GREYHAVEN

Close your eyes. Imagine seeing separate iterations of yourself across various phases of life. You’ll bear witness to each and every outcome of what could’ve been to the point of madness or acceptance. This perspective would certainly work as the premise for a binge-worthy NETFLIX epic or a substantive literary tome. However, it anchors Greyhaven’s 2024 Stereo Grief EP [Solid State Records]. The Louisville, KY quartet—Brent Mills [vocals], Nick Spencer [guitar], Johnny Muench [bass], and Ethan Spray [drums]—unpack a myriad of emotions across an unpredictable soundscape teeming with fits of metallic catharsis, arresting melodies, fearless experimentation, and piercing introspection.

Through this thematic framework, the band connect more intimately than ever before.

“What if you could peek on other versions of yourself?,” wonders Brent. “On the EP, this character is traveling through a house where he watches all of these versions of himself. He experiences good and bad moments as well as regret. I struggle with a lot of anxiety and depression. I’m always thinking, ‘I wish I could’ve done that differently’. By looking through the lens of a person who has access to every variation of life, the project is a way to process a really depressive episode. It leads to acceptance though.”

By pushing boundaries without compromise, Greyhaven have magnified the scope of heavy music since emerging in 2013. The group transfixed audiences with Empty Black [2018] and This Bright and Beautiful World [2022], gathering streams in the tens of millions. Beyond praise from Revolver, KERRANG!, and more, New Noise Magazine professed, “Greyhaven have proven themselves as a force to be reckoned with in the post-hardcore and the heavy music scene at large with their latest release,” and Blabbermouth applauded how “musicianship and eloquence are apparent.”

Throughout 2023, they assembled what would become Stereo Grief with producer Will Putney [Body Count, Norma Jean, Every Time I Die]. In terms of the lyrics, Brent gleaned inspiration from the classic short story And He Built A Crooked House by Robert A. Heinlein. Musically, the guys made a conscious decision to tighten up their signature style.

“It’s not a departure, but growth for our old sound,” notes Johnny.  “We found the voice we wanted to move forward with. It’s heavy, but we’ve implemented more choruses and a stronger structure. It’s the perfect blend of everything we’ve done.”

Opening up this world with lead single “The Welcome Party,” head-spinning fretwork snakes around pummeling double bass. Frantic verses give way to a magnetically catchy refrain only to descend into a pensive bridge.

“You’re entering the house and stumbling into whatever this place is,” Brent reveals. “You don’t understand it, but you move through the rooms and see yourself. The trip is so overwhelming and jarring. ‘The Welcome Party’ is your recognition of what’s happening. It’s one thing to hear a scientist discuss multiple dimensions with an infinite number of you everywhere, but how would you feel it if you saw it in action? Your whole worldview would be totally fucked.”

“Past Material” initially hinges on a mind-numbing stomp punctuated by a distinct succession of hi-hat and snare. The momentum turns on a dime as sonic centrifugal force barrels towards an airy chorus sped up by a battering ram of drums and guitar. Brent screams, “All I want right now is death!”

“It doubles down on how disorienting the house is,” the frontman continues. “It’s about the fear of your perspective changing and your grip on reality getting completely shattered. You just want to escape it. ‘Past Material’ is a rejection this is happening. It essentially captures the ride you’re about to go on.”

“The track order is super important to us,” Johnny adds. “We want it to grab you. I don’t know if any other song could’ve kicked everything off quite like this did.”

Then, there’s “An Inverse Self-Reflection.” The closer signals reprieve in the wake of an exorcism of extreme emotion and searing sound. “It’s about sifting through the pieces of everything and trying to find peace, resolve, and hope,” Brent goes on. “The prior four tunes are dark and negative. This wraps up on a positive note. You realize, ‘Everything was bad, but I have the ability to make things better. It’s up to me.’ The house swallows you up, but it’s over and you can take the wisdom and make a change. That’s the whole message."

In the end, Greyhaven extract a relatable story from the heart of chaos.

“When you listen to this, I hope you think it’s our best material,” Johnny leaves off. “We’ve honed in on what we really are and want to continue doing. It’s the best version of Greyhaven.”

“We just want to write good songs,” concurs Brent. “To a degree, all of our records deal with existentialism. It’s a basic human concept to think about. This is another batch of songs about life.”