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Bringing together members of Naked Raygun, The Methadones and Blood People, the new project Violets has long tentacles in Chicago's punk rock history. Just don't expect them to sound like anything familiar.

“People likely have a preconceived idea of what we’ll sound like. And they would be wrong,” says drummer Michael Soucy. “We really don't sound like any of our past bands,” adds guitarist Bill Stephens. “How about we just describe ourselves as kick ass?”

The quintet – rounded out by guitarist Simon Lamb, bassist/vocalist Fritz Doreza and vocalist/guitarist Aly Jados – has been noodling with their sound for a couple of years now, ever since Lamb, Soucy and Stephens grabbed a round of drinks before a Fontaines DC show and started discussing a project in earnest.

“It had become apparent that Naked Raygun wouldn’t be playing anymore, so a new band seemed like an interesting idea,” recalls Stephens. “Raygun had done quite a few shows with The Methadones so we were tight with those guys and of course loved the band. And I knew Fritz would be up for it as he was in a similar predicament with Raygun like myself.”

When Jados came into the fold the lineup was solidified. “She’s absolutely amazing and really fit right in with the rest of us,” says Soucy. “Her range is unparalleled.” Plus, Jados’ guitar playing added yet another layer, notes Stephens, “sort of like a punked up version of Molly Hatchet with a triple guitar onslaught.” Or, as Jados describes it, “It’s definitely under the rock umbrella, we can get heavy but there’s also a pop element there. There’s a wall of guitars, pop hooks, and a Pixies vibe with a throwback mystique.”

The chemistry is palpable on Violets’ self-titled debut EP, which will be self-released on May 2. It’s led by the crunchy, anthemic powerhouse “The Tower,” followed by the dark-edged second single “Eras,” a song inspired by how “everything in life is in cycles … or eras,” says Jados. “There’s a darker otherworldly vibe lyrically asking to take a closer look at what is real.” Another standout on the EP is the mellowed fuzz of “Staring at the Ceiling,” which shows off a whole other range to the veteran musicians. If it sounds like a kitchen sink approach, well it kind of is. “There’s a theme of interweaving dimensions or realities, two different flavors to the band lyrically and musically,” says Aly Jados. And there’s impetus to keep that intact, says Stephens: “So far the do-whatever-the-hell-we-want approach has worked out well for us.”

Violets worked with another punk brethren, Dan Precision of 88 Fingers Louie, at Bombshelter Studios to finalize the music, sessions in which Precision acted as both producer and engineer. “Dan brought these songs to a place I didn’t expect,” says Lamb. “He instantly understood the sound of the band … possibly even before we did.”

“Before going into the studio we had an idea of what the songs sounded like. But during recording, they evolved and improved,” Doreza admits. “I didn't expect the music to sound so catchy and polished.”

Violets opened for the Lawrence Arms last year (annual War on X-Mas), will perform at Chop Shop in Chicago on Saturday, March 1, and continues keeping all eyes on the road ahead. “Currently, Violets and the Methadones are looking into buying a big ol’ house so we can all live together like the Monkees,” jokes Stephens of the attention paid to the project. “You put five seasoned musicians all in a room, and it’s a ton of fun,” adds Lamb. “It’s been a great creative release for us all.”