对狂热的流派弯曲“即使在阿卡迪亚”的睡眠代币破碎的期望

Sleep Token的2023专辑“ Take Me Back to Eden'的运动中，摇滚乐队和金属乐队不再发生过夜的成功类型。

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专辑“ Take Me Back to Eden'的运动中，摇滚乐队和金属乐队不再发生过夜的成功类型。就这种现象的速度和规模而言，他们的类型没有21世纪的平等。将于下个月举行的标题下载节，在秋天的美国竞技场之旅中立即售罄之前，他们可以说是废除新的RCA labelmates，将我的地平线带给我现在是世界上最热门的替代乐队。

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’.

面对跟随“带我回到伊甸园”的压力，这位匿名的四人件在3月份回应了“出现”中看似熟悉的复出单曲。直到他们最终拍打了一个扩展的爵士乐，这提醒每个人都将继续定义下一个时代的不可预测性。不久之后，后续曲目“焦糖”加特塞克式（Gatecrash）将英国前十名（Top 10）带到了前10名，以某种方式找到了一种诱使其注入雷鬼的节拍朝着粉碎的黑色金属跳跃的方法。灵魂刺耳的“ Damocles”也打破了前30名，强调了在第四张专辑《甚至在Arcadia》中的领导中，渗透了主流的睡眠深度。

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”).

这张唱片应该将英国乐队的攀登延续到摇滚世界的顶端，而不会损害任何使他们如此令人兴奋的原因。八分钟的揭幕战“到迎风”本身就是一张整张专辑。它以难以忍受的电影张力使前方的十字路口建立了，然后被像execution子手的斧头一样被重碎的沉重摧毁。它令人不安的歌词与即将到来的厄运和不可避免的生命周期（“在暮光之城咳嗽 /一切看起来都一样”），也适当地引入了关键的知识：房屋佛罗里达人和羽毛般的主人（“我活着羽毛 /靠羽毛和剑死”）。

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.

睡眠代币的崛起并非没有冲突，这是他们在这张专辑中提出的。 “焦糖”和“ Damocles”使我们能够进入Bandleader船只背后的陷入困境的人，这位前者正在解决侵入性粉丝的毒性，并随着他们的成功即将进行（据称贝斯手III的出生证明是去年1月泄露的）。与抒情的灰色区域相比，在艺术和抒情上大胆的糖衣珍贵（“舞台是一台监狱……害怕打开我的前门”）。

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”).

船只在闪烁的R＆B削减“过去的自我”的情况下同样钝性的真理，这体现了钢琴和合成器的旋律如何有助于指示“即使在Arcadia”的语气 - 这次周围不需要诸如“催眠”或“命令”之类的主导吉他即兴演奏。同样，神圣的标题曲目回答了乐谱的谜语 - 它直接超出了《权力的游戏得分》，这是船只的某种关键判断日的标志。我们第一次听到他瞬间咆哮，也许终于拥有他所建立的神的形象（“我是最后的上帝”）。

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分钟的“客西马尼人”和“无限浴室”中，睡眠代币甚至变得怪异。就像“带我回到伊甸园”上的某些流派弯曲一样，前者在数学摇滚，体育场摇滚和陷阱之间编织，而后者的乌托邦图像则因敲打黑唱片和末日金属而受到打击，从而使专辑的末端从Arcadia中撕裂，进入了Arcadia，并进入了未知。

‘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.

即使在阿卡迪亚（Arcadia）中，也将任何期望的压力都破坏了遗忘，这是基于其前任的勇敢，而其歌词揭示了我们已经看到的最暴露的船只。从伊甸园到阿卡迪亚及以后 - 让敬拜继续。