Patrick Alberts: Backup vocals, Guitars
Gordon Koch: Drums
Austin Michel: Backup vocals, Bass
Taylor Williams: Vocals, Guitars
Jon Parkin: Additional Vocals on "In Time" and "The Great Destroyer".
Joey Toscano: Guitar solo on "An End With No Beginning".
Recorded by Andy Paterson at Counterpoint Studios, Salt Lake City, UT.
Mixed by Benny Grotto at Mad Oak Studios, Allston, MA.
Mastered by Chris Gooseman at Baseline Audio, Ann Arbor, MI.
Layout and Design by Seldon Hunt.
Crushing Denver, CO post-metal quartet Black Sleep of Kali patch generous shards of Mastodon and Baroness together to form a mammoth eight-track offering entitled OUR SLOW DECAY. Providing a bevy of Orange Amplifier crush, dexterity-ridden percussion, and contorted screaming group vocals, this unit displays a predilection for sludge metal tempos and tones a la Torche while keeping the overall atmosphere oppressive much like High on Fire or Black Cobra (“Eulogy”). Churning out bombastic low-end dominance with harsh Hesher overtones, Black Sleep of Kali do an admirable job of using their influences as a foundation and not a crux for their sonically serrated sound.
Once again Small Stone Records demonstrate their ability for releasing albums that actually do not fit the rest of the label program. BLACK SLEEP OF KALI have virtually nothing in common with 1970's heavy rock, although they also prefer huge riffs. 'Our Slow Decay' has its roots more in late 1980's hardcore punk, especially bands from Dischord Records as, for example, Fugazi, Rites Of Spring or Soulside comes to mind in this context. This is especially due to the vocals of guitarist Taylor Williams, but it is also the same sort of dynamics and structures that evoke this association. An indicator for this is, for example, 'Eulogy' which cannot deny its very close relationship to Fugazi. Nevertheless, BLACK SLEEP OF KALI have a significantly fatter and heavier guitar tone. Naturally, that equally applies to the bass as well.
But they are also specialized in constructing massive landscapes made of riffs, but it should not go unnoticed that drummer Gordon Koch is playing a great part during the process. His precise style is powerful and full of life and it's pure pleasure to listen to this human whirlwind. Suitably to the prophetic album title, here are also plenty of apocalyptic moments where BLACK SLEEP OF KALI are coming closer to mid-1990's Neurosis. Well, it's definitely not easy to describe this sonic assault. There is so much to discover here; that is and remains exciting, a truly homogeneous and organic combination. 'The Crow and The Snake' displays the band's abilities to rock out as energetic as possible, whereas 'In Time' builds and builds, and unleashes with a frightening amount of fury for the beginning. It is the only song with an epic structure, clocking in at 8:23 minutes, but otherwise the tracks lasting 5 minutes on average.
But even if no catchy tune reveals itself easily to us, the high number of melodies and the abrasive parts are tightly interwoven so that it is possible to get an easier access to the fascinating heavy world of BLACK SLEEP OF KALI. I therefore also think it is important to ensure that you almost need to be "in a state of mind" to appreciate the beauty here. I also think the album is best heard start to finish. It allows the listener to really lose themselves in the crushing sound. Worth mentioning is also the work of Chris Gooseman, who mastered 'Our Slow Decay'. In co-operation with Benny Brotto, they have managed to give this album a colossal sonic dimension. The sound is really huge, but at the same time extremely down-to-earth. 'Our Slow Decay is one of those albums that is meant to create an atmosphere that you can easily get lost too. This album is a showcase of blending in DC-styled hardcore punk, sludge, doom, and progressive metal all into one. If this is the kind of heavy crunching sound that appeals to you, then you should give a chance to this young and promising band.
Life is too short for intros. I like how the first song “There Is Nothing” just comes crashing in. Full band with vocals and totally pissed off sounding. Perfect when you need to annoy the neighbors RIGHT NOW! Black Sleep Of Kali is a loud 4 piece from Denver that play in a vein similar to Torche or Baroness but with a bit more aggro. The riffs are intense but very catchy and there are some vocal parts for everyone to scream along to.
For a band that’s only been around for about 2 years these guys are very tight. The songs are mainly mid tempo-ish but contain plenty of left hand turns to keep your interest. Killer drum fills abound and the guitar/bass tones are massive. Lyrically they keep it pretty lean and mean. With sonnets like “we will all be forgotten in the end” (from “The Great Destroyer”) you don’t need to say much more than that. Faster ones like “The Crow and The Snake” really pummel the senses and would sound great blasting in the car as you drive off a cliff. Once they dig up your body they can play “Eulogy” at your funeral.
If you like it loud, negative and heavy then Our Slow Decay is right up your alley. And with a cool sleeve from everyone’s favorite tall Australian artist Seldon Hunt you can’t go wrong.
If you’re into Torche, Baroness, Harvey Milk or the Melvins—especially their most recent output—then Black Sleep of Kali is your new band. BsoK takes elements from all the above in their accessible, progressive take on sludge metal.
“Eulogy” has a drum solo reminiscent of the dual-drum work of modern-day Melvins, albeit with just one man pounding the skins. “The Great Destroyer” is an epic journey where crunchy sludge riffs abound. The album is mostly slow-to-mid-paced, with second track “The Crow and the Snake” being the only real fast-paced number.
The Melvins seem like the biggest influence from the drum work to the (occasional) vocal harmonies to even some of the phrasing and guitar playing. But far from being ripoffs, Black Sleep of Kali carves out its own niche with this impressive debut. Two bongs up!
- Gruesome Greg
Listening to Our Slow Decay, Black Sleep of Kali's latest effort, calls to mind easy comparisons to Torche because of the heavy melodicism and aggressive vocals, while the progressive structures and densely layered, expansive guitar work recall mid-era Isis. Rather than clutter the songwriting by hitting the listener with as many riffs and sounds as possible in a small space, Black Sleep wisely makes excellent use of dynamics, opening each song up and allowing the band to strike with a palpable intensity that otherwise gets lost amid pointless exercises in throwaway volume. The result is an album that is tuneful yet punishing, informed by a cinematically dark imagination.
- Tom Murphy
Summary: Catchiness and sludge combine.
One of the things I love about music is the endless possibility of always being able to find something new that you’re going to enjoy. There’s no limit to the quality you can discover as long as you have the means to find it. That’s what I love about a local record shop; they carry all your favorite major releases along with some underground material that they think you will enjoy. It was because of a record store that I was able to find Our Slow Decay. The band formed in Colorado a few years ago and plays sludge like a handful of other metal bands right now. However, there’s enough original material here to make a name for them.
Let’s just get this out of the way: this album is all about the riffs. There isn’t one that you will hear for more than a couple of minutes, and there aren’t any that don’t fit well within the context of the songs. The rest of the instruments are built around the guitar; the drums usually follow a pattern rhythmically similar to the played riffs to create an almost hypnotic effect for the listener, submerging you even further into the songs. The bass contributes to the overall crunchy sound you get from the band, but as far as individual notes go there aren’t any that stand out here. As the tracks transition from one section to another (which is done quite often on this record since the band doesn’t like to dwell on one sound for too long), there is never an awkward moment that will make you shake your head in disgust. It flows together extremely well without slowing down for a moment. Toward the end of the album you might notice a similar song structure throughout but ultimately it doesn’t distract from the quality of the material offered here.
The subject matter focuses on the human purpose and beyond with a slightly philosophical approach. Lyrically the album is anything but substandard; however, the way it’s delivered may lead you to believe it’s fairly simple in nature. Although the lyrics are well written, there isn’t a lot of variation within individual tracks since the band likes to repeat them; however, it doesn’t distract from how effective they become when they’re delivered. You’ll find yourself shouting along with the vocals because they’re extremely catchy and likeable. There is really only one style of delivery: yelling. It fits the music well enough in this debut, but in the future it would be interesting to see if it can be switched up with other styles as well. However, because of the likability of the vocal style and the sludgy riffs, I can see this being a favorite of resident drunks in no time at all. And the band argues that you better be doing something irresponsible when listening to the album:
“When my body is laid to rest
Please remember I tried my best
And in the end I’m only flesh
And I fucked up like all the rest of you.”
Our Slow Decay (Small Stone, 2010) begins all in: full band plus vocals. The lack of introductory niceties is bold. Even bolder are the vocals – sung, forward, melodic. What American sludge metal has worked towards for the past decade has crested and broken.
“There Is Nothing”
Singing is just part of it. The whole picture is that American bands have learned that tuning down and playing slow need not be an abject endeavor. I used to think that Eyehategod were the be-all and end-all of sludge metal. And they still are, if sludge means (a) channeling Black Flag, Black Sabbath, and Melvins; and (b) being miserable. But so many bands have chipped away at this definition that it’s now incomplete. Their names are familiar: Mastodon, Kylesa, Baroness, Torche, Isis. They’ve taken once-miserable (in a good way) music, and added colors and textures so that it’s no longer miserable.
This is not to say that sludge is now happy-land. Kylesa’s Static Tensions, for example, is musically bright but lyrically dark. Our Slow Decay quivers with mortality; it states that not only is there “no happily ever after”, “Death is the only moment we are fated for”. But it’s far removed from Eyehategod, who often sound like they’re either diving into coffins or clawing their way out of them. Black Sleep of Kali have their feet on the ground. They’re just men making their way in this world.
“The Great Destroyer”
They’re also self-aware men. Our Slow Decay lacks the exploratory quality of Isis’ and Kylesa’s careers, which have occurred via incremental change. This record is crisp, catchy, and so neatly wrapped, it’s paced for vinyl, four songs to a side. I’d guess that these guys listened to Kylesa and Torche records, learned their lessons, and thus avoided whatever growing pains those bands underwent.
Which is fine. Too many bands put out too many releases now; it’s refreshing to hear a band whose songwriting skills match its business acumen. Black Sleep of Kali know what they’re doing. They’re taking sludge metal into the next decade. Our Slow Decay is a smart summation of where it’s at now.
- Cosmo Lee
One of Small Stone Recordings’ newest signings, Denver’s BLACK SLEEP OF KALI is a gnashy-fanged, two-headed beast, and they bring a decidedly more malefic edge to the label’s usual roster of retro-stoner suspects. The band’s first full-length, Our Slow Decay, constantly balances a tightrope between pronounced shades of Times Of Grace-era post-apocalypso, and modern-era thrash gallop on a par with Baroness, Bison, or High on Fire. As well, occasionally, the kind of vocal harmony work pops up that wouldn’t be out of place on an early ‘90s Dischord album – and holding the whole thing down, one hell of a masterful drummer in the drunken-fisted Gordon Koch. The band’s equally at home tossing around monolithic lightning bolts of slab-dirge as they are trotting through bone-jarring warhorse crunch, and Our Slow Decay is tempered with each equally.
“There Is Nothing” is the white-knuckled opener – a gnarled and bruising slab of Bataan-death-march; those harmonized vocals really leap out at the listener as the song plays out, running the gamut of sludgy influences. Spiraling into a throttling Neuro-jam halfway through, the song is one fierce first impression, and kept me severely interested in what they’d come up with next.
“The Crow and The Snake” follows and though musically the song’s steeped somewhat strongly in Baroness-isms, it’s still a thundering slab of battle-ready sludge that gives no quarter. And again, the fantastic vocals of Taylor Williams and Koch’s stand-alone drumming knock it out of the park for me. “In Time” plays out like Black Cobra with dual-part harmony vocals. “Eulogy” lays riffs down thick like a bed of hot road-tar. “Big Sky” brings a hefty jam into the proceedings, surely the most ‘stoner’-y of the tracks and it’s nice to hear the band sort of let it play fast and loose for once, because everything else on the disc is so teeth-grindingly precise; of course, it (d)evolves into more sky-splitting wallop in short order.
There’s really no filler to be found here; all of the tracks are knockouts. And though the opener is the album’s high note for me, the rest of the disc plays out very well, deftly straddling that slow/heavy, fast/heavy dichotomy. The band have done an impressive job of adopting the two aforementioned genres, and have come up with something, though at times derivative, still memorable enough to be worthy of your attention. I won’t argue that sometimes the band’s influences are definitely worn on their collective sleeve, but ultimately the songwriting on Our Slow Decay is strong enough to render that a moot point after a while.
8.5 / 10
- Kyle Harcott
With their 2010 debut album, Our Slow Decay, Denver, Colorado's Black Sleep of Kali cast themselves into the crowded fray of post-modern metal bands like Baroness, Torche, Black Cobra and Mastodon, whose fusion of finessed musicianship and bruising violence, primal sludge and progressive complexity, hardcore and metal has arguably become the entire metal genre's leading-edge niche at the start of the ‘10s. And there's certainly no denying that these influences frequently loom large in Black Sleep of Kali's rearview mirrors, because there's just too much Mastodon spread across the epic "In Time," lots of Black Cobra studding the serrated semi-thrashing of "There is Nothing," and plenty of Torche in the omnipresent shouted vocals (and occasional vocal harmonies!) heard throughout. Luckily for the Denver-based group, not even their evident debt to these style-defining forefathers can taint their unquestionable musical ability, nor compromise particularly enjoyable efforts like the briskly galloping "The Crow and the Snake," the mean staccato riffed "The Great Destroyer," and the doom and stoner undertows displayed by "Big Sky." Which is to say, there is abundant individual promise nestled within Black Sleep of Kali's familiar frameworks, and this just places the onus upon them to carve increasingly distinctive material out of the monolithic granite building blocks quarried by others who came before.
- Eduardo Rivadavia
Black Sleep Of Kali (aka BSOK) also brings a sense of chaos to what they do but instead of ramping up the destruction they lay it into a solid groove. Part High On Fire, part Slayer then adding their own dash of this and that Black Sleep Of Kali are another band pushing what groove or stonerrock is into the next wave.
The days of slow stoned grooves are being replaced with a sense of anger and urgency, as if all the stoners found out their stash was gone and got pissed. BSOK’s new album Our Slow Decay is testament to what can be done with groove Sabbath inspired rock when the right people are involved.
Often when a band decides to follow a Sabbath track they abandon all other forms of metal in order to try and write Masters Of Reality II or their own version of a Sabbath record. BSOK are fully aware they have a Sabbath tint so to offset that they bring in elements of thrash metal. It all follows the same musical track but the push/pull of the two styles gives Our Slow Decay a three dimensional depth that a lot of bands in this genre lose. BSOK also knows how to write really cool riffs and then beat the shit out of them.
Much like High On Fire the true secret of BSOK is their drummer who elevates each song into something completely different. A song like “The Crow And The Snake” revolves around a riff that it would be so easy to just lay into with a groove beat. Instead the drums are everywhere, playing weird patterns, off times and fills that sound like they should fail but don’t. It’s not that the drummer (referred to as Gordon) over plays, it’s more that he’s decided to be another guitar in drum form. The grooves are there but so are the notes and solos and all that which is usually left for only the six string.
Our Slow Decay is a record largely shaped by the bands ability to manipulate the low end. This isn’t just bass heavy low end BSOK stake out a territory where everyone adds an ingredient to the low-end stew. The guitars aren’t just heavy they are harshly fuzzed out and scratchy. The bass has it’s own gritty sound to it that calls up images of the strings being so loose the swing off the body. Even the drums seem tuned particularly low and thick. Using that mixture Our Slow Decay has the feeling of a drunken blackout, or at least that fuzzy head you get during the next day’s hang over.
The one Achilles Heel to the album is that the songs tend to go on a little longer than they should. Most bands, even the masters in this genre, tend to get carried away with the "jamming” element when in reality they should get in and get out. A few of the songs here could have been shaved by a minute or more but how do you fault a band for going too long when their whole genre is guilty of it? Black Sleep Of Kali is a great band who combine heavy groove rock with elements of thrash and that kicks ass. If they could rein in the songs a bit they’d be almost unstoppable.
CRAVEONLINE RATING 8 OUT OF 10
- Iann Robinson
Small Stone Recordings are a bit like a good and trusted friend for the most part; you know you can rely on them to deliver some quality kick ass rock and roll that have you shaking your bootie and chugging back the beers with wild abandon. Occasionally though they will hit you with a mood swing that goes against all expectations. Black Sleep of Kali are one such mood swing, fortunately this is one that'll leave you beaming from ear to ear while you pummel your fist to a pulp against a brick wall.
Black Sleep of Kali are an ugly yet beautiful proposition that draw on influences with a darker hue than most of their Small Stone contemporaries. This is by no means retro rock and sits firmly in the modern day looking to bands such as Baroness, Mastodon and High on Fire with one eye on the up and coming stoner doom scene of bands like Black Pyramid and Elder. Pulverising, uncompromising and aggressive on the one hand, BSOK pile granite hard riffs onto each other propelled along with an animalistic rhythm and capped off with a coruscating vocal approach that sounds like a juggernaut scraping along a cliff side!!! That said there is a deep rooted sense of melody and beauty at the heart of all these songs that elevates this album to a higher spiritual level than a lot of bands of this ilk. When the band break into the "when my body's laid to rest" refrain in the track "Euology" there is a sense of dignity and majesty that tempers the heaviness and the layered vocals show there is more to this band than the desire to crush heads. That said the guttural yells that herald "In Time" would have you believing that vocalist Taylor is on the verging of vomiting up a lung!!!
There are no high points on this album, instead it reaches a plateau of greatness and sits there on a pile of skulls surveying the bloody mess below. Each song is a carefully woven collection of big riffs that flow seamlessly from one to another with consummate ease. Density gives way to space as the band display it's possible to leave out as much as you put in to create true heaviness. The initial impact of this album is like being hit by a fucking huge boulder but keep listening and it becomes apparent that, scratch the surface of the boulder and you will find gold. Those wanting to throw back a couple of Budweiser's and watch girls shaking their things may want to look elsewhere but those wanting to hold aloft a goblet of mead and worship thee unholy power of thee riffe may well want to give this a listen.
I never would have imagined that American postpunk would be an influence on today’s underground metal bands, but there it is. (Considering that the DC scene that spawned American postpunk back in the 80s also hosted stoner rock innovator the Obsessed, I shouldn’t be surprised. Ian MacKaye worshipped Obsessed leader Wino and J. Robbins of Jawbox produces stoner and heavy rock bands all the time.) On Our Slow Decay, the debut full-length from Denver’s Black Sheep of Kali, strains of Fugazi and Jawbox run as deep as those of Cathedral and Neurosis. Like all of the bands just mentioned, BSoK keeps a firm grip on melody, even if it’s just to hold it down while giving it a good pummeling. Frontbeast Taylor Williams can shout and roar with the best of ‘em, but keeps his vocal exhortations within the realm of articulation. Big Sky, The Crow and the Snake and Eulogy bash and crash, crunch and munch, but always with an eye toward accessibility, or at least as close to it as a band whose name invokes the Hindu goddess of eternal energy can be. Harsh, dissonant, imaginative and strangely catchy, Black Sheep of Kali could easily be the face of contemporary metal.
- Michael Toland
The word that usually gets tossed around for the kind of music Denver, Colorado’s Black Sleep of Kali play is “apocalyptic,” and true enough, the first lyrics that show up on their Small Stone Records debut, Our Slow Decay, are “there is nothing to make it all better.” The crunching riffage and progressive angularity of the opening track, “There is Nothing” sets the tone to follow, and though we can all throw back our heads and exclaim how tired we are of post-metal, Black Sleep of Kali inject enough melody into their songwriting, particularly in the vocals of guitarist Taylor Williams, who founded the band after moving to Salt Lake City, to come out of it without sounding overly redundant.
If the phrases you picked out of that last paragraph were “Salt Lake City” and “Small Stone Records,” then you’re probably thinking of the band Iota, and indeed there is a connection. Andy Patterson from Iota recorded Our Slow Decay (he also recorded Iota’s excellent Small Stone debut, Tales), and Iota’s Joey Toscano donates a guitar solo to the Black Sleep of Kali cause. Joining Williams in the band are drummer Gordon Koch, heavy of hit, fleet of foot and large of sound, guitarist/backing vocalist Patrick Alberts, thick of tone, and bassist Austin Michel, lost of mix. Or lost in mix, rather. The guitars of Williams and Alberts, run though Orange heads and cabs, are practically a low end in and of themselves. As the bassist said when mixing, “More bass, please.”
Unlike a lot of today’s Orange-hued recordings, each twist and turn in the playing of Williams and Alberts is audible in the guitar, which makes me wonder just how much Patterson or Mad Oak Studios’ Benny Grotto, who mixed, had to compress them to make that possible. Nonetheless, the material on Our Slow Decay doesn’t sound unnatural, or at least anymore than it should for being what it is musically. For those looking for a comparison point within the label’s roster, Obiat is closer than Iota, though Black Sleep of Kali forgo any of Obiat’s quirky tendencies to keep their songs straightforward in a post-metal kind of way, the aforementioned vocal melody showing up quick in the style of Torche on “There is Nothing” and continuing through the album, making that track as well as “Eulogy” and “Big Sky” among the highlights of Our Slow Decay, although admittedly, the latter is much helped as well by a guitar solo rested on top of insistent Mastodon-type riffing that is a welcome change of pace late in the set.
Although about three minutes in, “Cries of the Crow” has one of Our Slow Decay’s most effective vocal arrangements, the second half of the record doesn’t seem to land as hard as did the first, and even with Toscano’s guest appearance on “An End with No Beginning,” the track lags as the albums’ closer. Compared to the eight-plus minutes of “In Time,” which rounded out Side A, there’s no contest which is the stronger piece. I’m not going to tell Black Sleep of Kali they need a gimmick or some ridiculous sonic twist, but by the time “An End with No Beginning” rolls around, they’ve well established all their musical tactics, and just where an ace up the proverbial sleeve would most push Our Slow Decay to a next-level listening experience, it doesn’t come. That doesn’t mean Black Sleep of Kali’s first is in any way unsatisfying (though I could really use some more bass – I wonder if it isn’t the headphones I’m hearing it through), just that I’d like to see the band push themselves further creatively the next go around.
Inevitably, that’s a ways off, and Our Slow Decay still creates and revels in an oppressive and completely-formed atmosphere, contrasting musical bleakness with rich singing that I can only imagine will become even more an integral part of Black Sleep of Kali’s sound with time on stage and the ensuing confidence built from it. As a debut, Our Slow Decay hits heavy and is bound to be well-received, but I suspect that its appeal will grow with time and repeat listens as the subtleties reveal themselves further. It’s probably not a landmark in its genre – those seem to come from bands whose name ends in “-sis” – but it’s an album I’m looking forward to getting to know more, as Black Sleep of Kali feel like the kind of band who have as much to offer in return as anyone is willing to put into listening.
- H.P. Taskmaster
An epic sludge album. Is there such a thing? Very well could be with the latest album by Denver’s own Black Sleep of Kali. After putting out one Ep a while back they were signed to Small Stone Records and began recording their debut full length. Like Blackwolfgoat, Blake Sleep of Kali are a step away from the typical 70′s inspired hard/classic rock that Small Stone artists are known for. It’s a step in a different but good direction for the label.
The album starts off with the ever quick, loud, heavy and sometimes doomy “There is Nothing.” The song sets the pace for the rest of the album. The next song, “The Crow and the Snake” is a bit thrashy in a non thrash way. Don’t expect Megadeth or Anthrax thrash, you won’t find that here. “In Time” is the longest track clocking in at just under eight and a half minutes is a mix of slow doom then speeds up a bit and then slows down. There’s even a bit of sludge throughout the song. It’s an epic song within itself. “The Great Destroyer” is as about a doomy as they can get. “An End With No Begginning” closes the album out just as it starts, heavy, doomy and leaving you craving more. Just hit repeat, problem solved.
Personally I was never huge into the sludge or doom portion of the “stoner rock” genre. That has since changed due to this album. It has a bit of everything, doom, sludge, metal, thrash and rock. It can be considered a bit of everything. This is a great debut and on Small Stone none the less. Here’s hoping that we see a few more releases like this not only from Black Sleep of Kalhi but Small Stone as well.
Our Slow Decay is due out August 23rd on Small Stone Records. You can pre-order your copy today.
I haven't written a feature in a while, but there have been a few events that have forced this band to my attention as of late and so I feel the need to rave about them a bit.
What events, you say? Well, a couple of weeks ago I read about Black Sleep of Kali on the Small Stone website, boasting their sound as "a 200 ton monolith emanating riffs of doom causing all who approach it to bang their heads into epic rock oblivion." Obviously my attention was grabbed, and so I got ahold of their first self-titled effort and jammed it out, then a week or so later serendipitously received an e-mail from Black Sleep of Kali urging me to check out their band (done and done!), along with a copy of their upcoming Small Stone release, "Our Slow Decay," which will be released on August 24th on the label.
After listening to "Our Slow Decay", I can safely say... this is a band that deserves your attention. This is a truly addictive release, and kind of sounds something like an unholy lovechild of Isis and Big Business - massive riffs, rocking catchiness and post-metal aesthetics and influence minus the monotony that can sometimes come with it. The other thing I love about this band? The fact that they came about thanks to a classified ad on the stonerrock.com message boards. I can safely say (without a hint of sarcasm) that coming to learn this fact has made me respect BSOK even more - commitment and music nerdery always makes for the best written tunes. I'm not going to be a spoilsport by leaking this since it's not out for another month, but mark your calendars and keep an eye out for this band... and in the meantime, hit up their myspace and listen to some of their tracks, including a rager from their upcoming release called "The Crow and the Snake".
Debut album from Denver’s Black Sleep of Kali, which, despite its name, is a furious force of sludge metal devilry that’s more whack-a-mole doom than it is a slumbering death crawl. And it’s no easy feat keeping up that kind of eternal energy with an average run time of six minutes for the eight songs laid down here, but I suppose anything is possible when you’re drawing your annihilation inspiration from a dark and violent goddess. Right, so it all rolls heavily along like an avalanche of Baroness worship, but the sonic assault of Our Slow decay isn’t without its groovy riffs, hardcore fluctuations, and punk metal aesthetics either, which makes for a fairly dynamic, anarchic listen that will not only knock your walls down but will piss on your rug, too. Definitely a big-balled gut bucket of bubbling black action, this one.
- Jeff Warren