BY: Philip Sayblack

The time is near for The Violent Hour.  Yes, that awful pun was intended.  The rock supergroup composed of ex-Butcher Babies vocalist Carle Harvey, her fiancé and Anthrax/Pantera drummer Charlie Benante, and equally famed guitarist John 5, is set to release its self-title debut July 25 through Megaforce Records.  Spanning 23 minutes, the five song record is a solid first outing from the collective.  That is proven through the record’s musical arrangements and its lyrical themes.  The record’s opener and single ‘The Sick Ones’ is just one of the songs that does well to make this clear.  It will be discussed shortly.  ‘Portland, Oregon,’ the record’s midpoint, does just as much to make that clear.  It will be examined a little later.  The record’s title track, which closes out the presentation is also of its own note and will be discussed later, too.  Each song noted here is key in its own way to the whole of the EP.  All things considered they make The Violent Hour easily one of this year’s top new EPs.
The Violent Hour, the forthcoming self-titled EP from the rock super group, is one of the most welcome musical presentations of 2025.  More specifically, it is among the best of this year’s new EPs.  That is proven through its musical and lyrical content.  ‘Sick Ones, the EP’s opener and single, is just one example of that collective strength.  The song’s arrangement is a fiery, up-tempo work that right off the bat, conjures thoughts of Motorhead what with its intense guitar and bass riffs and equally tight drumming.  The addition of Harvey’s vocals add even more to that sense.  At the same time, there is something about the whole that gives the arrangement something of a bigger British metal sense, too.  To that end, the whole is an infectious work that is sure to keep listeners engaged and entertained from the beginning to end of its nearly four-and-a-half-minute body.
The song’s lyrical theme matches the energy in its energy.  The theme in question addresses the familiar topic of those fake, toxic people that make life so miserable for others and having to deal with them.  Harvey makes that clear as she sings in the song’s lead verse and chorus, “Hyprocritic/Narcissistic/Pessimistic/So sadistic/Oh, no soul/Problematic/So dramatic/Gone erratic/manic and delusional/They’re like a poison/Go straight to the vein/Some kind of cancer/They’re bad for the brain/Nothing to lose/Got no conscience or shame/Selling you a lie/So before they drag you down/Cut the sick ones loose/Grab the knife and carve them out/Cut the sick ones loose.”  Again, this is a clear message and a familiar one at that.  The “sick ones” are everywhere, and Harvey is right.  The best thing to do is to cut those people loose; cut them out of our lives. 
She adds in the song’s second verse that those people are “Superficial/Parasitic” that they will “Take it all/Yeah, if you let them/Drain your blood/They’ll tell the world/They’re your best friend/Long as they get the attention/Just because.”  She further adds in the next chorus, “They’ll play the victim/And never take blame/Now you’re the villain at their losing game/Saving your faces with mud on my name/Yeah, it’s all your fault.”  From there she reminds listeners to just cut those people loose.  She is fully right.  Again the vim in these fully accessible and relatable lyrics perfectly matches the fire in the song’s arrangement to make the whole not just a strong start to the EP but an equally solid example of how the record’s overall content makes it so worth hearing.
Another equally notable example of that overall content’s strength comes in the form of the EP’s midpoint, ‘Portland, Oregon.’  Where the musical arrangement featured in ‘The Sick Ones’ is a full-throttle musical and lyrical indictment of those problematic people in people’s lives, ‘Portland, Oregon’ is quite different.  This song’s arrangement instead is more southern rock (yes, southern rock) in its approach right from its outset.  It is such a unique change of sound and style but still so welcome.  What is really interesting here is that almost the first half of the nearly four-minute composition’s body is instrumental.  It is not until more than a minute-and-a-half in that Harvey enters the mix.  Keeping that in mind, the performances by Benante and John 5 in that time and throughout the rest of the song is to be fully commended for the control and general effect.
Moving on to Harvey’s portion of the song, lyrics were unavailable for the song, but from what can be understood, this work seems to be a love song.  This as Harvey and an uncredited vocalist (liner notes were also not provided) sing about a couple meeting in Portland, Oregon.  From what can be inferred, the pair met at a bar in Portland, Oregon and had quite the night.  The light, almost playful approach taken here lyrically, is sure to put a smile on listeners’ faces. This especially as the couple realized the next morning what they had done the previous night.  Keeping that in mind, the catchy, infectious southern rock groove of the song’s arrangement and equally light lyrical content (which is also quite familiar) work together to make the song in whole yet another solid example of how much the EP has to offer listeners musically and lyrically.
The album’s title track, which also serves as its finale, is yet one more example of how much the record has to offer listeners.  The musical arrangement featured herein is yet another change of sound and style, this time being a subdued, contemplative composition, even as it grows from being so controlled to a heavier, hard rock ballad type work.
Lyrically, the song’s seeming theme of someone going from being emotionally torn due to certain situations to being much stronger and “coming alive in the violent hour” matches well with that noted musical presentation.  It comes across as that familiar message of battling so much emotional turmoil.  If in fact that is the message being delivered through Harvey’s metaphorical language, then it is yet another familiar message that is sure to resonate with listeners.  To that end, it would pair with the song’s equally immersive musical arrangement to make the whole yet one more clear example of how this record’s musical and lyrical content collectively make the EP in whole worth hearing.  When everything examined here is considered alongside the rest of the record’s overall content, the whole therein makes The Violent Hour easily one more of this year’s top new EPs.
The Violent Hour, the forthcoming self-titled EP from rock super group The Violent Hour, is a record that is sure to make a place for itself among this year’s new EPs and studio releases from bands in general.  That is proven through the record’s musical and lyrical content, as the songs examined here make clear.  When those songs and the two remaining compositions are considered in whole, they make The Violent Hour well worth hearing and one more of this year’s top new EPs.
The Violent Hour is scheduled for release July 25 via Megaforce Records.  More information on the EP is available along with all of The Violent Hour’s latest news at:


Website: https://theviolenthour.com
Facebook: https://facebook.com/people/The-Violent-Hour/61565904311273
X: https://x.com/@TheViolentHour

BY: Philip Sayblack

Early this past May, up-and coming hard rock act How We Feel released its debut album, Ready For War.  The 10-song record is an interesting first outing for the band as is shown in part through its featured musical arrangements.  The lyrical themes that accompany that musical material and makes for its own share of engagement.  The sequencing of that collective content rounds out the most important of the record’s items.  That is because it clearly was done very intentionally.  Keeping that in mind, when it is considered alongside the record’s overall content, the whole therein makes Ready For War a record that is ready for mainstream radio and its audiences.
Ready For War, the debut album from How We Feel, is a record that proves this band is ready for its mainstream breakthrough.  That is proven in part through its featured musical arrangements.  The arrangements in question are a solid blend of heavy compositions and slightly softer more almost active rock style works.  Right from the album’s outset, ‘Make It Out Alive,’ audiences get a composition that is easily comparable to certain works from the likes of Skillet.  ‘Losing My Mind,’ which immediately follows, takes things in an even more intriguing direction.  The majority of the three-minute-plus arrangement is an active rock ready song suddenly breaks into some intense death metal moments late in its run that is sure to surprise listeners.  ‘Devil Inside’ is more of that active rock ready content.  It is easily comparable to current works from the likes of Papa Roach.
As the album progresses, the band goes full throttle again, going back to its heavier side in ‘Dragging Me Under.’  The arrangement here blends elements of industrial and death metal for yet another unique composition that ads even more interest to the record.  ‘Talk About Me,’ the record’s midpoint, goes back to that Skillet-esque style and sound.  Eventually as the album progresses through its second half, it reaches its softest point in the almost ballad-esque ‘Looking For a Reason.’  This song is perhaps the most radio friendly of the record’s entries.  ‘Dangerous’ has more of that Papa Roach, From Ashes To New style and sound while ‘Higher’ conjures thoughts of songs from the likes of Set It Off.  The album’s title track, which closes out the record, is yet another softer moment.  It is a powerful contrast to the record’s opener, and in consideration with the rest of the record’s entries, is a fitting finale for the album.  Keeping in mind all of the musical material examined here, what listeners get overall is a somewhat diverse range of sounds and styles from one to the next that still stay within a certain range.  All in all, the arrangements are accessible for their audiences.  In turn they are sure to appeal overall, to a wide range of listeners.
The musical arrangements featured throughout Ready For War form a relatively strong foundation for the album.  Building on that foundation is the record’s lyrical content, which is just as accessible.  Case in point is ‘Dragging Me Under.’  In the case of this song, it presents a seeming story of a person who is trying to better himself (or herself) but someone else or some other factor is preventing that.  This is inferred in the song’s chorus, which states, “I’m just trying to fight through my failures/And I’m just trying to stop going under/But you’re dragging me under again.”  Front man Chris Bianchi adds in the song’s lead verse, “If I lay down/Would you lie with me/If I fell first/Would you let go?/I know what’s coming/And I know the cost/And I’ll fight for mercy/Just to be free/And I think I’m dying.”  That questioning of what that other person will do, against the statement that said other person keeps “dragging me under again” paints a seemingly clear picture here.  It is a picture of someone who deep down knowns that other person is not good for them.  That person is being questioned and accused of being a negative force in the life of the song’s subject.  If in fact this is the case, then it will certainly resonate with audiences because of that familiarity.
‘Talk About Me’ is another example of the importance of the album’s lyrical themes.  As the song’s title hints, this song is a familiar commentary, this time about fake people.  This can apply to friends or those connected to us romantically.  The noted theme is clear right from the song’s outset as Bianchi sings, “I hear that you hate me/I heard that you expected more/I hear that you made me/So speak no evil/’Cause…”/You think that you know me/You think you control me/All you do is beg for my life/I come alive/Every time you say my name….”Again having no lyrics to reference here makes for some difficulty in deciphering the lyrics at points.  From what is understandable sans lyrics though, the song’s subject makes clear that he/she knows about the things being said but doesn’t care.  Instead that person tells those fake people to “talk about me” in that confident, sarcastic tone that says that person does not care.  This is an empowering message that is definite to connect with listeners.
‘Ready For War,’ the record’s title track and finale, is yet one more example of the album’s lyrical themes.  Bianchi said in a prepared statement of the song that the theme in question is meant to be uplifting.  He said in part, “Really the song stems from the struggles that we all face in our daily lives.  Be it in relationships, money or other circumstances.  However, at the end of the day if you have someone or something that you love to help keep you going, nothing else seems to matter.  It’s our call to arms of never giving up.” That call to arms is something that everybody needs in life at one point or another (or even at multiple points).
That person or something is the speaker in this case, stating, “I’m ready for war with you/So take a shot/I give you my blessing/I pray to God/’Cause there’s no use pretending/That you don’t need me/Oh, I’m ready for war.”  Everybody needs that support system.  It is one of the most basic human needs.  To that end, that familiarity and accessibility is yet more proof of the importance of the album’s lyrical themes.  When this and the other themes examined here are considered alongside the rest of the album’s themes, the whole therein makes the album’s overall lyrical content just as important as its musical arrangements.
One last important item in this record is the sequencing of that noted collective content.  As noted the album’s arrangements display a variety of sounds and styles while staying within a specific range of hard rock and rock.  The sequencing of the heavier and slightly lighter content changes things up just enough to ensure listeners’ engagement and entertainment.  A close listen reveals, as a matter of fact, that most of the heavier content is displayed in the record’s first half while the more clearly radio ready content is in the record’s second half.  There is some slightly heavier content thrown in the second half to keep things interesting, but that division is somewhat clear. 
On the same note, that the styles and sounds change up just enough, so do the themes.  From personal relationships to dealing with one’s own inner issues and more the themes change up just enough throughout the album, too.  The changing of those themes alongside that of the arrangements keeps things fresh for listeners from the album’s beginning to its end.  The result therein is a presentation that listeners will agree is worth hearing at least once.
Ready For War, the debut album from How We Feel, is a relatively strong start for the up-and-coming hard rock outfit.  It is a work that is worth hearing at least once, as is proven in part through its featured arrangements.  The arrangements are different from one another from beginning to end of the record but still stay within a certain range of sounds and styes.  This ensures a certain level of familiarity and accessibility for listeners.  The album’s lyrical content changes just as much and is just as familiar and accessible.  The sequencing of said content rounds out the most important of the album’s elements.  It ensures that the noted variety keeps things fresh from beginning to end of the album, thus ensuring a fully enjoyable listening experience.  When it and the content are considered collectively, the whole makes the album overall a presentation that makes How We Feel ready for the mainstream.
Ready For War is available now.  More information on the album is available along with all of How We Feel’s latest news at:
Website: http://howwefeelmusic.com
Facebook: https://facebook.com/howwefeelofficial