Music journalists often categorise his piano, vocal led songs as folk and singer-songwriter, but also acknowledge a harder, less generic, left of mainstream approach; No Ripcord's Simon Briercliffe writes "His voice is rich and carries on long after it's comfortable, at times far louder and more in your ear than is comfortable, leaving you hanging on every word.

US journal for improvised and progressive music 'Signal to Noise' heralded the album as "haunting folk into straight-up epic territory.

"[4] Critic Leon McDdermott (Glasgow Herald) writes "Adey channels the spirit of Smog, minus Bill Callahan's caustic take on dysfunctional relationships; elsewhere, there are hints of the late Jeff Buckley's mournful tenderness.

Mississippi: Remixed, a download only EP, featuring Kramer, A Marble Calm, Black Sheep and Sweet Billy Pilgrim was released (14.05.07).

MusicOMH garnered the album "a meticulously crafted, sparse and funereally paced soundscape on which every note seems to have to earn its place; an eerie, sweeping soundtrack of grand orchestration.

[14] The album consists of both original compositions and cover versions of Bob Dylan's "Shelter from the Storm" and Will Oldham's "I See a Darkness".

Sunday Times journalist Mark Edwards on Shelter from the Storm: "You'd have to be a fool to cover one of Dylan's best-loved songs.

[17] An initial album recording, featuring choral singers and members of the Royal Scottish National Orchestra was abandoned, due to the wrong feel and a less personal sound.

Adey worked on The Tower of Silence for several years, mostly mixing and editing early band recordings that were "laid down" in a church.

Uncut magazine cited that "Adey is clearly in thrall to the folk fatalism of Will "Bonnie Prince Billy" Oldham along with Dylan and the knotty American pre-war minstrels that inspired him.