I find it fascinating the reactions people have when a band takes off in popularity.  Some celebrate it, some pretend it’s the second coming of Jesus or something, and then other people hate on the band, throw around the word “over-hyped”, and offer their negative opinions on every social media post they can.  I’m not sure why this happens.  And, of course, Sleep Token is the latest band to achieve some pretty impressive feats, and one of them could literally be Jesus or Zeus or Buddha and we would never know since they all wear masks continually.  But that adds to the mystery, right?  The band’s new album is called Take Me Back to Eden, and it released on May 19^th through Spinefarm Records. 

I’m sure other labels are going to be fighting over this band soon enough.  The band hails from London, but that’s honestly all we know about them.  They sort of have the whole Mushroomhead, Slipknot, and GWAR schtick with the masks and personas, but I personally find Sleep Token’s version more alluring and palatable.  They truly do hold some measure of mystery, and I find it so attractive.  Their lore goes beyond costumes, though, as they paint a story of being agents of a being called Sleep, and the vocalist is sort of like the priest, going by the name Vessel.  There’s another member called II, I think, but I honestly don’t even know how many people are in the band. 

What I find most satisfying about this band is their musical style, though.  People have been in a frenzy trying to label them, but I honestly don’t think it’s worth the time.  The band deftly and smoothly combines modern autotuned pop music with metal of the djent and death varieties.  They never overdo any one element, though, which I think is why I like them.  And even though autotune isn’t my thing, it really does lend itself to their persona here, and maybe my son has been listening to Imagine Dragons too much around me lately, so I’m used to it.

Some might write this style off as a gimmick, but I really don’t think it is.  There are some indications of deeply skilled writing here.  Maybe it’s the loud-quiet dynamics that they use to incredible effect, or maybe it’s the simple yet highly impactful keyboard lines, or the djenty but not annoying riffs; everything just screams to me that these people know exactly what they’re doing and they manipulate their audience like a hypnotist.  Their “worship” services are yet another aspect of their lore, and yet the music is anything but theater or smoke and mirrors.  There are genuinely amazing melodies, transitions, and performances here.

Take Me Back to Eden is one of those albums that you forget just how good it is until you hear it again.  It has 12 tracks, and by the time I hit track 6, I am just shaking my head about how good it can be.  I’ve even tried to decide which half of the album is better, but it is an extremely consistent work.  It’s great all the way through.

“Vore” is the first song I heard, and I instantly liked the combination of the subtle vocal harmonies with the more extreme metal elements.  The riffs aren’t overbearing, but they have meat.  Then I heard “The Summoning” with its intense drumming, second half ambient interlude, and truly soulful vocals, and I was sold. 

By the time I heard “Granite”, I was loving the band, but this track took it even further with its groovy-as-hell, dark pop method; it saves the metal for the climax, and the chorus is just so catchy.  I can’t get that song out of my head.  The title track was the fourth song I heard, and it is just so good.  I love the emotion on this one, not just in the outstanding chorus, but throughout the vocal performance.  It is the longest track on the album at 8 minutes, and it features several transitions that the band absolutely nails.  I can’t get enough of that track at the moment.

But the rest of the album is amazingly on par.  I adore the opener “Chokehold” with its cautious and provocative chorus; the finale really gets my blood flowing.  Another favorite is “Ascensionism” which leans into a piano melody and pop elements; it isn’t a showy song outside of a couple metal segments, but there’s something undeniably beautiful about it.  I really like “Are You Really Okay?” because it honestly sounds like a 90s alt rock ballad.  Yet another favorite is “Rain” with its bouncy riff and cinematic second half.  The chorus that climaxes at the end is truly a special one, as I get goosebumps every time I hear it.

Honestly, I think it’s time to stop arguing about bands and just be happy for the ones who see success.  Sleep Token has a fantastic sound that is relatively unique, and it will certainly stretch the brains of most metalheads who aren’t used to pop music.  Yet, it will stretch the brains of pop fans who don’t know much about metal, too.  Sleep Token is an important band in that way, and could honestly help metal gain widespread popularity again, if we play our cards right.  I guarantee that, if you can hear and appreciate this record, you’ll end up dancing a little bit in ways you never have.  It’s a different groove than I typically prefer, but it’s one that I’m really enjoying.

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