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gerdi-ringbell · 11 months

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What is Sleep Token's trilogy of albums about?

This is my own take on the story behind the album trilogy. First of all, special thanks to Daria Urbanovich for translating this article into English.

Author’s note

Above all, I would like to state a few crucial aspects:

Everything that is written in this essay is solely my perception, the author's reflection and understanding of it. I do not claim to be aware of the truth.

I shall focus entirely on the characters and images, without in any way involving the personalities of the people who stand behind the project. I perceive the whole story as fiction, and I do not mean to speculate on the relation to the actual life of any of the members of the group. Vessel is the narrator here, the lead character in the songs, and the stage persona, not the person under the mask.

This essay would not have existed without a few pieces of material written by others, which I referenced in one way or another. Namely: a breakdown of "Aqua Regia" from the Genius website, as well as song translations and album decodings from the Sleep Token Russian community that deal with aspects that I shall touch upon in no detail.

Preface

Like many other people who are interested not only in the music, but also in the lore of Sleep Token, from the very beginning I have been trying to understand the story behind the fine words.

I read other people's articles and analyses, dug through the lyrics and created my own theories, but the picture just would not come together. Still I had the feeling that something was missing. This was very much the case with the debut album ‘Sundowning’. However, when ‘Take Me Back to Eden’ was finally released, everything fell into place. The last piece of the puzzle had been found.

While reading the breakdown of ‘Aqua Regia’ and ‘Rain’, I figured out what exactly was the missing piece. It is commonly believed that all of Sleep Token's songs are about Sleep (presumably the goddess). However, I shall say that they are about three (or rather, most of the time about two) different women. For my own convenience, I shall call them Sleep, Eden and Rain (I will explain why these names were chosen later on). I shall make it clear at once that Sleep is here precisely as a woman, a character in the story, not as the goddess the band allegedly worships.

With a sudden awareness, the picture rapidly became clearer. It is worth taking a step back and point out that the narrative of the albums is not entirely chronologically accurate. It is designed in such a way that the whole story can be fully understood only when all three albums can be juxtaposed together. Thus, this is what explains the seeming disorder. Now, let us cut to the chase.

The way I see the story

It all begins with Eden. She is Vessel's first (at least in the context of this story) lover. The relationship with her is perfect and harmonious, like heaven (hence ‘Eden’). She is the one whom Vessel sees as the lifelong sweetheart. But, alas, there is a break in this dream-like story, allegedly Alzheimer's disease (as ‘The Night Does Not Belong to God’ tells us, alluding to the ‘sundown syndrome’ that can be observed in someone with the disease). ‘The Night Does Not Belong to God’ is the first one on the album, and it begins the theme of memory loss that runs through the other songs dedicated to Eden.

“And you remember everything Only 'til the sun recedes once again”

And with it begins the theme of a premonition of death.

“I know for the last time You will not be mine So give me the night, the night, the night”

It all drifts into ‘Levitate’, filled with despair at the awareness of imminent loss.

“Will you levitate Up where the angels inhabit? Will you levitate Where I won't reach you?”

Here also starts a significant imagery line that runs (to a greater or lesser extent) through all three albums love and relationship are compared to water.

“Like water, a perfect flood Engulfing me again, oh”

Once again, this all ties in with a line of loss of memories – paradise crumbles as Eden loses more and more of herself to her illness. It becomes increasingly difficult to live as before.

“And we imitate A story of perfect days A ballad we fabricate As you forget your words again, oh”

And.

“And I can tell you won't Remember my cracking bones The trauma we can't regrow Just as you leave again, no”

By “leave again” may be meant another loss of memories. Each time the oblivion becomes longer, the memories are fewer and fewer, and the point of no return is closer.

The theme of loss reaches its climax in ‘Drag Me Under’. For Vessel, it is a kind of farewell. The moment when even the angels find no words and when the gods leave heaven is the moment of utmost despair and silent grief.

“And I know The angels tonight are As lost for words As I am”

Moreover, one can observe here another feature characteristic of the tracks dedicated to Eden, a different form of divine theme. Gods and angels seem as faraway supreme beings, and the lyrics themselves are more ‘down-to-earth’.

“And I know The Gods will Abandon the heavens just to find us”

In the lyrics connected with Sleep (that is, in most of them) one gets the impression of the presence of some supreme being, which Vessel seems to try to reach, it is her image that is most ‘deified’ (hence the choice of name), despite the fact that Eden is juxtaposed with paradise. An excellent example is, for instance, ‘High Water’:

“And I choke myself on sacred vapour Waiting on some holy favour”

However, we shall talk about Sleep a little later.

The tipping point for Vessel is ‘Atlantic’. Unable to cope with the loss of his beloved, and probably partly blaming himself for her death, he attempts suicide, but survives.

“I woke up surrounded, eyes like frozen planets Just orbiting the vacuum I am They talk me through the damage, consequence And how it's a pain they know they don't understand Sobbing as they turn to statues at the bedside I'm trying not to crush into sand So flood me like Atlantic, weather me to nothing Wash away the blood on my hands”

It is the beginning of his vicious cycle of suffering, from which he shall not be able to break for a long time. In a sense, ‘Atlantic’ is the starting point of the story, the beginning of a journey deep into Vessel’s mind, his hang-ups and traumas, his self-reflection, expressed in the music and lyrics on all the albums. This is where his darkness begins.

And it is right here where a new phase begins. Although Eden is dead, for Vessel himself life goes on. As time passes, he begins a new relationship with the one to whom most of the tracks are dedicated, Sleep. And their romance is revealed with a genuinely dark side. The tracks dedicated to her flit between two edges – a morbid obsession (like ‘The Offering’, ‘Take Aim’, ‘Hypnosis’, ‘Mine’) and cruelty and toxicity (like ‘Dark Signs’, ‘Higher’, ‘Like That’, ‘Granite’).

In some ways, Vessel is trapped in this relationship. Sleep does not like him, which she does not even particularly hide, but continues to take advantage of him when she needs to. There are plenty of hints, for example, in ‘Say That You Will’.

“And you've got me up in a frenzy again And I know you're planning to leave in the end”

In ‘Higher’.

“Cause you can remember only when you're alone I am granting you more than the debt that I owe”

And in ‘Like That’.

“I stumble into your tar trap An addition to your collection”

And an interesting moment in ‘When the Bough Breaks’.

“You don't really love, you just hate to be alone”

Both the EPs ‘One’ and ‘Two’ are also tied to the story, as we can see with ‘Take Me Back to Eden’, but more on that later.

Perhaps the most vivid examples in this regard are ‘Fall For Me’ and ‘The Love You Want’, both of which speak entirely of Vessel's one-sided love, but the second song is quite interesting lyrically.

“You lie an inch apart on your own continuum Now keep the freak show talk to a careful minimum I'll find a different harbor to lay my anchor in And you'll find a different way to keep from setting sail again, no”

Just as in ‘Jericho’, the theme of physical but not emotional intimacy is touched on here. To put it crudely, in this relationship Vessel occasionally acts as somebody to spend the night with, which Sleep turns to when there is no one else to go to (here again one might think of ‘Higher’). The relationship theme develops through aquatic metaphors (here as ‘harbor’ and ‘sailing’).

“Seems your heart is locked up and I still get the combination wrong Or are you simply waiting to save your love for someone I am not? Too many swallowed keys will make you bleed internally someday”

Vessel is well aware of the futility of his attempts at making himself solid with Sleep, but he is unable to stop – he is addicted. Vessel is obsessed with this relationship. To be more precise, he is obsessed with the idea of what they can be. Here we look into ‘Telomeres’.

Later on we shall analyse this track in more detail, but for now let us think again about the comparison of relationship to water.

“Rivers and oceans We could beckon, no Your eyes and your limbs Are instruments to pick apart The distance within”

Eden was the perfect match for Vessel, the kind of soul mate that many of people can only dream. Their relationship became for him the eminent example, the etalon of what he strives for. It is through the lens of their love with Eden that he perceives all his subsequent relationships. Roughly said, he is not looking for a new partner with whom he can build a future, but someone who can replace his missing love.

Trapped in an addictive bond with Sleep, Vessel desperately tries to make this relationship ideal, even as he realises how unrealistic his desire is. He is split between aggression when Sleep does not meet his expectations once they are together and obsessive despair when they are apart again. That is the picture of their mutually toxic relationship.

As I mentioned, most of the tracks on the first two albums reveal this very issue, but ‘Blood Sport’ is particularly interesting to me in this context.

Overall, the song is a remorse and a plea for another chance, another attempt. Despite the harshness of their relationship, Vessel begs for forgiveness. Nevertheless, I want to draw special attention to these lines.

“And out there Stuck in a quantum pattern Tangled with what I never said You say it doesn't matter”

Frankly, it seems to me like a gaslighting to which Vessel was subjected by Sleep. It also ties in with his mental condition, which is better revealed already on the album ‘Take Me Back to Eden’. Thus, in general, we have understood the first two albums. Let us move on to the third one.

Unlike the first two, ‘Take Me Back to Eden’ is much more (though also not completely) linear in its story (although in general terms ‘Sundowning’ can be perceived as a slow prologue and ‘This Place Will Become Your Tomb’ as the main part) and is the final chapter. I shall not examine in detail the songs ‘Chokehold’, ‘The Summoning’ and ‘Vore’, as they simply continue to look at the general theme of the relationship with Sleep from different angles.

The turning point is ‘Granite’. It is a moment of realisation about the nature of their relationship, with all their mutual grievances, recriminations and manipulations. It is as if Vessel is reading the room for the first time.

“When you'd sit there acting likе you know me Acting like you only brought me here to get below me Never mind the death threats, parting at the door We'd rather be six feet under than be lonely And if you had a problem, then you should have told me 'Fore you started getting all aggressive and controlling”

Vessel, for the first time, truly decides to overcome his addiction and break free from the vicious cycle in which nothing good awaits him. His relationship with Sleep is doomed, they could never be happy together, but he realises this only now.

“Between the second-hand smoke and the glass on the street You gave me nothing whatsoever but a reason to leave You say you want me, but you know I'm not what you need But I am”

Speaking briefly about ‘Aqua Regia’, the song metaphorically refers to dating apps and the short-lived romances. From the perspective of the story, it can be seen that Vessel has indeed broken off his relationship with Sleep, but still feels the necessity to be loved, which causes him to fall into a cycle of such affairs. However, one important detail for understanding some of the things that follow.

“Gold rush, acid flux Saturate me, I can't get enough”

The desperate chase for a relationship that never leads to satisfaction. In these temporary acquaintances, he does not find the one who becomes his lover.

Move on to ‘Ascensionism’. In its structure, it creates a kind of picture of struggle, of withdrawal from previous painful relationship. The song begins with longing and regret.

“Well, I know what you want from me You want someone to be Your reflection, your bitter deception Setting you free So you take what you want and leave”

It is the pain of having to break up with Sleep. Vessel realises the necessity of it, but cannot cope with the longing, like a man with an addiction trying to cure himself. But suddenly the melody becomes cheerful and energetic, and musings about their romance are mixed with impressions of the new fast-paced affairs he throws himself into, only to overcome these feelings. The song flow from one line to the next rapidly, like a chaotic stream, underscoring attempts to drown out one thought with another.

“Who made you like this? Who encrypted your dark gospel in body language? Synapses snap back in blissful anguish Tell me you met me in past lives, past life Past what might be eating me from the inside, darling Half algorithm, half deity Glitches in the code or gaps in a strange dream”

Then a sudden breakdown – rage, pain, resentment – as one of the experience stages.

“You're gonna watch me ascend”

The storm dies down, replaced again by humility, almost acceptance. But this time Vessel is more focused on himself and his own feelings.

“And I know what you want from me You want the same as me My redemption, eternal ascension Setting me free So I'll take what I want then leave”

And then, the final breakdown.

“You make me wish I could disappear, no You make me wish I could disappear”

The whole ‘Ascensionism’ is just a picture of the emotional rollercoaster that Vessel goes through, having to cope with the break-up alone. Although their relationship with Sleep was toxic, he was addicted, which makes the break-up so traumatic. However, this time he does not attempt to return, he moves on.

Here I shall take a slight step back from Vessel's relationship with Sleep and come back to Eden, because herein lies a little internal trilogy from ‘Telomeres’, ‘Are You Really Okay?’ and ‘The Apparition’, revealing the effects of their relationship on Vessel himself. In all honesty, this is probably my favourite part of the jigsaw puzzle.

Return to ‘Telomeres’ for a second, especially to these lines.

“Let the tides carry you back to me The past, the future Through death My arms are open”

Even though Eden is dead, Vessel still loves her. He misses her and longs to be reunited, so that even death will not be an obstacle for them. But you have to be careful what you wish for, because it can come true.

This is where we come to ‘Are You Really Okay?’, which draws us a picture of Vessel's dream, which begins with a beautiful image of his beloved in the dawn sun, but soon it all turns into a nightmare.

“You woke me up one night Dripping crimson on the carpet I saw it in your eyes Cutting deeper than the scars could run”

Memories of Eden's self-harm and suicidal tendencies haunt Vessel at nights. The illness probably aggravated her already difficult emotional state (as the single ‘The Way That You Were’ also hints at). I mentioned at the very beginning, when analysing ‘Atlantic’, that Vessel might have blamed himself for her death.

“So flood me like Atlantic, weather me to nothing Wash away the blood on my hands”

Knowing Eden's tendency to self-harm and her suicidal thoughts, one day he might simply not have saved her in time, making him feel responsible for what happened because he did not see the red flags in time or take enough action (from his point of view) to stop her.

“And I I cannot fix your wounds this time”

‘The Apparition’ is a moment of awakening from a nightmare. As Vessel wished, his beloved returns to him, albeit only at night, even if only in nightmares.

“Why are you never real? Whenever you appear You leave me with that grace I am trembling with fear But I know that you will disappear Just as I awake”

No matter how much time has passed, he cannot recover from this loss.

“No matter what I do This scar will never fade”

Although these dreams are a kind of torture for him, Vessel is pleased with them because he briefly reunites with Eden, seeing her end up committing suicide.

“I make the most of the turning tide It just split what's left of the burning silence Don't wait, 'cause this could be the last time You turn up in the reveries of my mind I wake up to a suicide frenzy Loaded dreams still leave me empty”

“I make the most of the turning tide” ties in directly with ‘Telomeres’ – “Let the tides carry you back to me”. Just as Vessel wanted, the waters brought his beloved back to him, even if not in the way one might have wished. However, the awakenings are painful for him, because they remind him that in reality, Eden has long been dead. It is an endless cycle of nightmare dreams and an equally nightmarish reality. Vessel is caught between the desire to be free and the unwillingness to let go.

“Just let me go or take me with you”

‘DYWTYLM’ is a ballad about Vessel's self-reflection, his attempts to figure out his own feelings. Many of the songs on the album show his complicated relationship with himself, but this one makes the issue a centerpiece. The pain of loss, guilt and a long toxic relationship broke him down.

“Do you pull at the chains? Or do you push into constant aching? Each and every day Do you wish that you loved me?”

I do like the theory that the whole track is he, talking to his own reflection in the mirror.

“Is there something you give That you will never receive in return? Do you know what it is? Do you wish that you loved me?”

In many ways, it echoes his reflections on unrequited love, particularly ‘The Love You Want’. These two songs have both many slight opposites and are very similar thematically – love for oneself or for another, the desire to love or to be loved.

“And my reflection just won't smile back at me likе I know it should And I would turn into a stranger in an instant if I could And there is somеthing eating me alive, I don’t know what it is Maybe not that you conceal your feelings, they just don't exist”

The whole track portrays a picture of Vessel's dark and traumatised inner world. In a way, here he is looking back at his past and trying to figure out who he has become. ‘DYWTYLM’ is on this place on the album for a reason, because the next song is ‘Rain’.

‘Rain’ is, in a sense, the finale of the story, as both ‘Take Me Back to Eden’ and ‘Euclid’ are a kind of conclusion, although in different ways. And this is where she appears – Rain (where the name comes from, obviously), Vessel’s new love.

Now, in order. Time passes after the break-up with Sleep; amongst the myriad of new fast-paced affairs, none can lead to anything.

“For so long, I have waited So long that I almost became Just a stoic statue, fit for nobody”

Exactly until the moment, he meets her, Rain.

“And I don't wanna get in your way But I finally think I can say That the vicious cycle was over The moment you smiled at me”

She shows reciprocity, and it is not some little affair. In Vessel’s eyes, she is the one, who becomes his hope for a new serious (and healthy) relationship, for breaking the endless cycle of viciousness. However, we ought not to forget that he himself, as we see in ‘DYWTYLM’, has enormous difficulty accepting himself, and therefore finds himself unworthy of a partner (“And I don't wanna get in your way”).

Nevertheless, he believes that Rain is the woman who can become ‘the one’ for him. That is why she is like the purifying rain (remember the constant thread of comparing love to water). Beside her, Vessel becomes the best version of himself.

“And just like the rain You cast the dust into nothing And wash out the salt from my hands So touch me again I feel my shadow dissolving Will you cleanse me with pleasure?”

However, he is not forgetting that he is far from an ideal partner. Mutual toxicity, demanding the impossible, manipulation – all the things he has done and been in the past relationship.

“A dangerous disposition somehow Refracted in light, reflected in sound I'm coiled up like the venomous serpent”

He is caught between his fear of returning to this darker side of himself, being the cause of his new lover's suffering, and his desire to give himself another chance and enter into a new relationship. In doing so, he openly warns her of his dark sides. The last line is especially important.

“And I know, I know the way that it goes You get what you give, you reap what you sow And I can see you in my fate And I know, I know I am what I am The mouth of the wolf, the eyes of the lamb So darling, will you saturate?”

Here we return to ‘Aqua Regia’, to the line “Saturate me, I can't get enough”. The endless chase for a relationship ends. Rain is the one who can ‘saturate’ him, meaning an affair with her can lead to a serious long-term relationship.

Here, through a wonderfully subtle reference to ‘Blood Sport’ and the subsequent repetition of “Rain down on me”, we see that despite all the worries and fears, Vessel finally decides to start a new chapter of his life together with a new love.

“Nobody can say for certain If maybe it's all just a game When I open my eyes to the future I can hear you say my name”

‘Take Me Back to Eden’, it seems to me, is not even so much an epilogue as a kind of ‘confession’, leaving some hint of an open ending to the story. It is Vessel's reflection on his past with both Eden and Sleep, and the leftover longing and pain, which he has not been able to let go.

“I dream in phosphorescence Bleed through spaces See you drifting past the fog But no one told you where to go We dive through crystal waters Perfect oceans But no one told me not to breathe And now the weightlessness recedes”

Even in the new chapter of his life, his past relationships and the pain he has endured continue to drag him down. After the rather encouraging ‘Rain’, ‘Take Me Back to Eden’ seems rather bleak and despairing.

“My, my, those eyes like fire I'm a winged insect, you're a funeral pyre Come now, bite through these wires I'm a waking hell and thе gods grow tired”

His morbid desire for a perfect relationship has not gone anywhere.

“I will travel far beyond the path of reason Take me back to Eden”

The song in many ways shows the vivid image of introspection from ‘DYWTYLM’, but in a more aggressive and desperate way.

“Well, yeah, I spit blood when I wake up Sink porcelain stained, choking up brain matter and make-up Just two days since the mainframe went down and I'm still messed up Room feels like a meat freezer I dangle in like cold cuts Missed calls, answer phones from people I just don't trust”

Mostly the song draws a rather gloomy picture of the recognition that there is no going back, what has been done cannot be undone, and the pain caused cannot be taken away.

“And I don't know what's got its teeth in me But I'm about to bite back in anger No amount of self-sought fury Will bring back the glory of innocence”

Coming right after ‘Rain’, ‘Take Me Back to Eden’ seems to hint at the continuation of the vicious cycle. The vivid reference to ‘Chokehold’ at the end of the song is especially evident – we go back to the beginning of this cycle: addiction, pain, break-up, suffering. Yet, the song does not give an obvious answer as to where the relationship with Rain comes to, as the whole picture is drawn as if from ‘inside’, through inner fears and concerns, rather than through what is going on.

Then, here is the long-awaited ‘Euclid’. To be honest, I think that the song has almost nothing to do with the story. It sums up the whole Sleep Token oeuvre (that is why it consists almost entirely of references).

There is a surprising change of mood again. After the dark and heavy ‘Take Me Back to Eden’, ‘Euclid’ sounds like a new hope, though with a touch of quiet melancholy. It is a kind of what-will-be look into the future, a desire to move forward, no matter what lies ahead. It is a lovely picture of ‘walking off into the sunset’.

“If my fate is a bad collision, and if My mind is an open highway Give me the twilight two-way vision Give me one last ride on a sunset sky lane”

I should be honest – I like the theory that this song is an appeal to the audience, a thank-you for being part of this journey.

“The night belongs to you This bough has broken through I must be someone new”

The repetition of the lines from ‘The Night Does Not Belong to God’ is a wonderful way of putting the lid on the matter and pointing out that this story is over. It is the end of a fragment of the band’s history, and only a few people know what is ahead.

***

So now, the picture is complete. I want to bring up one more question – so what is really the message of Sleep, for the spread of which Sleep Token came into being? I have wondered for a long time, would this ubiquitous ancient god really preach about such down-to-earth things as unrequited love or toxic relationships? But what if we've all been misunderstanding the very concept of the message all along?

I believe that what it is all about is not hidden in the texts at all, as one might think. God's message is much broader than that, and is not something that can be wrapped up in words like that. Because it is about healing through music. Yes, just like that.

Have you ever felt that any of the songs touches your heart, touches a definite string of your soul? If yes, then congratulations, you have received and understood the message. It is not about love and relationships at all, it is about letting your emotions, your hidden pain flow out through your music and giving yourself permission to move on. The theme of love in this context becomes very clear, as it is familiar to many of us. I remember that when I first have to know the band, I described my feelings this way – "they are opening up wounds in my soul that I didn't realise I had, to let them bleed and finally heal".

I feel like this is the very essence of the band’s idea.

So why exactly was Vessel chosen as the ‘preacher’? Precisely because he has been through so much and the story that this narrator told us in the three albums was a heavy burden for him. Throughout Sleep Token's existence, he gradually healed, became more confident, showing by his example the influence of Sleep, which is not at all present in the songs, as is commonly thought.

***

Finally, a couple of words about the EPs ‘One’, ‘Two’, the singles, and their relation to the story. Here we are going a little bit beyond the lore, because I think the concept of the story that is told on the three albums was already formed closer to ‘Sundowning’, and the first EPs could have been just first steps. The direction in which the band was going to work was already clear, but the details were still unsettled. So the songs on those albums, while related to history (as we understand from the references to them in various places on ‘Take Me Back to Eden’), but the connection is more abstract and blurred.

Thank you, if you have made it through.

Worship.

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