即使在Arcadia中也沒有完全打開斗篷，但確實會增加陰謀

自2016年出現以來，英國前衛裝備的睡眠代幣已成為Rock最神秘的成功案例之一。

Since emerging in 2016, English prog-metal outfit Sleep Token have become one of rock’s most enigmatic success stories. Operating in cloaked pseudonymity—their core members are known as Vessel and II, and they perform in elaborately detailed costumes—they’ve crafted a wide-ranging musical world that’s felt distinctly 21st century. Using the bludgeoning riffs and heavy drums commonly associated with metal as a jumping-off point, their music is full of left turns and unexpected tonal shifts, making them as hard to pigeonhole as they are to identify.

自2016年出現以來，英國派式成衣式睡眠代幣已成為岩石最神秘的成功案例之一。他們以隱身的化名運作 - 他們的核心成員被稱為船隻和II，他們以精心詳細的服裝表演 - 他們精心製作了一個廣泛的音樂世界，這顯然是21世紀。使用大膽的即興演奏和通常與金屬相關的重型鼓作為起點，他們的音樂充滿了左轉彎和意外的音調轉移，使它們像識別的那樣難以識別。

Even In Arcadia, the group’s fourth album, doesn’t quite open the cloak, but it does add intrigue—and existential depth—to the band’s already-thick book of myth. “Will you halt this eclipse in me?” Vessel wails on the opening cut “Look To Windward,” a shape-shifting cut that surrounds the vocalist in (at different moments) dial-tone synths, charging strings, trap drums, and commanding piano chords, all of which are eventually steamrolled by heavy guitars and crashing drums. As an opening statement, it’s a blaring red signal that nothing coming next will be as it seems, or what a listener might expect.

即使在該樂隊的第四張專輯Arcadia，也沒有完全打開斗篷，但它的確增加了樂隊已經厚的神話書。 “你會阻止我的日食嗎？”船隻在開口切口上哭了“向風”，這是一種形狀變化的切割，圍繞著（在不同時刻）撥號音的合成器，充電串，陷阱鼓和指揮鋼琴和弦，所有這些最終都被重吉他和撞車架撞倒。作為開幕詞，這是一個巨大的紅色信號，即接下來將不像看起來一樣，或者聽眾可能期望的是什麼。

From there, the snarling “Emergence” veers between ghostly beauty and arpeggiated madness, eventually finding refuge, first in gathering-storm-cloud guitars that are sliced through by Vessel’s suddenly angelic voice, then by the sort of saxophone solo that indicates a lonely nightfall. “Provider” is a conflicted love song where Vessel’s layered vocals add hope to his wedding-vow-ready declaration “I can give you what you want,” despite that assurance being bracketed by riff-led chaos. Elsewhere, the songs dig even deeper into the conflicting aspects of 21st-century notoriety. “Caramel” skip-steps along a groove, its momentum slowly building as Vessel deals with the complexities of existing in public while keeping his identity a secret. “So I’ll keep dancin’ along to the rhythm / The stage is a prison, a beautiful nightmare,” he trills amidst music-box chimes, his world-weariness laid as bare as it could be.

從那裡開始，幽靈般的美麗和雜亂無章的瘋狂之間的咆哮“出現”轉向，最終找到了避難所，首先是收集巨大的烏鴉吉他，這些吉他被船隻突然的天使般的聲音切成薄片，然後是通過那種表明孤獨的夜幕降臨的薩克斯管獨奏。 “提供者”是一首衝突的情歌，儘管船上的人聲為他的婚禮彩色宣言“我可以給你想要的東西”為“我可以給你的東西”增加了希望，儘管這是由即興領導的混亂所包圍的。在其他地方，歌曲更深入地探討了21世紀臭名昭著的相互矛盾的方面。 “焦糖”沿著凹槽跳過，隨著船隻處理公眾的複雜性，它的勢頭慢慢建造，同時將其身份保密。 “所以我將丹奇'保持節奏 /舞台是一門監獄，一場美麗的噩夢，”他在音樂盒鐘聲中trills，他的世界厭惡般裸露了。

If moments like that reveal one aspect of Sleep Token’s mythologies, it’s that Vessel is a balladeer at heart. His voice is a sturdy burr that flutters with intensity on cuts like the windswept title track and soars into its upper register when necessary, making moments like the sparkling yet troubled treatise on creative anxiety “Damocles” arresting; its occasional resemblance to the yowl of Bastille leader Dan Smith adds even more facets to Sleep Token’s introductions of other styles, like the glassy, trap snare-propelled “Past Self.” Closing track “Infinite Baths” is similarly stark, Vessel’s increasingly clear-eyed view of the world mirrored by icy electronics: “I have fought so long to be here / I am never going back,” he declares, a mantra that could double as a slogan for Sleep Token’s ever-evolving vision of rock that’s sonically and emotionally huge.

如果這樣的瞬間揭示了睡眠令牌神話的一個方面，那就是船隻是一隻舞者。他的聲音是一個堅固的毛刺，在諸如風吹拂的標題軌道之類的剪裁上以強度的強度張開，並在必要時飆升到上登記冊中，使諸如創造性焦慮“ Damocles”的閃閃發光但陷入困境的論文逮捕了。它偶爾與巴士底領導人丹·史密斯（Dan Smith）的Yowl相似，這為Sleek Sleek Smeg Sleek的其他樣式的介紹增加了更多的方面，例如玻璃狀，陷阱的陷阱圈套“過去的自我”。他宣稱，封閉的軌道“無限浴室”同樣是鮮明的，船隻越來越清晰地透明地看著冰冷的電子：“我已經奮鬥了很長時間來這裡 /我永遠不會回去，”他宣稱，這是一種口頭禪，可以將其作為睡眠代幣不斷發展的岩石的口號加倍，因為它在不斷發展的岩石上，它在聲音上和情感上的巨大巨大。