The release takes in ten track in all, and these last between just over the two minute mark to nearing the ten minute mark.  And each track is a unsettling & nightmarish sonic soup of Zahra Mani's psycho-ambient textures, which bring together electronics, field recordings, bass & guitar textures. Mia Zabelka's scuttling, slowly brooding, and lo-fi sound-scaping, which brings together elements of violin, electronics & processed vocals. And Lydia Lunch’s aged, cigarette croaked & chilling spoken word vocals.

All of the tracks flow in a fairly slow, languished, and unwell pace, with each been as unsettling as each other. The main players here are really Mani & Zabelka, with Lunch drifting in ever so often to add an extra layer of unsettle-ment with fairly vague yet highly effective texts about troubled relationships, unbalanced minds, doomed trips, and abandoned places.

So “Medusa’s Bed” is a rather effective trip into a hazed, unwell, and nightmarish sonic otherworld that’s diseased & depraved, yet oddly entrancing & compelling too.