Sleep Token is a once-in-a-generation band that takes the genres you have known for ages and finds new ways to flip them on their heads and blend them in a way that feels so natural. Take Me Back to Eden is further proof of this, and is easily their most polished and balanced record yet. Vessel, the band’s leader, and singer, has such a unique sound to his voice, being able to float from soulful R&B to rage-filled Metal, and finally powerful modern Pop styles. The band around him is able to keep up, specifically their drummer II (the only other permanent member alongside Vessel), with II citing his influences as Joey Jordison from Slipknot, Matthew McDonough of Mudvayne, and the UK Electronic and Hip Hop scene. These influences are especially evident when you focus on the drumwriting of the album and help with the believability of the genre-bending taking place throughout. Sleep Token has quickly become not only one of the biggest bands of the 2020s (earning the rightful place of opening for Linkin Park as part of their return tour) but one of my top bands from the past decade.

Take Me Back to Eden is an album that is hard to pick favorites from. Each song feels like its own adventure, keeping you guessing where it will go next (and surprising you many times). From quick catchy tracks like “Granite” and “Aqua Regia”, to headbanging tracks like “Vore” and “The Summoning”, and multi-genre-spanning epics like “Ascensionism” and the title track “Take Me Back to Eden”, there’s something for everyone. “Chokehold” sets the stage as the first track, immediately pulling you in with Vessel’s incredible vocals, II’s Trap beat, and eventually Djenty verses that bridge the soulful verses and choruses together. It gives us a glimpse into the sonic adventure we’re about to embark on. “The Summoning” is quite possibly their biggest song and the one that led to such a breakout success they are seeing currently, and for good reason. The song weaves between Vessel’s beautiful clean vocals and Hellraising screams effortlessly, with a sweeping guitar solo only 2 minutes in that returns us to the clean vocals. The track is filled with passion, leading to an ethereal break that leads you to believe the song is ending, only to culminate in a soulful, Jazzy outro where Vessel truly shines. This section of the song gave me chills the first time I heard it, and it still gives me chills to this day. “Granite” and “Aqua Regia” tap into the band’s R&B side, with Vessel taking a break from the screams and instead delivering an outstanding clean vocal performance, and II tapping into his Hip-Hop and Trap drum influences. “Vore” is a favorite of mine, being loud and aggressive for most of the runtime, with some clean breaks to remind you just how talented Vessel is. “Ascensionism” ventures into more of that R&B talent Vessel and II have shown thus far, doubling down on it and extending it all into a heartfelt 7-minute banger that finds its edge halfway through. We’re met with more of that Djenty sound from previous tracks, coupled with distorted screams and a sick and simple breakdown, only to leave that and head back to the somber side, with the vocals reaching a Gospel sound almost. You can hear the pain in the performance throughout, with the lyrics seemingly expressing betrayal and disgust.

Continuing with the rest of the album, “Are You Really Okay” is a deeply sincere track where the protagonist of the story comes face to face with the person who betrayed him after a suicide attempt, bleeding everywhere in front of them. The song sees Vessel yet again digging deep vocally, clearly expressing the anguish and torn feelings of helping the other person. “The Apparition” finds the band utilizing their Trap sound while also flowing through sweeping Pop/Metal flavors. “DYWTYLM” is quite possibly the most out-of-place song sonically on the album, sounding like a straight-up Pop heartbreak/love song you’d hear on the radio. It doesn’t mean it isn’t good or catchy, but just that it feels it belongs on a different record, or from a different band in general. “Rain” is a return to form, balancing the Soul and Djent styles from the rest of the record, with a pleasant piano track offering levity. The title track, “Take Me Back to Eden” is an 8-minute epic spanning multiple genres, bouncing from Soul to Hip-Hop/Trap and Pop, and culminating with a brutal Metal ending. For that reason, the title track is another favorite of mine! “Euclid” closes the record out, offering Vessel one more chance to convince you he’s the Hosier of this Alt/Prog/Pop/Djent/Metal project, utilizing his voice to land the plane. The track again has a Gospel flair, expanding into powerful, uplifting moments that crash into poetic vocals that stick with you.

Normally I wouldn’t have done a full album breakdown, track-by-track, but I felt like I’d be leaving too much on the table by not talking about each song to some extent. Sleep Token managed to close out their trilogy of albums by telling a complete story of love, heartbreak, devotion, and pain. They found a balance in their sound that works for not only them but also the listener, offering reprieves from the chaos when necessary. Everyone dug deep for this record, tapping into primal passion and musicianship that is not often seen anymore in an industry run on capitalist interests and chasing trends. Sleep Token stuck to their vision throughout and created a phenomenal record that will make you feel.

Score: 4.5/5