The Elton John-esque closer is drenched in vocal trills, vocoder features and piano explorations that bring the record to a wonderful, wondrous conclusion. I don't know if this is the end for the band - god, I really hope it's not - but I could see Sleep Token dropping this almost-perfect album and disappearing into the ether once more.Įuclid gives me hope, though. Vessel knows it, as well ("I guess it goes to show, does it not? That we've no idea what we've got until we lose it"). The last precious pages of an ancient tome the final hallowed glimpse of someone as they board a plane. That's perhaps the saddest part of Take Me Back To Eden: It feels like an ending. Some people might find these references a little self-indulgent, but I feel it is a perfect final chapter for a band that has built such a cult-like following in just a few short years. Precise lyrical callbacks to previous tracks reveal themselves over numerous listens, and riffs create soundscapes that you just might recognise from early songs. They are not just excellent songs, with layers upon layers of musical style changes and ruinous lyrics from the Macabre Maestro, but they are the absolute culmination of their three albums thus far. Sleep Token have started their own Marvel-style cinematic universe with their closers (title track Take Me Back To Eden and Euclid). The real meat of the album, though, is its final two tracks. Ascensionism is one of Sleep Token's all-time greats. Beginning as a touching, puzzling ballad ("I could offer you a blacklit paradise"), it soon evolves into an incredible screamer of a track. Are You Really Okay? is a particular favourite, but Rain and The Apparition are growers poetic musings with layers that are begging to be unfolded and dissected.Īscensionism - my favourite track on the record - is a perfect example of the skill and creativity the band so deftly wields. I never want to hear it again.Īs fans will have already heard from songs such as Aqua Regia and Granite, the lyrics still reign supreme where Vessel is concerned. In a way, its visceral and autobiographical nature cuts too close to the bone. If you have any connection to the subject matter, it might become a song that you actively avoid ("I cannot fix your wounds this time"). Are You Really Okay?, a crawling ballad about suicide, has left me completely bereft ("I want to help you but I don't know how"). Their tone and intricate melodies are catchy, serene, powerful, and - at times - completely heart-breaking. Vessel's voice is, once again, the main attraction.
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