Carla Harvey, renowned former co-vocalist of Butcher Babies, is embarking on an exciting new journey with The Violent Hour, a project she describes as the “ultimate love letter” to her fiancé Charlie Benante, known for his drumming prowess in the legendary band Anthrax. This new venture allows them to showcase their unique blend of hard rock influences, reflecting their shared musical passions, while also marking a pivotal moment in her career.

As we look ahead to 2025, it promises to be a monumental year for Harvey. She is in the final stages of preparing her debut album with The Violent Hour, all while collaborating with one of her childhood musical idols, the provocative band Lords of Acid. Additionally, she is rekindling her dedication to her other career in the death care industry, demonstrating her multifaceted talents.

We recently had the opportunity to engage with both Harvey and Benante, who contributed to the musical composition of her upcoming tracks. In our conversation, we explored their collaborative process, what lies ahead for them, and gained insights into this significant leap in Harvey’s artistic journey.

Additionally, we are thrilled to present an exclusive first look at the new music video for the freshly released single, “Sick Ones,” which exemplifies the eclectic range of music the couple has been creating together.

Read on for more insights from our conversation.

Delving into the creative process, how do you initiate the songwriting journey together?

Carla Harvey: I keep an extensive collection of notebooks where I constantly jot down ideas, lyrics, and thoughts. I often have a catchy line ready to kick off a new song. While lounging on the couch, I sometimes hear Charlie strumming an intriguing riff on his guitar, and I feel compelled to ask, “What’s that? I need it for a song! Is it a new Anthrax track? I’m calling dibs!”

The phrase in “Sick Ones,” “cut the sick ones loose,” originated from a journal entry back in 1997, inspired by a real-life incident. When Charlie was playing a particular riff, that phrase popped into my mind, and it fit perfectly with the music.

Carla, reflecting on that phrase from the ’90s, can you share what it meant to you at that time and how it has remained significant throughout your life?

Carla Harvey: Back then, I was working as a waitress in a bar, and a particularly unpleasant colleague was having a meltdown. I vividly recall the manager dragging her outside, firing her, and then turning to me and saying, “Sometimes you just gotta cut the sick ones loose.” Those words resonated deeply with me.

I’ve always been an empath, feeling deeply for others, which has often led me into toxic relationships. My instinct is to try to mend everything, to make peace. However, I’ve learned that sometimes, despite your best efforts, you simply have to remove certain individuals from your life, no matter the cost.

This phrase, “cut the sick ones loose,” has echoed in my mind throughout my life. It can be one of the hardest decisions to make, but it’s often necessary.

Moreover, the song features one of my favorite lines I’ve ever penned, which is somewhat whimsical: “choose amputation for your situation.” I find it both humorous and perfectly aligned with the song’s spirit.

Is this your favorite lyric, or do you have another one that stands out more?

Carla Harvey: I’ve co-written six albums with Butcher Babies, so I hesitate to label it as my absolute favorite. However, it certainly ranks among my top choices.

Many lyrics in this album resonate with me profoundly because they articulate my thoughts, my feelings, and my emotions in a raw and personal way. Honestly, I’m unsure how I’ll perform some of these songs live because they evoke such deep emotions and significant memories for me.

Experience the Powerful Sound of The Violent Hour with “Sick Ones”

Carla, we’re excited to share the “Sick Ones” video here on Loudwire. In this video, you portray various roles with distinct personalities and looks. Did you have a favorite character while creating this video? Among the different traits showcased, is there one that you find particularly annoying?

Carla Harvey: The creation of the video was an interesting challenge, especially since I didn’t have a full band to accompany me. I never envisioned being a solo act; I’m actively seeking the right band members to tour with. However, I wanted to produce a striking video, which posed the question: how to do that with just myself and the song?

This song tackles the theme of removing toxic individuals from your life, refusing to let anyone dim your light or drain your energy. Yet, I also aimed to flip the narrative slightly to suggest that sometimes, you also need to cut out the toxic aspects of yourself.

In the video’s conclusion, perhaps I didn’t eliminate all those parts, but I’ve learned to coexist with them peacefully. While the song doesn’t explicitly address inner toxicity, I wanted to explore this deeper perspective through the visual element.

That’s the beauty of music; it can be interpreted in so many ways. I’ve received numerous messages from listeners saying, “I needed this song today,” or “This will be my anthem for the summer.” It’s heartwarming to see how people connect this music to their lives.

As a self-proclaimed goth kid, I enjoyed embodying the pessimistic character, but dressing as the wildly manic girl in the green furry coat was also a blast. We all harbor various facets within ourselves, including intrusive thoughts and multiple personalities. It was a joy to explore and express those different characters for a day. (laughs)

While we’re discussing “Sick Ones,” we noticed a prominent guest appearance by John 5. Can you share how he became involved with this track and what your relationship is like?

Charlie Benante: I’ve known John for a long time, and our conversations often drift towards KISS at some point.

John had previously asked me to contribute to some tracks on his record. However, for this particular song, I just felt he would add something special to it. I envisioned him bringing his unique touch, so I sent it to him without any instructions, and when he returned it, it was simply perfect.

I believe a lead guitar section should start strong, have a memorable midsection, and conclude with a bang. John added some of what I call Beethoven-esque elements and some unexpected sounds that blended seamlessly with the track. It sounded incredible.

Carla Harvey: It’s a perfect blend of chaos and brilliance. When I first heard the track after John added his part, I was moved to tears. I couldn’t believe that his solo was on my song. It felt surreal and so amazing.

As we discuss your musical direction, it’s clear there’s a wide range of styles in your work. Carla, Charlie, given the expectations of your established bands, how does it feel for you both to have a clean slate and the freedom to express yourselves?

Carla Harvey: Starting fresh brings both excitement and fear. People can be very critical; they often want things to remain predictable.

Growing up, my musical tastes were incredibly diverse. As a teenager in the ’90s, I was exposed to everything from Guns N’ Roses to Pantera, Lords of Acid, Failure, and Everclear. I loved all of them and never felt the need to confine myself to one genre.

As we began crafting my songs, we found ourselves drawing from the lyrical and melodic inspirations of that era, incorporating elements reminiscent of the ’90s sound and even hints of riot grrrl influences.

Trying new things is exhilarating, but it also comes with the anxiety of how audiences will respond. Many fans expect me to stick to the guttural screams I’ve become known for, which I adore, but there’s a world of experimentation I wish to explore.

Charlie Benante: This opportunity enables me to share songs I’ve had tucked away that didn’t fit into my previous bands.

“Sick Ones” originally started as a punk rock concept I held onto for a while. When Carla heard it, she expressed interest. There are moments when I’m playing guitar on the couch, and she’ll ask, “What’s that?” I’ll respond, “Right now, it’s nothing, but it could be something.”

During the pandemic, I created several songs and videos to stay productive. I invited Carla to sing on two of them, one being a cover of Tom Petty and the other a Massive Attack cover. Initially, I sensed her discomfort, but I knew she had the talent to deliver. Once I heard her, it empowered me to write more songs with the confidence that she could handle them.

Collaborative Creativity: Charlie Benante, Carla Harvey & Ra Diaz on “Teardrop”

Our collaboration emerged organically; it wasn’t forced or premeditated. Creating music is inherently fun and inspiring, and that’s how it should be.

Carla Harvey: There’s a noticeable lack of diversity on the radio these days. Many listeners have grown accustomed to a polished, cookie-cutter sound, making anything different feel foreign. However, since the release of “Sick Ones,” we’ve received an overwhelming amount of positive feedback. People are responding with, “Wow, this is refreshing. It has a life to it that I’ve been missing in recent songs.” I believe this comes from our choice to avoid the overly digital polish that so many contemporary bands adopt.

Charlie Benante: Absolutely. Our music has vitality. We utilized live drums, and it embraces imperfections. It’s real.

Reflecting on the mid-’80s, when bands like Metallica, Anthrax, Slayer, and Megadeth were known as the “Big 4,” each had their distinct sound. Why can’t we embrace that same diversity today?

Having been a couple for some time, what was it like the first time you collaborated musically? Did you feel a sense of relief, or was it challenging?

Carla Harvey: Honestly, working together musically brings a deeper intimacy to our relationship. It’s truly beautiful. We began exploring this aspect of our bond during the pandemic when we collaborated on videos and creative projects together. The best way to describe it is that it deepens our connection on all levels.

However, it can become challenging if we disagree on something since we are a couple, but thankfully, we seldom clash. Occasionally, Charlie may not resonate with my lyrics (laughs), but that’s not a personal critique; we simply have different perspectives, which is healthy. We should be able to say, “I believe this could be improved” or “How about we try this instead?” Having the ability to critique each other is vital.

Charlie Benante: My motivation for this project stemmed from wanting to do something special for Carla. I thrive when challenged. You give me five minutes to complete a task, and that’s when magic happens.

In between my commitments to Pantera and working on the Anthrax record, I carved out time for this project and genuinely enjoyed it. The writing process felt fresh. Friends who have heard the songs often suggest that “Sick Ones” could fit into an Anthrax album, and while that might be the case, it felt more suited for Carla’s voice, and that’s what matters.

When everything clicks, and you find that creative flow, it propels you into the next idea and the one after that.

Carla Harvey: Charlie’s contribution pulled me out of a deep funk I was experiencing. He gifted me songs that allowed me to use my voice in ways I hadn’t for a while. It was incredible. We often express our feelings through love letters when apart, and this was the ultimate love letter for me—the most meaningful he’s ever written.

He helped me rediscover my voice. Initially, writing music independently felt daunting, as I struggled to find my sound. However, Charlie’s encouragement pushed me to try new vocal techniques. There were days I left the studio amazed at my own progress, hitting high notes I didn’t think I could reach. Now, it’s effortless and joyful. Rekindling my passion for music has been an invaluable gift.

Your enthusiasm for this project is palpable, and it’s evident that you are both enjoying this creative journey together.

Charlie Benante: That’s the essence of music! Just as you mentioned, we all have our favorite bands and cherished albums that resonate with us for a lifetime. I hold a profound admiration for music. The title Worship Music from my previous work encapsulates my dedication to it.

Even decades after its release, I’m eager to embrace new music from iconic artists like The Beatles. My hope is that listeners appreciate our songs for what they are—authentic compositions crafted with passion, not merely a marketing strategy.

Reflecting on your pandemic series, I enjoyed watching your creative covers. With various side projects among your fellow bandmates, do you envision this becoming an ongoing outlet for you beyond this album? Will you continue to write for Carla’s band?

Charlie Benante: Absolutely, I’d love to continue supporting her musically. This marks just the beginning. The potential for future projects is exciting; I can’t wait to see the evolution with subsequent albums.

I aimed to ensure that each song features diverse moments and sounds. We cannot confine ourselves to a singular style; it’s essential for Carla’s artistic growth. I eagerly anticipate her assembling a full band and sharing these songs with audiences. I can hardly wait to witness the first concert, seeing fans sing the lyrics back to her.

Carla, you’ve chosen the name The Violent Hour for your project. Can you explain how this name encapsulates your musical vision and the essence you wish to convey?

Carla Harvey: The name came to me while I was at a bar in Nashville with my best friend after a day of songwriting. The phrase “the violent hour” evokes a time of night when the world is asleep, yet the wilderness comes alive with the sounds of nature—feral animals, cats, and coyotes. This concept captures the essence of chaos, death, and passion found in the woods at this hour, which resonates deeply with me.

There’s a duality to it; in a band, the 24 hours can often be tedious, but that one hour on stage is magical—the “violent hour.” Yet, it all originated from the eerie sounds outside my home at night.

Carla, you have a background in mortuary science. Do you find that your experiences dealing with death and the grieving process influence your approach to music?

Carla Harvey: My songwriting often draws from my personal experiences, which frequently include themes of grief and death. These subjects are universal; we all experience loss in some form, whether through relationships or actual death. It’s an integral part of the human experience.

Loss is something we encounter daily, whether it’s a relationship, job, or partnership. This theme resonates with everyone, and I believe that my work reflects that understanding.

READ MORE: Exploring Carla Harvey’s Metal Journey Post Butcher Babies

Moreover, the death care industry is deeply visceral, much like metal music. I’m drawn to intense emotions and powerful themes. My desire to help others, especially those feeling isolated in their struggles, is paramount. Through my lyrics, I aim to connect with those who may feel alone in their experiences.

In the past year, you’ve re-engaged with the death care industry through your partnership with Parting Stone. Could you share how this transition came about?

Carla Harvey: During our last tour with Butcher Babies, I discovered a job opportunity on a site called Death Care Jobs. It was the ideal position, allowing me to return to the death care field while still being able to tour.

Helping others has always been my passion. Even when I stepped away from being a mortician to tour with Butcher Babies, I launched my own grief counseling service in 2016 called Good Grief, which has allowed me to support individuals through their struggles, especially veterans, marginalized youth, and those with brain injuries.

Returning to the death care industry full-time has been a rewarding experience, allowing me to pursue my passion while maintaining the flexibility to pursue my music career. Being a musician today can be incredibly challenging.

Unlike Charlie, who comes from a generation of musicians with more financial security, many artists from my era need to find stable jobs post-tour. It’s crucial to engage in work that you’re passionate about, and I feel incredibly fortunate to have found a role I love.

The company I work for is innovative and pioneering in the death care space. We create stones from ashes, allowing people to maintain a physical connection with their loved ones.

Reflecting on your admiration for Lords of Acid growing up, how does it feel to now step into the role of a vessel for this type of music?

Carla Harvey: When I was young, I adored three bands: Guns N’ Roses, Pantera, and Lords of Acid. Each had a distinct style, and I often danced the night away to Lords of Acid at clubs in Detroit. Their music was both fun and provocative.

Lords of Acid is known for its playful and kitschy aesthetic, often featuring a different Acid Queen for each album. This allows for a less demanding tour schedule, making it a fun, quick project to engage with as the Acid Queen.

Carla, would you say this is one of the most fulfilling times in your career, both personally and professionally?

Carla Harvey: Absolutely. I’m happier now than I’ve been in a decade. The excitement I feel is reminiscent of the early days of writing music and playing in bands. I often find myself squealing in delight.

For instance, we recently filmed the video for my upcoming single, “Hell or Hollywood,” at an iconic location. When I learned about it, I literally shrieked with joy. Charlie looked at me, bewildered, asking, “What’s going on?” That’s the level of excitement I feel now. I’m buzzing with energy and can’t wait to perform these songs for everyone. Mentally, I’m in a wonderful space, feeling content and ready to seize the moment.

Special thanks to Carla Harvey and Charlie Benante for sharing their journey with us. Stay updated on The Violent Hour through their website, Facebook, X, TikTok, and Instagram. Be on the lookout for more exciting music from The Violent Hour.