This Album May Become Your AOTY

Written by: Rod Whitfield - Independent

SLEEP TOKEN are a riddle, wrapped in a mystery, inside an enigma. They wear masks at all times when public-facing, no one knows who they are (even their Wiki page is threadbare). The lack of image is, of course, a carefully constructed and cultivated image in itself. But ultimately, whether a band has a strong image or not, and no matter what form that image or non-image takes, what matters is this question: is the music any good?

And the answer here is an overwhelmingly resounding ‘YES!’

The Review

SO much to unpack here, it’s a little overwhelming for a writer needing to get the review done within reasonable proximity of the release. A few more in-depth listens would not have gone astray here, it’s that kind of record, but here goes…

Musically, this is one of those bands who do not allow themselves to be caged by convention or category. They let rip, creatively, and follow the muse wherever it takes them. They fit loosely within some sort of ‘heavy music’ genre, but they are so much more than that. If they want to open their album with a quiet, haunting, 3.5 minute voice and piano intro, that eventually gets heavy-ish, they will. If they want to put a pop ballad, completely sans drums and guitars, on there (Fall for Me, and you could possibly almost squeeze Distraction in there for much of its length as well), they will. If they want to get all hypnotic on your arse, and cast a spell on you with their dark, unsettling ambience (Descending), you can bet your last buck they will. If they want to drench a ‘heavy’ album in lashings of electronica and piano-driven textures, they damn well will. If they want to close proceedings with a soothing, although still haunting, acoustic guitar-driven piece, well, you guessed it…

And to hell with listener expectations. That said, they have done this from the outset of their career, so the unexpected is the expected.

Then of course, when the album does get heavy (Hypnosis, Alkaline), it gets heavy in a very satisfying, although still atmospheric and enigmatic way.

Best track award amongst the relentless quality on offer here probably goes to penultimate piece High Water (no, not a RUSH cover). It’s a real journey, and constructed like a three-act play; act one resembling a drum-free, very Sleep Tokenised version of 80s dark synth-pop, moving into the tentative, tension-filled, slow-burn groove of the middle act, which ebbs and flow and builds sweetly to the heavy, snaky instrumental jam-out finale. It is the high watermark of a stunning album.

Uniqueness flows out of This Place Will be Your Tomb. From the highly distinctive production style, to the length and breadth of ground covered, stylistically, from go to woah, to arguably the most distinguishing feature of all, the singular vocals of the singer known only as ‘Vessel’. No one else sounds like him, and his voice completes the distinctive picture to perfection.

The Verdict

Hard to define, impossible to pigeonhole, this band stands alone in a genre of one. This record must be experienced to be believed, so sit back, get rid of all other distractions, listen to it multiple times in one sitting if you possibly can and let its delights wash over you.

Very close to album of the year honours, this one.

9/10

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