REVIEW: Greyhaven - Keep It Quiet

Anything but quiet.

41:04 // October 10, 2025 // Solid State

It was some time in late 2018 that I heard about this metalcore band that had a potential album of the year candidate, so obviously I had to check. While Empty Black left a strong impression from the first listen, there was one song in particular that stood out to me: “Blemish.” It was heavy and melodic, full of some of the most captivating guitar work I had ever heard and a seriously intense vocal performance that laid the foundation of the chaotic song. The melodies, the riffs, the groove, the chemistry – it was all perfect. But why do I bring all of this up now seven years later?

“Blemish” has become my point of reference for Greyhaven. Whenever I recommend them, I send that masterpiece. You don’t like it? Then you probably won’t enjoy the rest. But truthfully, “Blemish” captures exactly what you can expect from the band, and that has been proven on the two releases since then. Throughout This Bright and Beautiful World and Stereo Grief, we can see those elements scattered about – a little bit of melody here, a breakdown, a dash of southern tinge all around. And yet, those releases have never quite captured that same mastery shown through that song and the entirety of Empty Black.

Now we arrive at Keep It Quiet, and Greyhaven has recaptured that feeling that “Blemish” gave me the first time I heard it. The band returns to that mastery of dynamic songwriting that was so prevalent throughout Empty Black. With their newest effort, they continue to lean further into that refined melodic style of Stereo Grief without sacrificing an ounce of aggression. Lead single “Burn a Miracle” is the perfect example of this balance, opening with a signature dissonant riff that traverses the entirety of the fretboard giving way to a softer verse before exploding into the high-energy chorus. But that’s not all – the track slows itself down for a final breakdown that brings back that particular edge that dominated their 2018 release. It has all the elements that define Keep It Quiet, from technical and speedy riffs to powerful clean and harsh vocals to a perfect balance of intensity and melody. However, these elements are shaped and tweaked for every track, creating unique pieces that bring the record to masterpiece levels.

What truly elevates the album is that each song has at least one thing that makes it memorable. Whether it is a particular section, a riff, or a vocal melody, every song is immediately recognizable. “Shatter and Burst” and “Show Me Where You Are” thrive off their catchy and massive choruses, each with some of Brent Mills’ best vocal melodies and high-octane atmospheres in their discography. In the “ballad” department, “Where The Light Leaves Us” and “Technicolor Blues” hold down the fort, with the former relying on beautiful clean guitar chords leading into a punchy chorus, the latter nailing a twangy tinge that recalls their southern Kentucky roots by blending acoustic progressions with bluesy riffing. The entire second half of the record displays some of Greyhaven’s most aggressive compositions to date, with tracks like “Satellite In Love” and “From The Backseat Of A Moving Car” containing infectious grooves bolstered by chaotic drum chops and guitar tapping and “Cemetery Sun” and “Diamond To Diamond” building tension up to their climatic breakdowns. Regardless of where you look, Keep It Quiet proves to be a showcase of Greyhaven’s best elements at their most efficient use.

I must admit, if it wasn’t clear from the beginning, I am a huge Greyhaven fan. Empty Black is one of my favorite albums out there. I speak with a lot of hyperbole when discussing the band, but that doesn’t diminish what this album offers. If the strong reliance on dissonance in riffs doesn’t suit you or the ever-present shift between melody and aggression isn’t your cup of tea, then I understand why some people may not like this record as much. However, Keep It Quiet takes everything that makes Greyhaven so loveable, amps them up to 11, then delivers on every front. While I don’t think they will ever be able to fully replicate the raw perfection of Empty Black, this comes very close. This is “Blemish” recaptured.

9.5/10