by Oliver on May 8, 2024 in EP
Two years after This Bright and Beautiful World underline Greyhaven with the EP Stereo Grief their ambitions to become mass-market metalcore stars.
At least the band from Louisville continues to have so many associations with big and successful bands in the scene that the eclectic consensus is literally served on a silver platter to a broadly effective performance space. Right in the opener Past Material sound Greahaven finally almost clearer from the original building blocks of Better Lovers assembled as the bankruptcy estate of Greg Puciato Every Time I Die does it yourself – and in the process provides an exemplary demonstration of the strengths and weaknesses of Stereo Grief.
While the hard attacking verse clearly imitates the former group around the now feuding Buckley brothers (and does it really damn well!), melodically it feels more genuine My Chemical Romance-Emo introduction, a sweeping refrain that gesticulates pathetically in alternative rock in the world Dillinger in a dramatic way.
However, repeat Greyhaven These sung parts, which try to slow down the chaos, are a little ingratiating and, with the wrong dosage, they unduly domesticate the nature of the aggressive number. In the alternating structured contrast of wonderfully rushing chaos and latently banal widescreen hook, the songwriting as a whole therefore has an overly calculated feeling. Nevertheless: the individual segments with their fat sound are already convincing – in a sense they are even an increase in the virtues of the previous creative zenith Empty Black and the good successor This Bright and Beautiful World.
Weil Greyhaven The installed MO of rapid riffs and slower tempo in the chorus then follows through almost formulaically and both in Confined Collapse, as well as in the shooting The Welcome Party When they offer their powerful Metalcore, which is dizzyingly full of explosive riffs, to the poppy choruses, the result is less exciting in its predictability than it would actually be possible, despite the energetic performance of the thoroughly competent epigone.
At the latest when Sick and Lavish runs the autopilot more smoothly and An Inverse Self-Reflection the mechanisms are reversed, created a much more harmonious overall picture in a more calm manner, deepened Stereo Grief the captivating potential of a band that has adapted its sound with such self-assured determination that adorning it with someone else’s feathers also works on the big stage – but they sometimes simply make it a little too easy for themselves (and the listeners) over the course of 17 minutes. Rounded up, that still means:
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