Sleep Token - Take Me Back To Eden - ALBUM REVIEW

So here it is, in all its glory. The new Sleep Token record Take Me Back to Eden has arrived. This band have received so much love as of late, and are coming more and more talked about as the days go on in the alternative metal scene. These guys have been clearly putting in the work, touring and teasing their new record at every step of the way, releasing a slew of singles in its wake which have whipped up a serious amount of support for the band. So here it is, their third studio album. Does it live up to the hype? Here's my track by track breakdown and review of the faceless collectives new record.

(Take Me Back to Eden Album Art - Sleep Token 2023)

1."Chokehold"5:04 - Chokehold is one of the many singles released for this record before the full anthology came out, so I've had time to give this a few listens before going front to back. What really shines with this record is the use of suspense. It opens slowly, underscored by buzzing synths paired with lead singer Vessel's trademark deep tone, before swinging into a swinging R&B beat, before throwing itself into a metal breakdown. A heavy driving drum beat and wailing guitars characterize the latter end of this track, along with some really atmospheric choral vocals. After this breakdown it takes on more of a gentle rock feel to it with live drums and reverbed guitars, and creates a track that grows and changes dynamically and keeps the listener on their toes. It flexes this bands piercing versatility, able to switch between styles with ease and precision. As far as openers go, this one introduces all that Sleep Token can do, and all they will on the rest of this project.

2."The Summoning"6:35 - Now this song is a little slice of perfection. The Summoning is the single that ultimately gave this band their mainstream traction when it was released in January. Not only is the writing on point, along with the slamming rock grooves and heavy drums, but it flexes Vessel's vocal range, his high trailing notes along with his guttural screaming soundtracked to chugging guitar with beautiful bassy tone. It's another masterclass in creation and natural direction, earning a wailing guitar solo before slamming into yet another chaotic choral section. As far as alternative metal goes, this song gets nothing wrong, taking all the things you'd expect from a classic track and both using it and turning it on its head, driving into new sections, repeating motifs and all in all being a brilliantly enjoyable experience. This end section to? People are describing it as 'baby making metal'. It has such an undeniable swing, paired with a brilliantly slappy bassline and

punchy drums. The Summoning is undeniably one of the most brilliant piece of subversive metal in years, so props to Sleep Token.

3."Granite"3:45 - Another single, and I think one of my favourites. Based on a repeated beat and electronic drums, Granite draws all your focus on the brilliant lyricism and vocal harmonies of the track, hitting another R&B type pre-chorus section, with more bouncing bass and atmospheric synths. 'We'd rather be six feet under than be lonely'? I see you Vessel. Then, silence and only that same impactful bass before it slams into one of the best heavy metal breakdowns this record has to offer. More crunchy chugging guitar and slamming symbols create such attack and drive that it's impossible not to have your face screwed up in sheer enjoyment. The vocals glide perfectly over this style, creating an impactful close to this record. Again, growing and building brilliantly. So far, so bloody good.

4."Aqua Regia"3:56 - This track is more electronic based, but don't let that throw you off it. Just like the name suggests, this song is packed full of bite and animosity, even if it's not exactly what you'd expect. Again, the simplicity of the beat makes you pay close attention to those lyrics, and by now in this record you know its because they too pack a punch. There's also a brilliant piano part, with some of the most poetic lyricism - 'Oh, when I am done dancing to alarm bells, No wonder my ears are still ringing. And I am done fighting off change, No wonder my arms are still swinging' Wow. The beauty in this song is clearly apparent, and sets it aside as a slow burner, sure, but one that does its job just the same as the other tracks on the list.

5."Vore"5:39 - I know, that opener scared me away as well when I first heard this song. It too was another one of the singles, but I never actually listened to it all the way through until the record was fully released. I love the slamming metal intro, it's chocked full of double pedal kick drum, more brilliant chugging guitar and eerie synth, and I've even come to appreciate the guttural screaming in the opening. But I never got past that originally, so I missed out on yet more brilliant screaming guitar and atmospheric chorus. It's another brilliant builder, stripping itself back before throwing itself back into its climactic choral parts, and the sung vocals go over the top of it really well, once again flexing the range of this band, and its duality ultimately helps drive the message of the song. It's about intimacy, about wanting someone so close to you, you swallow them whole. A little grim, but hey, whatever.

6."Ascensionism"7:08 - Now this opener is an emotional one. Its gentle piano and solemn vocals give real flavours of one of my favourites Blood Sport. It carries that for the intro, but then adapts again into another electric beat paired with a more rap-esque spoken word delivery to a great beat set to choral vocals. It's new, different, again with one foot in the door of music they've made, and also making something they've never done before. It's definitely more rap oriented, with some brilliant driving bass and some brilliant cuts and reintroduction of the main beat to create some really cool emphasis and impact. It then takes another left turn and slams head first into another metal section, filled with slamming drums and more crunchy guitars before pausing and somehow going even heavier. Taking inspiration from Vore here, it gets even darker, even lower, more growly, focusing on that screamed delivery. It peels itself away and builds itself up so readily, it's a real journey and a treat to listen to.

7."Are You Really Okay?"5:06 - This song is an emotional call. It's gentle and intimate, seemingly mapping out some sort of relationship impacted by self harm, depicting struggles with negative mental health, and it tugs at the heartstrings. Initially played over a gentle guitar loop it feels stripped back in comparison to the songs before it. It's accessible, and that's what I like about it, it gives people no matter their taste an in to this record. As a song, beautiful, impactful, and touching in a way we haven't really seen this band before, and I can really appreciate that. It feels really wonderfully done, but the intro didn't sell this track to me on the first listen. However, on the last few visits, this hits so unbelievably hard, and gets me a little choked up every time. The final climax of the track is another triumphant return to form, and leaves the song on a somewhat hopeful note. Yet another string in Sleep Tokens bow.

8."The Apparition"4:28 - This one has another gentle opener, more plucked guitar strings and sultry vocals, layered to perfection with subtle melodies. It grows slightly, making the instrumentation a little more complex before slamming into an excellent trap style R&B beat. I love the delivery in this section, its part singing, part lyrical flow. Beneath that, the lyrics take no hits of quality, it sounds like Sleep Token and is another delight in difference. Without warning, it shoots straight into a metal breakdown, screaming guitar and heavy drums accompany more vocal flexing from Vessel, once again demonstrating the control he has over his top vocal range. It's another brilliantly built track, with all the elements helping build this brilliantly atmospheric anthem. It's a great track, and a solid switch up from the song before.

9."DYWTYLM"4:00 - Now, this track has seemed to split opinions rather. It's a pretty simplistic track, utilising once again electronic instrumentation and R&B-esque drum clap patterns. People are calling it mindless 'radio pop', but I think it's yet more proof of this bands versatility. They don't need screaming breakdowns and chugging guitars to make a song that has impact. It again lies in the lyricism of this song, it's mournful and pained, and when placed against this cheerful beat, it creates quite a nice dichotomy. There's more really nice subtle harmonies, and overall it creates a really chill and stripped back track. No dramatics of the previous efforts, but I don't think that's an issue.

10."Rain"4:12 - Rain is slowly becoming one of my favourites on this album. Again, the piano opening is lovely, with some brilliant gentle vocals. It hits this nice impactful electronic beat, the soft reverb on the vocals making them really hit deep as they're delivered. It moves into more of a spoken word element backdropped by some brilliant tension building guitar and drums. The pre-chorus had my face scrunched up and my head slamming along. The chorus hits so hard, building and absolutely throwing down before it once again returns to the gentle piano. It's another ride of a track, and is both emotional and unforgiving in it's creation and delivery. It feels raw, almost a begging between two people, one wanting to be loved and knowing it's toxic, and just wanting it all to be washed away by the rain. It's yet another brilliant track on this record.

11."Take Me Back to Eden"8:20 - As far as title tracks go, this one had a lot to live up to. I like the opening with the nature sounds in the background, it makes it nice and immersive as the picked guitar and vocals come in. It's once again immaculate song-writing as it hits the first chorus, it's all bits melodic and dramatic and builds brilliantly with the dramatic reverbed drum hits. It shoots into a brilliant breakdown, with some amazing bending guitar riffs and more symbol heavy drums before disappearing as soon as it appeared, merging into another rap/spoken word element. It's more nice lyricism and sturdy flow, tinged with some nice vocal effects. Reaching the second chorus section, it's growing again, building more and more every second, and subverts that expectation, going into a gentle piano section. It's an emotional moment, and feels like a nice break from the form. The lyrics hit hard, come with a nice message, and go into another brilliant breakdown section. It's a great pre-chorus, less guitars, more halftime drums though which is a solid choice. The little drum fill before the next chorus is a brilliant touch, and makes it hit just as hard as the last two. And the background vocals taken from Chokehold? What a touch, that cyclical nature is something that really tops this track off. It gives it movement and direction, and it makes it a really special moment. The final heavy section is one I could honestly take or leave, with yet more growling guitars and heavy drums, but it gives it more of a sense of urgency as it slowly fades away.

12."Euclid"5:13 - This closer feels like a goodbye in a lot of ways. It's another intimate piano song in the beginning. More beautiful lyrics, seemingly detailing a journey coming to its tragic end. It's simple, with gentle percussion in the background before moving into a really nice electronic harmonies. The next section, full of sudden slamming rock riffs interpolated between heart breaking piano lyrics, building itself more and more, and reaching a triumphant close. Feeling more like a Ghost track than any other, with some sweeping guitar and one of the strongest drum beats in the record, it creates a feeling of this story coming to an end. As the song ends, the piano being reintroduced subtly with some impactful reverbed vocals, it feels like a solid ending to the record. It's again all parts beautiful, driving and true to its roots, whilst also conveying some brilliant narrative. Also, the little nods to the past discography in there? 'The night belongs to you?' It makes for such an impactful and emotional ending dedicated to the legacy fans of the band with the lyrics from the first song from Sundowning (2019).

(Vessel performing live - Image courtesy of Revolver)

Overall: What a record. If I'm being honest, on my first listen I really wasn't sold on this. I thought it was a bit all over the place, even if I found it enjoyable. It took until my second listen and a proper deep dive into it all to really appreciate it and understand it. Not only is this a record that proves this band is insanely talented and scarily versatile, but it works top to bottom as a record. It feels like an anthology, like they're flexing the fact they can combine the genres in their inventory and put them into a record and make them work perfectly, proving they're here to stay for a while. It also calls into question what comes next, and what's happening to Vessel. He seemingly is connoting a change, and I know after this record, I'm more than interested to find out what's next for this band.

Rating: 9/10

Highlights: The Summoning, Granite, Aqua Regia, Rain, Take Me Back To Eden, Euclid