Photo Credit: Andy Ford
Earlier in the year, Sleep Token released various singles from their third studio album Take Me Back to Eden, with each single gaining over 17.5 million streams. This included “The Summoning,” which stayed within the top ten of Spotify’s viral global playlists. It’s no surprise that the singles did so well. Not only were they solid tracks, but they also best mirrored the secretive nature of the band. The only known name of the band is ‘Vessel’ the frontman, who claims the band is a mortal representative of the ancient deity known as ‘Sleep’.
Religious and cult-like imagery is explored throughout the whole album, most particularly in the opening track “Chokehold.” With lyrics such as, “Though we act out of our holy duty to be constantly awake,” they mimic the band’s workings as a mortal representative for ‘Sleep’. The song is even sung with a choir. It is a moody atmospheric opener, depicting Vessel’s pain as he tries to be a good partner, “I’ve seen my days unfold // done the impossible I’ll turn my walls to gold // to bring you home again.” Alongside his vocals, the song toys with various instruments within the progressive metal scene, such as drums, piano notes, percussions, and acoustic guitar arpeggios. Allowing the song to build upon ideas before its conclusion, setting the tone for the rest of the album.
Moving from alternative metal, the next song “The Summoning” ventures into jazz, using a synth to produce another preacher and cult-like atmosphere. Once again Sleep Token uses religious symbolism stating, “You’ve got my body, flesh, and bone.” “Aqua Regia” the album’s next track, differs from the previous two. Opting to mix piano and guitar making it one of the lighter songs on the album. The change adds a nice variety, allowing the listener to really appreciate Vessel’s voice.
“Granite” offers us the same vulnerability which was seen in “Chokehold.” Vessel is begging his partner once again, but rather than promising to be a good partner, he is asking to be seen. On the song, he cries, “More than just a body in your passenger seat.” The music is raw and offers thematically interesting ideas which also link nicely with the mortal representee idea that Vessel is exploring. “Vore” the next track on the album is one of the heaviest songs on the track. Sleep Token fully leans into the band’s metal side. It’s also one of the album’s most religious tracks, with lyrics like, “Will we remain stuck in the throat of gods.” The lyrics work well here, both as exploring the cult, but also for its double play. “Vore” is the Latin suffix relating to eating.
However, whilst having some intriguing tracks the album does suffer from generic composition. Songs such as “Ascensionism” rely heavily on auto-tune, which holds them back. Once again Sleep Token offers the listener some variation with “Are you really okay,” which also gives the listener some security. The repetition of ‘Are you really okay?’ is validating, really making the listener think of their mental health. However, even if the song is comforting, it doesn’t necessarily do anything new.
One of the biggest criticisms “DYWTYLM” faces is its thematic limitations, exploring unrequited love and insecurity in its lyrics. The song falls short in its execution, rendering it one of the album’s weaker tracks. Similarly, “Rain” suffers from generic piano melodies but presents strong lyrics. Despite these shortcomings in composition, Take Me Back to Eden remains worthwhile, featuring standout tracks like “Chokehold” and “Vore,” and showcasing intriguing themes and lead vocal performances.
Leave a Reply