Seven Hours After Violet’s self-titled debut album arrives on October 11, 2024, via Sumerian Records imprint 1336 Records, as a sonic onslaught, fusing elements from across metal and beyond into a cohesive and hard-hitting masterpiece. The brainchild of Shavo Odadjian, bassist of System of a Down, this album is the culmination of years of creative exploration and a testament to the power of collaboration. Joined by a powerhouse lineup, including vocalist Taylor Barber (Left To Suffer), guitarist Morgoth (Winds of Plague), lead guitarist and clean vocalist Alejandro Aranda (Scarypoolparty), and drummer Josh Johnson (Winds of Plague), the band delivers a dynamic and genre-defying debut. The album kicks off with "Paradise," a track that introduces the band’s versatile sound. Between both Taylor Barber’s guttural growls and Alejandro Aranda’s haunting falsettos, they establish a powerful dynamic that carries through the album. Shavo’s basslines, heavy and relentless, lay the foundation for each track, especially noticeable in "Alive," "Cry....," and "Gloom," where the rhythm section pulses with an intensity that feels almost alive. Morgoth’s guitar work and production layer atmospheric textures over the heaviness, creating an immersive listening experience that is both raw and cinematic.
One of the album's standout moments is "Radiance," a song that juxtaposes calm melodies with explosive choruses, showcasing the band’s ability to weave contrasting elements into a cohesive whole. Alejandro Aranda’s more subtle guitar work adds a unique flavour, blending intricate fingerpicking and soulful slides that complement the track’s dark and moody undertones. Aranda also contributes to the track as the lead voice delivering ethereal vocals that perfectly offset Barber’s aggressive vocal style, giving the song an added layer of depth.
While the album is unapologetically heavy throughout its eleven tracks, it is not without moments of introspection. Tracks like "Float," "Cry....," and "Gloom" slow down the pace, allowing listeners to take a breather amidst the sonic assault. Although, "Cry...." near the end of the song, does feature one of the most intense vocal performances from Barber on the whole record. These songs provide a glimpse into the band’s more reflective side, exploring themes of existential despair and personal struggle.
“Glink” and “Abandon” are some of the more experimental tracks on their debut album, where Morgoth’s production really shines. His ability to blend electronic elements with live instrumentation brings an innovative twist to the entire album. “Glink” is as heavy as it is atmospheric. While “Abandon” is blistering fast and is one of the heaviest tracks on the self-titled. The transitions between this section of tracks feel seamless as if each song is a movement in a larger symphony. The album closes with “Feel,” a cathartic anthem that leaves a lasting impact, with its driving riffs and anthemic chorus echoing long after the song ends.
Overall, Seven Hours After Violet is a daring and innovative debut. The band’s synergy is palpable, each member bringing their own unique flair to the table. Shavo Odadjian’s return to heavy music feels like a natural evolution, yet he takes it to new heights with the help of his talented bandmates. With this album, Seven Hours After Violet firmly establishes itself as a force to be reckoned with in the metal world. The mix of Shavo’s aggressive bass, Barber’s and Aranda’s versatile vocals, and Morgoth’s production prowess makes this a must-listen for fans of heavy and experimental music alike.