We’ve all seen this type of progression before, but I’m not sure at this break-neck pace. We’ve all seen bands that rise out of nothing to great popularity, only to have fans finding it cool to hate them later. Sleep Token have been creating consistently good albums since their start in 2016, but the court of public opinion has been a roller coaster ride. Their new album Even in Arcadia is another example of this, which is ironic because that’s exactly what the album is about, too. It released on May 9th through RCA Records.
I imagine the weight of gatekeepers’ hate contrasted with over-hyped fans must be quite heavy for any band. It could make you want to hide, to disappear, just like the flamingo on the album cover. I remember hearing the same from grunge bands in the 90’s, like Nirvana and Alice in Chains, bands who never wanted to be famous but they were sort of swept up into it. That’s exactly where Vessel (vocals, guitars, bass, keys, synth) and II (drums) find themselves. They’ve also brought saxophonist Gabi Rose along for the ride this time.
Even in Arcadia is a fascinating album. It’s more reserved, reflective, and introspective than Take Me Back to Eden, but there’s more texture and nuance, too. The lyrics are just as emotional but also feel less gimmicky and more personal. The music is heavy at times and rolls with R&B and pop in others, but it all makes sense and even feels less djenty, too. When’s the last time you heard this blend of genres, and then the band throws in a mighty saxophone solo? The band is more brilliant than either their lovers or haters seem to know, mainly because those groups focus on all the wrong things about them.
Let’s talk about the lyrics. Arcadia is a mythological paradise, and so when they say “even in Arcadia”, they’re talking about the struggle with new stardom, wavering mental health, and even the lore-accurate twist of not being able to focus on the divine Sleep. Even in paradise, things can be difficult. Even in the golden years, we will have to fight for connection, we will experience loss, and we might even fear death. It’s a potent theme that I think the band explores quite well.
As for the album itself, it’s not as immediate as some of their past albums but has really grown on me. II once again lays down a spellbinding drum performance full of crazy fills and perfect blast beats. Vessel’s vocals, like the album overall, are more nuanced, more about the minute inflections than about blunt force. I will say that I think the second half of the album is the stronger of the two, but that could change, honestly.
In the first half, we get the first two singles, “Emergence” and “Caramel”, both of which I love. The former is a perfect slice of their genre-blending sound, but it’s Gabi’s saxophone that delivers the payoff. “Caramel” is such a dripping delicacy that I find extremely catchy, and I love the loud-quiet dynamics in the final moments.
Other favorites in the first half are “Look to Windward”, a nearly eight-minute track with cinema in its veins and an explosive climax that only gets better as melody is injected into it. Hell, I like the other two tracks, too, “Past Self” and “Dangerous”. “Past Self” is mostly pop and R&B, reminding me slightly of “Granite” from the last album, and it is catchy and smooth enough. I love “Dangerous”, though, with its focus on Vessel’s emotive vocals; I love the way he articulates. I find it really memorable.
The second half steps it up a notch. I love the lyrics of the title track and how pensive and ambient it is. They haven’t really done a track like this one, floating as it does in space and time, and it’s beautiful. “Provider” comes next, a quietly swooning track that finds its groove in a riffy and melodic second part that is so fun to sing along with. The single “Damocles” comes next and is pretty underrated, I think. I love how simple and picturesque it feels; it’s mostly just a catchy pop tune, but it’s good.
The last two songs on the album are the highpoint. I love “Gethsemane”, a piece about emotional turmoil and neglect; I love the surging, streaming aspects punctuated with R&B, but the ethereal metal sound is what makes it special. The closer “Infinite Baths” will be one of my favorite songs of the year. This idea that infinite cleansing or rebirths take place in this ritualistic story feels like a statement about the power of music, that despite all the burdens that come with it, the music will always create them anew. Their art will always save them. The song itself is instantly groovy and full of light; as the song progresses, it launches a full assault on the senses with harsh vox and probably the best riffs and instrumental moments of the album. I absolutely adore it.
Sleep Token have been concrete and consistent since the beginning, and what makes them truly interesting is the volatile public opinion that is still struggling to understand them. The band is truly progressive to the core in what they offer, and Even in Arcadia is yet another gorgeous offering from them. Enter with an open mind.
______________
Find Sleep Token online
______________
______________
The PROG Mind 