01. Prelude : Evening Star
02. Shatter And Burst
03. Show Me Where You Are
04. Burn A Miracle
05. Where The Light Leaves Us
06. Night In October
07. Technicolor Blues
08. Satellite In Love
09. From The Backseat Of A Moving Car
10. Diamond To Diamond
11. Cemetery Sun

Sometimes what hardcore needs is a balance between choruses and frenzy.

While Greyhaven have been around and even released one album (Cult America) before The Dillinger Escape Plan disbanded, it seems like they coincidentally found their footing and their niche when that huge hole was left in the mathcore world. I'm very reticent to call Greyhaven a mathcore band, considering how much they lean into the less chaotic and heavy part of that sound, but the shared DNA always felt too big to ignore even if Greyhaven don't exactly feel like a clone or a replacement either.

When I found out that Greyhaven opened Better Lovers' recent tour (that I sadly didn't get to attend, sorry), it made a lot of sense. That already felt like a step away from mathcore, partly because of how the southern affectations of Every Time I Die crept their way in, and these are affectations that were and still are part of Greyhaven as well. This time around they even have a song that goes all in on the bluesier side of it with "Technicolor Blues", acoustic guitar and all, and somehow it isn't at odds with the more hardcore focused side.

So what I meant by the "balance between choruses and frenzy" is that comparisons to other bands aside, Greyhaven core sound is a post-hardcore/metalcore one that is able to easily bend towards both harsher mathcore moments and more accessible alt-rock infused chorus-heavy moments. It's the latter that seem to leave quite a lasting impression on Keep It Quiet, not just because choruses are almost by default memorable (and they sound tailor made for live impact), but because Brent Mills gets to channel both Greg Puciato and Trent Reznor, the latter making the album's intro feel like you accidentally started a Nine Inch Nails one instead, but also keeps showing up at different points in the record (see "Diamond To Diamond"). Vocals aside, the production does a really good job of giving the bass quite a bit of punch, something that made it feel like a highlight to me.

Keep It Quiet is, as melodic and accessible as it is, far from a quiet record. It's not the loudest either. It's more of a thing of balance, and one that's adamant about leaving at least a few melodies in your head.