavy, and they weren’t anywhere near using as much distortion or dropped tuning as modern heavy music. Shit, you have the right drummer, and you’re already 40 percent of the way there. And it’s cool when bands switch it up; to me, that’s what makes a record. You have slower songs, faster songs, meaner songs, happy songs, whatever. To me, I prefer records that have different moods, but are all cohesive within a certain sonic umbrella of the band and identity; the actual delivery of every song can vary, but it’s still the band’s sound. And I feel that we have that. We’re not doing 10 or more songs that all sound the same because that would be boring. So with us, I think we have a certain freedom. Even our upbeat happy jams, they’re gonna sound big, they’re gonna sound heavy. It’s all in the delivery, each instrument’s voice and role in the band. It’s what you make of it. Certain people think it has to do with sticking to one genre or one sound, but you can switch it up a bit, and then when we do certain things it becomes way more effective and harder hitting, actually.

Do you feel like your most recent record, Restarter, is the most successful that you have been at varying your sound and making your music more accessible?
I think its varied, like all of our records. But I definitely feel that this record is one of our heaviest releases, if not the heaviest. But there are still songs like “Loose Men” or “Blasted” and even the sci-fi one “Restarter” that are all heavy in their own right, and they’re definitely thick, no less thicker than any other song on the album. We weren’t predetermined, it’s just the way it happens; we write all sorts of stuff. And you know, within 17 songs we might only keep a certain amount because we feel it fits within this cohesive collection of songs for a record. But I feel like … accessible? Maybe? We like hooks. To me it feels like there’s catchy stuff in there and it’s memorable. If it’s not catchy and it doesn’t draw our attention and we don’t think it’s memorable, we tend to put it to the side. But I feel like if anything, Harmonicraft was probably the most accessible out of all of our records as far as what I would consider accessible.

How has the reaction been to Restarter? Has there been any pushback from people who maybe wanted to hear you guys go further with the sound of Harmonicraft on the new record?
With this record, I feel like, we’ve had good luck. We’re hard on ourselves when we’re putting together music that we actually like and want to play, so it feels good when it’s well received, and I feel like this album has had a really great response, not that any of other records didn’t, because I feel like they all have. With Harmonicraft, there was a whole new wave of fresh interest and people were stoked on the band with new people coming to our shows. It was an exciting record and exciting time. And this one is even more so, because it’s the complete opposite of that record. That record was a brighter, biting sounding record. Where this is darker, smoother, way thicker; to me, way heavier. There’s a certain moodier vibe, as opposed to Harmonicraft, which was more of an upbeat, party-time record, at least in my eyes. Where with this one, there’s still the party tracks and the happier songs and all that, but I think the heavier, sonic properties of the record hit way harder. People that like our band were just, “Holy shit, this is massive.” I feel like with any record we release, it’s very liberating to explore different aspects of the sound and keep the band interested and engaged and having fun and it seems to just mirror back with the response we’re getting from people who like our band and are buying records and coming to shows. It feels good. I feel like this record has reached even further and maybe even brought in new people who may have heard the name and never really got around to checking out the band.

Has being on Relapse helped as far as getting some new people to check out your music?
I feel like every label we’ve worked with has offered something new as far as visibility with the band and exposure. So Relapse was kind of a return to a heavier music based label, and they’re super into what they do and they’re genuine music fanatics. And they were telling us they’ve been into it since the first record, so they were really stoked to work with us. It seemed very much the right choice, early on. And now having released the record, I feel like it was the best move we could have made and it feels right. We feel at home, working with those guys.

Is the plan for now just to keep hitting the road super hard?
Yeah, once you release a record you have to go ahead and put in the time. In a way, it’s work, but it’s also fun to enjoy the fruit of your labor, if you will. You put in the time writing songs, recording them, waiting for the artwork to come together and pressing it on vinyl, and waiting for the release date. Then once it’s out, maybe you’ll do a music video, and then once that’s done, then you hit the road. But we have a good flow. It seems like it’s every other month: Hit the road, then go home and have a little break. Keeping that balance keeps it relatively fresh and keeps everybody into it.

Check out Torche live at Harlow’s on Aug. 2 with Wrong and House of Lightning. Doors open at 7 p.m. Tickets for this 21-and-over show are $13 in advance and can be purchased through Harlows.com.

D.C. trio Ex Hex Crafts Killer Blend of Power Pop, Punk

Sometime during the last decade or so, rock ‘n’ roll itself started to burst at the seams. Any prevailing trends, whether they be the DIY, slacker attitude of ‘90s alternative; the stripped-down snarl of ‘70s punk; or the angular romanticism of early ‘00s post-punk revival, were blown to the winds of taste, curated according to the preferences of musicians and the whims of listeners. These days, with an industry going all-in on teen-oriented pop and a critical press having its focus pulled in myriad directions from EDM to alternative hip-hop, the torch of the rock genre itself seems to burn somewhere on the fringes.

Nevertheless, rock ‘n’ roll is thriving, and why wouldn’t it be? The fringe is rock’s birthplace. There is less of an urgency now within the genre to latch on to the most current aesthetic; all that matters is crafting a good song, making a solid album and bringing some of that indomitable rock spirit to your audience. Of late, you would be hard-pressed to find a band that better demonstrates this than Ex Hex.

Washington D.C.-based rock veterans Mary Timony, Betsy Wright and Laura Harris have a collected rock experience spanning countless projects (Wild Flag, Autoclave, Childballads, The Fire Tapes), music styles and instrumentation over the years. Last year, the trio joined forces for the first time as Ex Hex. Burning with a desire to play unadulterated, no-frills rock ‘n’ roll with the added irresistibility of pop, the three boiled down the best traits of the genre to a science, rounding out the year with an intensely addictive (and instantly classic) record, the aptly titled Rips, released October 2014. Every track sounds like the summer anthem from an unplaceable, golden year. The pure enthusiasm from this record seems to flash outward like a jet of sparks, leaving the listener with a pleasant buzz long afterward.

So far, the group’s aesthetic policy of abandoning high-concept, soul-baring songcraft in exchange for straight-up instinct and a vital sense of fun has paid off, spinning Ex Hex out on the largest tour of their respective careers and reaping a harvest of ecstatic write-ups from reviewers starved for the rare, exciting guitar record. Recently, they hit TV with a live performance on Late Night with Seth Myers, and later this month, they’ll be breaking through to Sacramento on the West Coast leg of their musical sojourn.

Here, we catch up with bassist Betsy Wright by phone from the band’s unstoppable tour van after an exhausting rapid-fire run up the East Coast.

How is the scope of this current touring schedule as opposed to others you’ve been on in the past?
Oh, much longer and more busy, and more grueling. In the past, with other bands, I’d been on much shorter tours, and I’d always worked and had a day job that I had to be back for, and had a little bit more of a normal life, I think. But for now, we’re basically touring all the time. Now, this is my life. Before, the tour would have been like a three- or four-day weekend.

You’ve been involved in several other projects, including Childballads and The Fire Tapes. How have those experiences been versus what you’re doing now with Ex Hex?
We’re having a lot more fun! We’re having more fun with the music, and we’re trying to write music that’s fun to listen to, instead of trying to make music that’s expressive of our feelings. That’s not really what we’re going for; it’s more about the craft of writing a song, arranging a song in a cool way to make it really fun to listen to.

For your image as a wild, rip-roaring, garage-inspired band, there seems to be a real streamlined, disciplined quality to the songs on Rips. How did that go?
Well, we wrote and arranged the songs before we ever went in the studio, and also, we had toured a little bit before we recorded them. We’d worked everything out over a long period of time. By the time we went in the studio, all the parts were arranged, and we had already played all the material live, so that made everything more solidified, I think, rather than creating the songs on the spot.

You personally wrote a couple of the songs on Rips (“How You Got That Girl,” “Radio On”) Any stories behind those?
I think I was just inspired by the sound of the band, the idea of writing something meant to be fun and crafting a tacky, more fun-sounding pop song, so I thought I’d just try it out. I played them for Laura and Mary, and they seemed to think that it’d work if we did them so we did them live, and they seemed to fit with the other songs well.

You’ve crafted a pretty distinctive onstage look. What is your inspiration in this area? Is it an expression of the Ex Hex persona?
I’d say this look is definitely for the Ex Hex persona. We always change before we play, because you’re kind of going into another character, or accessing another part of your own personality. Going on stage and performing, it helps to get you into that area of your brain if you change the way you look.

You have a multi-instrumental background (viola, keyboards, bass, vocals, etc.). Did you have a very musical upbringing?
Yeah! I’ve always played piano since I was a kid, and I started playing the guitar when I went to college. I studied piano and music—jazz, classical. I always liked rock ‘n’ roll, though.

Do you, Mary and Laura all remember your first rock records? The ones that made an impression?
Of course! Probably the first rock ‘n’ roll record I got was a compilation of ‘50s music. It had Buddy Holly, Elvis, and a lot of that kind of stuff on it. Here, you want me to ask them?
[In background] What was your first rock ‘n’ Roll record, Mary?
OK, Mary’s first was The Kinks Greatest Hits.

Sweet!
And Laura. Laura? [Talking in background.]
She says it was probably Aerosmith.

Alright—pretty good cross-section of the stuff rock is made of!
Yeah, we really got our early education!

What’s your take on the term “rock ‘n’ roll?” What does it mean to you? What is the power it has that other genres don’t?
Well, it’s really direct and very raw; it just goes straight into your heart, you know? The way it communicates—it’s so fast. It’s immediate, and it hits really hard. It can affect people in a very direct way. It seems to reach people on a raw level.

Do you have a rock ‘n’ roll spirit animal?
I love Joan Jett. I love her voice and stage presence. For me, Neil Young is another person who is a great singer, songwriter, guitar player and a great performer, and very prolific.

I hear you grew up near Capitol Hill in D.C.? Did the scene in that area influence you at all— the punk scene there?
Well, I was born there, and then my family moved out to the suburbs in Virginia. So, I’m really from the suburbs. For me, like, by the time I was a teenager, that stuff had all already happened. In high school, I was actually super into the Grateful Dead. I was really into bands that had piano, because I could relate to it musically. The other stuff [punk] just seemed like something I couldn’t get into.

So things click when they click.
Yeah, I mean, right now I’m much more into ‘70s punk and stuff. I did miss out on that D.C. scene in its heyday, but it’s still prevalent in the city. And it’s cool, because you can see those people around and talk to them. And that’s why I know Mary; she was around then, going to the punk shows in D.C.

Is the cohesiveness and sense of community in the D.C. scene part of the reason you’ve all stayed?
I think we all feel like D.C. is our home, and we totally identify with the city. And now we’re not there that much anymore; at least we haven’t been lately, because we’ve been on tour so much. It’s absolutely different than being from a place like New York or Los Angeles. People actually move there for the specific purpose of making music. People don’t really move here to do that, they usually come here to be a lawyer or work in politics.

I know that Mary and Laura have known each other the longest—when did you fall in with this gang?
I had met each one of them probably 10, 15 years ago now. Just on various occasions in D.C. If you’re a musician in D.C. at all, eventually you get to know everybody else who’s in the music scene; it’s pretty small, so I definitely knew who they were. When those guys started playing together, I wasn’t living in D.C. at the time. I was just about to move back. Those two [Mary and Laura] were looking for a third player at the same time, heard I was moving back into town, and we just started talking about maybe playing together. I met up and jammed with them, and it seemed to click right away.

You have mentioned that this is the most fun project you’ve ever been involved with. Do you think it shows in your fan base, and the crowds you play to, as opposed to your past projects?
Yeah, definitely. I think that people can feel that. It’s sort of contagious, you know?

What do you see Ex Hex doing after this current round of touring? What kind of direction might it be heading in?
Well, we’re pretty much booked until September, so after that, we’ll probably just start getting together and playing; we’ll just start writing some more awesome guitar riffs, you know? We don’t have a vision change in mind, we just want it to be good. We want it to be killer.

It’s only rock ‘n’ roll, and we LOVE it. See Ex Hex and Shivas live at Harlow’s on May 20, 2015. Tickets for this 21-and-over, 7 p.m. show are just $12 in advance ($14 the day of the show). You can purchase them through Harlows.com.

Whether you’re on the grid or in the ‘burbs, the greater Sacramento area doesn’t lack in the “things to do on New Year’s Eve” category. Just check out this list of 15 ways to ring in 2015! We’ve got everything from rock shows with metal bands, to stand-up shows with the best local comics, to dance parties with big-name DJs and everything in between. Happy New Year’s, y’all, and remember to please be safe (and smart) out there!

1) Head bang till midnight at the “Sac of Stars” show at Boardwalk featuring Korean Fire Drill, Clockwork Hero, ForNever, Graveshadow and about a dozen other locals! Doors at 7 p.m., no cover charge, 21-and-over, free champagne toast.

2) Dance the night away with a huge balloon drop and confetti galore at District 30 with sounds by Well Groomed. $25 cover charge, party starts at 9 p.m., free champagne toast.

3) Dress your best for a party to remember at Park Ultra Lounge with DJ Peeti V. Watch the ball drop on their LED Wall, get free party favors and enjoy a free champagne toast at midnight. $40 presale, $50 at the doors, event starts at 8 p.m.

4) Enjoy New Year’s Eve in the foothills with slide guitar master Roy Rogers and the Delta Rhythm Kings at Main Stage Theater in Grass Valley! Tickets start at $40 for general admission, show starts at 9 p.m.

5) Bundle up for TBD Fest’s massive outdoor block party at 20th and K streets in Midtown featuring world class DJ and major-festival-level headliner A-Trak! Also performing is Gigamesh, Oliver, Nick Catchdubs, Sister Crayon, CHLLNGR and more! 21-and-over, multiple ticket levels available (general admission starts at $45), Tbdnye.com for details.

6) Love music from the ‘80s and ‘90s? Head to Harlow’s to kick it with cover band extraordinaire Lovefool! Doors open at 9 p.m., $20 cover, 21-and-over.

7) Take the Historic Folsom District by storm this New Year’s with a super-fun dance party at Powerhouse Pub featuring local cover band Take Out! Doors open at 9 p.m., 21-and-over. Bonus: stop into Samuel Horne’s Tavern before the show to check out their amazing beer list!

8) Get down with some mainstream mashups from DJ Rigatony at Starlite’s NYE Celebration! Two floors, pool table and the kitchen will be open until 10 p.m. Guest hosts Lori Love and Miss Lisa. $5 cover, 9 p.m., free champagne toast at midnight.

9) If you want to see some absolutely massive headliners and are not afraid of a little snow and possible sub-zero temps, definitely consider heading to South Lake Tahoe for SnowGlobe, which runs Dec. 29 to 31! Acts like Disclosure, Skrillex, Porter Robinson, Atmosphere, Phantogram and about a million others will keep you warm with their dance-heavy sets! Single day tickets are $99.

10) Why not mix some gambling with your NYE party at Thunder Valley Casino? Big Bad Voodoo Daddy is performing (7:30 p.m. in Pano Hall, $47.75), and there is also a grand opening celebration for their new nightclub, Illusions, where DJ Thomas will spin jams all night (9 p.m., $50).

11) If you’re looking for something different this New Year’s, check out Punchline’s “2014’s Last Laughs” comedy show! Two shows, one at 7:30 p.m. with local faves Ngaio Bealum, Ray Molina, John Ross and more. The late show (10 p.m.) will have Johnny Taylor, Keith Lowell Jensen, DJ Mervin and others, as well as a DJ playing dance music and a free champagne toast at midnight. 18-and-over, $25.40 for early show, $31.80 for late show, Punchlinesac.com.

12) Not into DJs, electronic dance music and/or indie bands? More of a country guy or gal? Ain’t no shame! Grab your boots and cowboy hat and head to Goldfield Trading Post for a “yee-haw” New Year’s with the excellent Brodie Stewart Band! The party starts at 9 p.m., and there is no cover charge, 21-and-over only.

13) Three of the best local party throwers (DJ Larry Rodriguez, MC Ham and DJ Wokstar) are getting together at Fox and Goose to spin some soul, funk, reggae, disco and more! Smoke, lasers, party favors, the whole nine. Cover is only $10, party starts at 9 p.m.

14) The annual Lipstick Presents NYE at Old Ironsides features a live performance from Sunmonks this year, plus DJs Shaun Slaughter, Roger Carpio and Adam Jay. Complimentary champagne toast, midnight ball drop, tons of giveaways. $8 tickets available in advance at Cuffs Urban Apparel.

15) Enjoy a small, intimate gathering in Davis when the rootsy-yet-dancey local group Mumbo Gumbo rocks a NYE bash to remember at the Odd Fellows Hall. Limited to only 225 tickets! Check out Mumbogumbo.com for more info on where to snag those limited tickets.

Want even more New Year’s Eve options? Check out our calendar section here!

Sturgill Simpson, Lucette

Harlow’s, Sacramento • Sunday, Nov. 23, 2014

Anticipation was on high for the arrival of Sturgill Simpson at Sunday evening’s event at Harlow’s. The show sold out weeks beforehand and the whole floor was packed to the gills. Arriving nearly 15 minutes before show time, it was difficult to find a spot on the floor that wasn’t jam packed with people. Though it was crowded, much of the crowd seemed as if they were there to socialize and welcome in the Thanksgiving holiday, rather than be attentive and courteous to opener, Lucette.

Lucette was a long way from her homeland of Edmonton, Alberta and was a doomed victim to a room full of apathetic rowdies and drunkards, who couldn’t care less how she sounded or what she was singing about. Regardless, it didn’t really matter to the few who were paying attention because the chatter was significantly louder than the performance.

Given the fact that Lucette was blatantly out of place on the bill, she and her touring cellist did the best they could to get through a somber set of morose, stripped-down numbers. Some notable moments included the performance of new single and confessed murder ballad “Bobby Reid” and a unique cover version of the Ryan Adams tune “Oh My Sweet Carolina.” When announcing “Black Is the Color” (featured in The Vampire Diaries), Lucette made a feeble attempt at making light of the situation by saying, “Imagine sinking your teeth into some teenager’s neck.” What makes the situation worse is that this quote was hard to even make out, since someone nearby was jawing on about how their dream ticket would be to see Def Leppard and Tom Petty on the same bill. Lucette’s sluggish pace and melancholy vibe didn’t stand a chance.

Sturgill Simpson has, in recent times, become well recognized and revered as one of modern country music’s true throwback folk heroes and after a thankfully brief set change, was greeted with a roaring response from eager fans. Sturgill and company wasted no time in busting out “Sitting Here Without You,” which moved along steadily like a high-powered locomotive train, featuring trotting snare drum pops from drummer Miles Miller.

This amped up the audience, but the gears were quickly shifted to sentimental and heart-wrenching with a ballad from Simpson’s debut album High Top Mountain, “Water in a Well,” which tells a story of love and heartbreak. The group followed with “Living the Dream” from 2014’s critically acclaimed sophomore record Metamodern Sounds in Country Music. On this track, Simpson states the painful truths pertinent to today’s society, “Ain’t no point getting outta bed if you ain’t living the dream / It’s like making a big old pot of coffee if you ain’t got no cream.” Classic outlaw country was displayed with “Life of Sin,” which contains a no apologies attitude in tone and content, drawing comparisons to Waylon Jennings, to whom Simpson has often been compared.

Having two solo albums now under his belt, Simpson also has the uncanny ability to restructure cover songs in style and sound to make them his own. Perhaps most notably has been a moody and delicate version of the ‘80s hit “The Promise” by When in Rome, which was played to perfection in the middle of the set. Another grooving tune you could roll your rig down the road to is “Long White Line,” which you’d swear was a Sturgill Simpson song unless it was actually conceived by Aaron Tippin. Lead guitarist Laur Joamets shined on “You Can Have the Crown” and “Sitting Here Without You,” with super speedy licks as if they were meant for a honky-tonk. “It Ain’t All Flowers” was very unique in style by blending laid-back country tones with psychedelic rock ‘n’ roll. At one point in this song, Simpson howled and screamed a “woo hoo hoo” into the pickup of his acoustic guitar.

Simpson had the crowd in the palm of his hands before the performance even began and throughout the entire evening, remaining calm, cool and collected throughout. There’s no doubt that if Sturgill Simpson and his band mates returned to Sacramento, they’d be greeted with open arms.