Alright, let’s dive into The Greys by The Greys—a wild ride that’s kinda hard to pin down but impossible to forget. Released in 2018 out of the US, this album is like a chaotic love letter to every genre you can think of: punk, post-rock, deathrock, noise, space rock, prog rock, avant-garde, krautrock, art rock, experimental, doom metal—you name it. It’s all over the place, but somehow it works. Labels Slave Records and Greys Records clearly knew they had something special here.
First off, kudos to the crew behind the scenes: Jed Bindeman on drums keeping things punchy, Birch Cooper shredding his guitar like he’s got something to prove, Barbara Kinzle’s vocals adding layers of raw emotion, and Pete Gendron mixing it all together into one big sonic beast. These folks didn’t just make music—they made an experience.
Now, onto the tracks. There are five total, but I’m gonna focus on two that stuck with me because, honestly, my brain couldn’t handle all the madness at once.
“Bad Leg” kicks things off with a bang—or more like a screech. This track feels like being thrown into a blender set to “chaos.” The drums hit so hard they almost feel industrial, while the guitar spirals out of control like it's trying to escape its own riffs. And then there’s Barbara’s voice—it’s haunting, distant, yet totally commanding. You don’t know whether to dance or cry, but either way, you’re hooked. What makes “Bad Leg” memorable for me is how unpredictable it feels. Just when you think you’ve figured it out, BAM—some new layer pops up, like a synth line sneaking in from another dimension. By the end, you’re left wondering what just happened, but damn, you want more.
Then there’s “Sanctum Sanctorum,” which hits different. If “Bad Leg” is chaos, this one’s more like staring at the void while the void stares back. It starts slow, almost meditative, with these droning tones that pull you in deep. But don’t get too comfy—the calm doesn’t last long. Around the halfway mark, everything explodes into this massive wall of sound. It’s heavy as hell, both emotionally and sonically, like listening to the apocalypse through headphones. I remember this track because it feels cinematic—like it should be playing during some epic scene where the hero realizes their fate. Or maybe when they realize there’s no hope left. Either way, it’s intense.
The rest of the album keeps the energy high (or low, depending on your mood). Tracks like “The Conjunction Event” and “Deathless” keep pushing boundaries, blending genres in ways that shouldn’t work but totally do. And “Untitled”? Well, that one speaks for itself—or maybe it doesn’t. Who knows?
So yeah, The Greys isn’t for everyone. If you’re looking for easy listening or predictable beats, this ain’t it. But if you’re into music that challenges you, messes with your head, and leaves you feeling slightly unhinged, give it a shot. Honestly, after listening to this, I kinda felt like I’d been run over by a spaceship driven by punk rockers. And weirdly enough, I mean that as a compliment.
Final thought? Listening to The Greys feels like stepping into someone else’s fever dream—and honestly, I kinda wanna go back for round two. Maybe bring snacks next time though.
