對狂熱的流派彎曲“即使在阿卡迪亞”的睡眠代幣破碎的期望

Sleep Token的2023專輯“ Take Me Back to Eden'的運動中，搖滾樂隊和金屬樂隊不再發生過夜的成功類型。

The type of overnight success that Sleep Token’s 2023 album ‘Take Me Back To Eden’ set in motion simply doesn’t happen to rock and metal bands anymore. In terms of the speed and scale of this phenomenon, they have no 21st-century equal in their genre. Set to headline Download Festival next month, before an autumn US arena tour that sold out instantly, they’ve arguably dethroned new RCA labelmates Bring Me The Horizon as the hottest alternative band in the world right now.

Sleep Token的2023專輯“ Take Me Back to Eden'的運動中，搖滾樂隊和金屬樂隊不再發生過夜的成功類型。就這種現象的速度和規模而言，他們的類型沒有21世紀的平等。將於下個月舉行的標題下載節，在秋天的美國競技場之旅中立即售罄之前，他們可以說是廢除新的RCA labelmates，將我的地平線帶給我現在是世界上最熱門的替代樂隊。

Faced with the pressure of following ‘Take Me Back To Eden’, the anonymous four-piece responded in March with a seemingly familiar comeback single in ‘Emergence’. That’s until they slapped an extended jazz outro on the end, reminding everyone of the unpredictability that would continue to define their next era. Shortly after, follow-up track ‘Caramel’ gatecrashed the UK Top 10, somehow finding a way to lure its reggaeton-infused beat towards a pulverising black metal jumpscare. The soul-stirring ‘Damocles’ also broke the Top 30, highlighting just how deeply Sleep Token have penetrated the mainstream in the lead-up to fourth album ‘Even In Arcadia’.

面對跟隨“帶我回到伊甸園”的壓力，這位匿名的四人件在3月份回應了“出現”中看似熟悉的複出單曲。直到他們最終拍打了一個擴展的爵士樂，這提醒每個人都將繼續定義下一個時代的不可預測性。不久之後，後續曲目“焦糖”加特塞克式（Gatecrash）將英國前十名（Top 10）帶到了前10名，以某種方式找到了一種誘使其註入雷鬼的節拍朝著粉碎的黑色金屬跳躍的方法。靈魂刺耳的“達馬克爾”也打破了前30名，強調了在第四張專輯《甚至在阿卡迪亞》中滲透到主流的深度象徵。

That record should continue the British band’s ascent to the top of the rock world, without compromising on any of what makes them so exciting. Eight-minute opener ‘Look To Windward’ could be an entire album in itself. It sets up the crossroads ahead with its unbearable, cinematic tension, which is then annihilated by a heaviness that chops through it like an executioner’s axe. Its unsettling lyrics grapple with impending doom and the inevitable cycle of life (“Coughing up blood in the twilight / Everything looks the same”), also properly introducing key pieces of lore: House Veridian and Feathered Host (“I live by the feather / And die by the sword”).

這張唱片應該將英國樂隊的攀登延續到搖滾世界的頂端，而不會損害任何使他們如此令人興奮的原因。八分鐘的揭幕戰“到迎風”本身就是一張整張專輯。它以難以忍受的電影張力使前方的十字路口建立了，然後被像execution子手的斧頭一樣被重碎的沉重摧毀。它令人不安的歌詞與即將到來的厄運和不可避免的生命週期（“在暮光之城咳嗽 /一切看起來都一樣”），也適當地引入了關鍵的知識：房屋佛羅里達人和羽毛般的主人（“我活著羽毛 /靠羽毛和劍死”）。

Sleep Token’s rise hasn’t been without some strife, something they broach on this album. ‘Caramel’ and ‘Damocles’ grant us access to the troubled human behind bandleader Vessel, the former tackling the invasive fan toxicity that’s grown with their success head-on (bassist III’s birth certificate was allegedly leaked last January). Artistically and lyrically bold, it sugarcoats precious little (“The stage is a prison… Terrified to open my front door”) compared to the lyrical grey area which Sleep Token usually occupy.

睡眠代幣的崛起並非沒有衝突，這是他們在這張專輯中提出的。 “焦糖”和“ Damocles”使我們能夠進入Bandleader船隻背後的陷入困境的人，這位前者正在解決侵入性粉絲的毒性，並隨著他們的成功即將進行（據稱貝斯手III的出生證明是去年1月洩露的）。與抒情的灰色區域相比，在藝術和抒情上大膽的糖衣珍貴（“舞台是一台監獄……害怕打開我的前門”）。

Vessel spits equally blunt truths over twinkling R&B cut ‘Past Self’, which exemplifies how piano and synth melodies help dictate the tone of ‘Even In Arcadia’ – there’s no need for dominant guitar riffs like ‘Hypnosis’ or ‘The Offering’ this time around. Similarly, the divine title track answers the sheet music riddle – and it’s straight out of the Game Of Thrones score, carrying the hallmarks of some sort of critical judgement day for Vessel. We hear him momentarily roar for the first time, perhaps finally owning the image of the deity he’s been built up to be (“I am the final God”).

船隻在閃爍的R＆B削減“過去的自我”的情況下同樣鈍性的真理，這體現了鋼琴和合成器的旋律如何有助於指示“即使在Arcadia”的語氣 - 這次周圍不需要諸如“催眠”或“命令”之類的主導吉他即興演奏。同樣，神聖的標題曲目回答了樂譜的謎語 - 它直接超出了《權力的遊戲得分》，這是船隻的某種關鍵判斷日的標誌。我們第一次聽到他瞬間咆哮，也許終於擁有他所建立的神的形象（“我是最後的上帝”）。

Across 15 minutes of ‘Gethsemane’ and ‘Infinite Baths’, Sleep Token get even weirder. Like some of the genre-bending on ‘Take Me Back To Eden’, the former weaves between math-rock, stadium-rock and trap, while the latter’s utopian imagery is being battered by pounding blackgaze and doom metal, tearing the end of the album away from Arcadia and into the unknown.

在15分鐘的“客西馬尼人”和“無限浴室”中，睡眠代幣甚至變得怪異。就像“帶我回到伊甸園”上的某些流派彎曲一樣，前者在數學搖滾，體育場搖滾和陷阱之間編織，而後者的烏托邦圖像則因敲打黑唱片和末日金屬而受到打擊，從而使專輯的末端從Arcadia中撕裂，進入了Arcadia，並進入了未知。

‘Even In Arcadia’ shatters any pressure of expectation into oblivion, building on the bravery of its predecessor, sonically, while its lyrics reveal the most exposed version of Vessel we’ve seen yet. From Eden to Arcadia – and beyond – let the worship continue.

即使在阿卡迪亞（Arcadia）中，也將任何期望的壓力都破壞了遺忘，這是基於其前任的勇敢，而其歌詞揭示了我們已經看到的最暴露的船隻。從伊甸園到阿卡迪亞及以後 - 讓敬拜繼續。