Spinefarm
Release: 19 May 2023
Tracklist:
01. Chokehold
02. The Summoning
03. Granite
04. Aqua Regia
05. Vore
06. Ascensionism
07. Are You Really Okay?
08. The Apparition
09. DYWTYLM
10. Rain
11. Take Me Back To Eden
12. Euclid
Yes, please. This album is 11/10, hands down. I can honestly say I like everything about this album. There was nothing bad about it, and simply put, it’s the most genre-less album of the year in my opinion, and that’s exactly what makes it great.
With hints of trip-hop, pop, jazz, metal, and rock, this album is all over the place in all the best ways.
Now for the comparisons it reminds me of the Portishead album “Dummy” but with a twist of modern-day production added, mix that in with David Bowie’s “Black Star” and a hint of Leprous’ “Aphelion” and “Pitfalls” albums and you have “Take Me Back to Eden”. Other bands I think of are I Prevail and Starset. I am sure there could be other comparisons, but I love all these albums mentioned and they make for a good mix.
Let’s go down the list, shall we?
The album starts with a real rocker, “Chokehold“. With a nice build-up for almost 2 minutes when the drums, bass, and guitar drop heavy, not dub-step heavy, but it certainly packs a punch. From this point forward the attention to the detail of drums is enticing. I love the vocals in this track, “You’ve got in a chokehold” powerful words for a powerful song. Five minutes of a great way to start this album off.
Next up is “The Summoning“, another hard-rocking track. This is probably the most prog-metal and rock track on the album. I am realizing how much I love the drums with this band. Between the screams and soaring guitar solos, with the ever-so-slight hint of jazz breakdown, this track is one you will not skip over. At 3:33 we take it down a notch and go into a lighter part, a good break from the heaviness of the song, but don’t get too comfy because about the 5-minute mark, we get into the funk element for the first time on the album. This is my favorite track.
“Granite” is the first time we find the trip-hop feel until about 2:30 when the metal hits and finishes the song. I like the words in this tune, very relatable. Oddly, I found myself wanting to dance or at the very least move to the beat a bit more than headbang.
“Aqua Regia” is a little more jazzy and arpeggiated but we’re still on the trip-hop feel. This song has the most Portishead feel of them all. The breakdown around 2:20 gives me all the R&B feels, it’s just so poignant, they even added in the windchimes, a nice subtle hint of 90s R&B there. I was trying to figure out what this song was about. I took it somewhat as a reflection of living and loving in the digital age.
For anyone who got confused or tired of the lofi-esque vibes, worry not, “Vore” comes back with the metal feel instantly, screams and all. Some good softer parts allow you to become one with the music as the synth sounds let you float down the proverbial musical river as Vessel sings. Overall, this track has a good balance of clean vocals, with some falsetto, and screams. I love how this song ends, the heavy feeling fades out, giving way to “Ascensionism“.
Here we are with the second longest track on the album at 7:02. Starting with a soft piano intro “Ascensionism” we are treated to what feels like Vessel’s most open thoughts. I thought the song was going to be softer. I enjoyed that feel after “Vore“, however, I was taken for a moment by the switch to a hip-hop rhythm. This interplay in the middle of the album symbolizes a new direction in the album all in all. Then we get to the 4-minute mark and we’ve gone from a minor key feel hip-hop song to a major key rock anthem, back to a prog metal breakdown within a minute, back to the soft piano, ending the song with a straight-up rock and metal ending, all seamless, and perfectly executed. The blending of genres on this track was beautifully done, and done much better than other bands I’ve listened to. I want to keep listening to this song. My second favorite track.
“Are You Really Okay?” at first I asked myself, “What year is it??” the way this song starts it feels like a Blind Melon tune, I was waiting for Shannon Hoon to start singing. But of course, Vessel sings and you’re brought back to reality with his mellow and rounded voice. I love the vocal runs and melody and openness with which he sings compared to how some of the other tracks have annunciation. This track is softer, has a 90s alt-rock vibe and I love everything about it. The instrumentation brings me back to my childhood and teen years. The song is just one big build and yet even in the heavier part, there is an inherent softness under the grit. This is the kind of stuff I like to write as a musician.
“The Apparition” gets back into the hip-hop beats and vocal rhythms until about halfway into the song, when we find the rock again. This track feels somewhat similar to parts of “Ascensionism“. I like this track, although I find myself not connecting to it. Maybe it’s the words in total, maybe it’s the feel, not sure. However, this song does have one of my favorite verses on the album:
“So let’s make trouble in the dream world
Hijack heaven with another memory now
I make the most of the turning tide
It just split what’s left of the burning silence”
Let’s talk about the odd man out, “DYWTYLM” as you find out in the song stands for “Do you wish that you loved me”. Now at first, I was really confused about this track. It’s very poppy sounding, but it’s one of those pop sounds that is annoyingly addictive and earwormy. Dare I say the sound reminds me of something The Weeknd or Taylor Swift, for as much as this band can get that sound, might put out. This track may be the odd man out, but it’s not bad.
OK back to what we all presume this band is supposed to sound like with “Rain“. This song is pretty straightforward rock, probably the most straightforward themed song on the album. It’s enjoyable and covers all the Sleep Token bases. I like the harmonies and falsetto. The mid-song breakdown is the glue the song needs to give the last bit the power it deserves.
We’re at the longest track on the album for “Take Me Back To Eden” coming in at 8:20 or so. It has the backward formula that “Ascensionism” plays with in terms of putting the hip-hop beats before the rock beats. But it doesn’t feel like it’s that long given the first 2:30 is all a build-up, then we go into the rock, then we go into the hip-hop, and we have a nice little break here with some moody piano and sound effects plus something new, an apparent key change a welcome surprise – well the sound of a key change happens slightly earlier, but I caught it after and during the breakdown. And just when we didn’t think it would happen, they end the song in the same way “Vore” starts – with screams and heavy riffing.
Here we are, the end of the road, the end of a relatively perfect album. “Euclid” has a major scale out given the subject matter of the song, almost as if this song is the therapy someone needed to get through whatever was happening. The last verse gives closure to the album in a way that only makes sense to someone who has been through this, “Like lovers entwined, I know for the last time, You will not be mine, So give me the night.” I appreciate songs like this that can sound so happy but be so dark in the subject matter.
That’s it folks what a perfect way to end a great album. I’ve been spinning it since I was asked to review it. I was not huge into Sleep Token before this album, as I had only listened to a few songs here and there in passing. I can say with full confidence this album is a winner, and I’ll be going back to their catalog to listen to things.
Also, it’s no wonder their 2023 tour later this year consists of nothing but sold-out shows. Legit facts, except for the three festival appearances, their entire Rituals tour is SOLD OUT.
To end, this album will certainly not put you to sleep so listen to it. At this rate, maybe they should consider a name change, I kid, I kid. Go listen to the album if you haven’t!
Written by: Chris Rugowski
Ratings: 11/10
Editors Pick
SLEEP TOKEN 2023 US TOUR DATES:
9.8.2023: Alton, VA — BLUE RIDGE ROCK FEST*
9.9.2023: Philadelphia, PA — Union Transfer [SOLD OUT]
9.10.2023: New York, NY — Webster Hall [SOLD OUT]
9.12.2023: Worcester, MA — The Palladium [SOLD OUT]
9.13.2023: Baltimore, MD — Ram’s Head Live [SOLD OUT]
9.15.2023: Detroit, MI — The Cathedral at The Masonic [SOLD OUT]
9.17.2023: Minneapolis, MN — The Myth [SOLD OUT]
9.19.2023: Dallas, TX — Studio at The Factory [SOLD OUT]
9.20.2023: Oklahoma City, OK — Tower Theatre [SOLD OUT]
9.22.2023: St. Louis, MO — Hawthorn [SOLD OUT]
9.23.2023: Louisville, KY — LOUDER THAN LIFE*
9.25.2023: Denver, CO — The Ogden Theatre [SOLD OUT]
9.26.2023: Salt Lake City, UT — The Complex [SOLD OUT]
9.28.2023: Spokane, WA — Knitting Factory [SOLD OUT]
9.29.2023: Boise, ID — Knitting Factory [SOLD OUT]
9.30.2023: Seattle, WA — The Showbox Market [SOLD OUT]
10.1.2023: Portland, OR — Roseland Theatre [SOLD OUT]
10.3.2023: San Diego, CA — The Observatory NP [SOLD OUT]
10.4.2023: Los Angeles, CA — The El Rey Theatre [SOLD OUT]
10.5.2023: Anaheim, CA — House of Blues [SOLD OUT]
10.7.2023 Sacramento, CA — AFTERSHOCK*
*FESTIVAL DATES