即使在Arcadia中也没有完全打开斗篷，但确实会增加阴谋

自2016年出现以来，英国前卫装备的睡眠代币已成为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年出现以来，英国派式成衣式睡眠代币已成为岩石最神秘的成功案例之一。他们以隐身的化名运作 - 他们的核心成员被称为船只和II，他们以精心详细的服装表演 - 他们精心制作了一个广泛的音乐世界，这显然是21世纪。使用大胆的即兴演奏和通常与金属相关的重型鼓作为起点，他们的音乐充满了左转弯和意外的音调转移，使它们像识别的那样难以识别。

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.

即使在该乐队的第四张专辑Arcadia，也没有完全打开斗篷，但它的确增加了乐队已经厚的神话书。 “你会阻止我的日食吗？”船只在开口切口上哭了“向风”，这是一种形状变化的切割，围绕着（在不同时刻）拨号音的合成器，充电串，陷阱鼓和指挥钢琴和弦，所有这些最终都被重吉他和撞车架撞倒。作为开幕词，这是一个巨大的红色信号，即接下来将不像看起来一样，或者听众可能期望的是什么。

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.

从那里开始，幽灵般的美丽和杂乱无章的疯狂之间的咆哮“出现”转向，最终找到了避难所，首先是收集巨大的乌鸦吉他，这些吉他被船只突然的天使般的声音切成薄片，然后是通过那种表明孤独的夜幕降临的萨克斯管独奏。 “提供者”是一首冲突的情歌，尽管船上的人声为他的婚礼彩色宣言“我可以给你想要的东西”为“我可以给你的东西”增加了希望，尽管这是由即兴领导的混乱所包围的。在其他地方，歌曲更深入地探讨了21世纪臭名昭著的相互矛盾的方面。 “焦糖”沿着凹槽跳过，随着船只处理公众的复杂性，它的势头慢慢建造，同时将其身份保密。 “所以我将丹奇'保持节奏 /舞台是一门监狱，一场美丽的噩梦，”他在音乐盒钟声中trills，他的世界厌恶般裸露了。

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.

如果这样的瞬间揭示了睡眠令牌神话的一个方面，那就是船只是一只舞者。他的声音是一个坚固的毛刺，在诸如风吹拂的标题轨道之类的剪裁上以强度的强度张开，并在必要时飙升到上登记册中，使诸如创造性焦虑“ Damocles”的闪闪发光但陷入困境的论文逮捕了。它偶尔与巴士底领导人丹·史密斯（Dan Smith）的Yowl相似，这为Sleek Sleek Smeg Sleek的其他样式的介绍增加了更多的方面，例如玻璃状，陷阱的陷阱圈套“过去的自我”。他宣称，封闭的轨道“无限浴室”同样是鲜明的，船只越来越清晰地透明地看着冰冷的电子：“我已经奋斗了很长时间来这里 /我永远不会回去，”他宣称，这是一种口头禅，可以将其作为睡眠代币不断发展的岩石的口号加倍，因为它在不断发展的岩石上，它在声音上和情感上的巨大巨大。