A year and a handful of months ago, British alt-rock quintet Greyhaven aroused rich praise and attention with their EP, State Of Mind. It suggested a band with the potential to become a rich part of the British heavy rock scene. Now the London hailing outfit are ready to release its successor in Breathe, an EP which maybe does not quite realise its predecessor’s promise as anticipated but only confirms thoughts that the quintet has a potent future.
Emerging in either the autumn of 2014 or early 2015 depending where you read, Greyhaven quickly whipped up local support and following through their live shows and debut EP, The Flood. The following State Of Mind, produced by Daniel Kerr (Shields, Create To Inspire, Despite my Deepest Fear), was the moment broader attention was lit, the release sparking praise and coverage with the likes of Scuzz TV and Kerrang, as well as finding a place on one of Metal Hammer’s front cover CD. Since then the band has experienced changes in its line-up and as a momentary foursome uniting once again with Kerr to record Breathe.
Truth opens the release up and quickly has attention in its grasp with a tempting shuffle of beats and a rapacious lure of riffs. It is an opening hinting at a furious expulsion but instead is followed by a calmer if still slightly volatile breath allowing the strong vocals of Sam Paterson to step forward into the already woven web of melodies. Harmonies soon wrap the frontman’s potent tones, the rhythms of drummer Connor Tate and brooding texture of Jack Hudson’s bass a dark almost portentous echo of the song’s emotional heart fuelled angst. With the guitar of Alex Hills as suggestive as it is sonically wiry, the song makes a fine introduction to the EP though for personal tastes is soon eclipsed by its companions.
When We Divide is next, bringing its own tempestuous air and drama to bear on ears and imagination. Great nagging riffs accompany Paterson’s ever tempting voice, rhythms just as thick a welcome trespass as the song mixes sharp hooks and sonic enterprise with emotive energy. Whereas its predecessor, though sounding fresh, held few surprises, the second track is rich with twists and unexpected turns which if anything it does not fully exploit.
Nevertheless, the track is a magnetic persuasion soon matched in almost similar success by the following Crows. There is rawness at its core which enjoyably contrasts the lively shimmer of keys and melody, the song evolving through mellow and crystalline climes but always one sigh away from its tempestuous instincts.
The EP’s title track brings things to an end, the song rising on a caress of keys with a jangle of guitar flanking its move into poppier rock exploits. Temptingly catchy and vocally alone magnetic, Breathe strolls along with a confident smile, its inner fire catching further along to flame with increasing intensity and attraction.
It is hard to say that the Breathe EP has managed to be as richly memorable as State Of Mind before it but it is more of a grower and with every listen impresses and increasingly satisfies and if you have an appetite for bands such as 30 Seconds To Mars, Don Broco, and Alexisonfire, it is an encounter which really should be checked out.
The Breathe EP is released January 12th through Outsider Records.
https://www.facebook.com/greyhavenuk/ https://twitter.com/greyhavenuk https://www.instagram.com/greyhavenuk/
Pete RingMaster 10/01/2017
Copyright RingMaster: MyFreeCopyright
The following Mind’s Eye tempts with a melodic enticing before its wave of adventure surges through ears; again warm and harsher textures colluding in the persuasion. As Byrne’s strings dazzle, Kelly’s voice is a magnet with the dirty throat grazing of Houston a predacious element in the fire. Swiftly the track outshines its predecessor, finding uniqueness in craft and magnetism which was a touch more latent in the song before. Its roar continues to seduce and challenge bringing a greedier appetite to the fore for the EP’s tempting before Cataclysm comes at ears from a distance with gusto and a web of sonic intrigue. The guitars cast a web of suggestiveness as rhythms prowl, the scowls of Houston lyrically and emotionally scar the senses and as keys add their grace, a Linkin Park like tempting blossoms to lace the arising metalcore tempest with further imagination; the track, as the last outshone the first, out burning the second.
The release opens with Scavengers. A steely shimmer initially coaxes ears, senses strapping riffs soon following as rhythms and guitars grumble around the plaintive vocal roar of Rob Lea. That djent styled essence is equally as swift infecting song and satisfaction, the guitars of Matt Dennison and Jonathan Prince creating a spiky attitude and touch in their emerging weave of enterprise. Strapped to the muscular grouch of Shaun Kirtland’s bass and the animosity loaded swings of drummer Mike Hill, the track is a formidable introduction to the EP; not necessarily unique but relentlessly exhilarating.
It is a craft and prowess which applies to all songs within the release to be fair, the following Darkest Hour swift confirmation as a great growling bassline from Kerton and the merciless swings of drummer Connor Tate link up with the harmonious delivery of Paterson and the emotive melodies which embrace ears. A fiery solo only adds to the imposing yet captivating drama shaping the song, again each minute a cauldron of enterprise breeding new adventures with every encounter.
The EP opens with Failsafe and immediately has ears enticed with its spicy guitar coaxing and then under siege by a wall of hungry riffs and barbarous rhythms. It is all conducted by the ferocious tones of vocalist Alex O’Leary, his searing squalls almost visibly scarring his throat as they enjoyably abrase ears. There is equally a swing to his delivery, a devilish catchiness which is even stronger in the web of fiery grooves that entangle ears and appetite amidst the rampant aggression of Paul Cashman’s rhythmic swings. The carnivorous growl of David Cleere’s bass is simply delicious in the mix as too the wonderfully nagging tapestry of metal and punk grooves and riffs cast by guitarist Chris Harte. The track is a glorious start to the release, and maybe the most virulently infectious slab of abuse heard in a long time.
The track is a fiery and eventful encounter with a nice line in unpredictability, not a trait which every song exploits as well but when they do as in the following Push Me Away, the imagination cannot help but get involved. The second track swings in on a lure of tenacious rock ‘n roll, calming down again as vocals join the bubbling affair before rising up with energy into an emotive snarl. Great backing roars and keen spirals of sonic endeavour add to the contagious tempting and presence of the song; it as its predecessor offering plenty of textures and twists to be forcibly enticed by.
Bursting from the Essex landscape in 2013, Idols Of Apathy were soon stirring up a potent local fan base, spreading further afield once they swiftly released debut single Deceiver. Its success was backed by first EP Unheard Words, which was recorded by Dan Keer. Picking up strong national and media recognition, it was the spark to the band sharing stages, to continuing acclaim, alongside the likes of Climates, Canvas, Lock & Key, Shields, Sworn In, Continents, Create to Inspire, Carcer City, and Falling With Style amongst many more. It is easy to see similar and bigger responses to the release and persuasion of Life Lessons coming up, and though it might not roar from that plateau of major originality it powerfully gives the already strong reputation of the band a new shot in the arm.