Side One, or the Edward Sol side of the album features five tracks ranging in length from just over two minutes (Faced Grey Amalgamme) to almost seven minutes (Go Tactil). After the ambient intro that is Faced Grey Amalgamme, sol follows it up with the more industrial sounds of Short Harvest which features mechanical pneumatic beats, topped off with more samples and electronic synth sounds, whilst Go Tactil starts off quietly before a big helicopter-like synth sounds takes centre stage. The track fades in and out, moving between the noisier industrial sounds and the floaty ambient synth drones. Spiderweb follows up with more ambient drones and found sound samples before the noisy and glitchy Grey After All brings the first side of the album to a close.

Side Two gets underway with Solid Food, and we are immediately aware of the harsher and slightly more oppressive sound provided by Brume. Whilst the track does drop out into floaty ambient territory at times there is a greater focus on distorted electronic drones. Scoured Membrane is up next, this short drone piece doesn’t really develop too much before it reaches the end. Doldrums State is a more experimental sounding track that takes us a little farther out into the ether. It’s a glitchy, ambient drone that uses found sounds and manipulated samples to great effect. Cosmonaut Toilet is perhaps my favourite track, an ambient, electronic, psychedelic drone that reminds me a little bit of Detroit noisers Demons who featured Nate Young of Wolf Eyes in their ranks, alongside Steve Kenney and Alivia Zivich. Much like the music Demons recorded for their Frozen Fog album, this has that creepy horror movie soundtrack vibe down to a tee. Our final track Rotting Flesh Ornament follows with yet more oppressively dark ambient electronica that sounds like the soundtrack to a late 1970s horror movie sleazefest. My only criticism of the track is that I wish it were longer…fantastic stuff!

Grey is a very pleasant slab of dark ambient, industrial electronica. My personal favourites are the final two tracks on side two (Cosmonaut Toilet & Rotting Flesh ornament) both of which encapsulate the sound you would expect to hear on the soundtrack to a sleazy, low budget 1970s horror movie. The standard of music available here is very high, and whilst some tracks barely get going before they’re over, those that are fully realised are very strong indeed. I would really like to hear some of the shorter tracks expanded and further developed into six or seven minutes songs, however it must be said this is still a good record that with that little further development could have been a great record.