睡眠代幣的作品提醒人們，神秘是藝術體驗的重要組成部分

睡眠代幣的作品提醒人們，神秘是藝術體驗的重要組成部分。

Sleep Token, the masked metal band, has been a subject of fascination and scrutiny in equal measure. As their single "Caramel" continues to chart in the UK's Top 10, we find ourselves pondering a question that has no easy answer: does our eternal pursuit of information threaten the very essence of the art we love?

蒙面金屬帶的睡眠令牌是在同等程度上是一個迷戀和審查的主題。隨著他們的單曲“焦糖”繼續在英國的前十名中繪製榜單，我們發現自己在思考一個沒有簡單答案的問題：我們對信息的永恆追求是否威脅著我們喜歡的藝術的本質？

We're used to seeing Ed Sheeran's "Azizam" and Sabrina Carpenter's "Busy Woman" in the upper echelons of the UK's Official Charts Top 10. But lately, there's been another presence on the chart, an anomaly in the best sense of the word. Among the pop titans and the omnipresent Sheeran tracks, Sleep Token's "Caramel" has been holding its own, calmly and persistently.

我們習慣於在英國官方排行榜上前十名的上梯隊中看到Ed Sheeran的“ Azizam”和Sabrina Carpenter的“忙碌的女人”。但是最近，圖表上還有另一個出現，這是最佳意義的異常。在流行巨人和無所不在的Sheeran曲目中，Sleep Smot Stoken的“焦糖”一直在冷靜而持久地持有自己的焦糖。

The British band, known for their alternative metal sound and their masked performances, have been making a splash far beyond Europe. With Billboard highlighting them in the Hot 100 and Spotify noting "Caramel" as the top global debut on April 6, Sleep Token have been taking the music market by storm, claiming global visibility that most obscure masked bands between Boston and Brooklyn could only dream of — more than a couple of crowded basements, and even more than an unreasonably active Tumblr tag.

英國樂隊以其替代金屬聲音和蒙面表演而聞名，一直在歐洲遠遠超越歐洲。隨著Billboard在Hot 100中突出顯示它們，並在4月6日的全球首次亮相時指出了“焦糖”，因此Sleep Motken一直在席捲音樂市場，聲稱全球可見性，波士頓和布魯克林之間最晦澀的面具蒙面的束帶只能夢想的夢想 - 比幾個擁擠的地下室，甚至更多的是一個無與倫比的tumblr tumblr標籤。

And yet, here they are next to the titans of pop, with no promotions, interviews or on-stage banter. Sleep Token operates like the stoic performers of a long-gone era: they appear, play their set while occasionally breaking into a dance best described as a cross between Joy Division-esque twitching and a cardio jog and leave without providing any context.

然而，在這裡，他們毗鄰流行巨人，沒有晉升，訪談或舞台上的戲ban。睡眠代幣像一個長期時代的堅忍表演者一樣運作：他們出現，扮演場景，而偶爾闖入最佳的舞蹈，最能描述為Joy Division-quice式的抽搐和有氧運動慢跑之間的十字架，並在沒有提供任何背景的情況下離開。

Now, we're used to being kept in the dark. Silence seemed to be working for a while. Sleep Token has been active since 2016, releasing three albums and playing hundreds of live shows within the span of less than a decade, all without stepping into the limelight maskless.

現在，我們習慣於將其置於黑暗中。沉默似乎已經工作了一段時間。自2016年以來，睡眠代幣就一直很活躍，發行了三張專輯，並在不到十年的時間內播放數百場現場表演，而無需踏入眾議員的無風度。

But in a recent development that shook the band's fanbase, the members were doxxed, revealing their true identities.

但是，在最近震驚了樂隊粉絲群的最新發展中，成員們被吸引了，揭示了他們的真實身份。

The antifans, metal purists berating Sleep Token as "the Imagine Dragons of hard music," never left any hope for a band that stepped into the pop world only to find itself too unknowable for parasocial demands.

Antifans，金屬純粹主義者譴責睡眠代幣為“想像的巨龍”，從來沒有給一個踏入流行世界的樂隊而只是為了發現自己對副社會需求而言太不知所措。

But haven't we seen a masked performer before and managed to let their mystery breathe? Daft Punk have been left alone for decades on end. Orville Peck has been a pair of eyes and a toothy southern grin for as long as he pleased, only recently deciding to unmask for his role in Cabaret on Broadway.

但是，我們以前沒看過蒙面的表演者並設法讓他們的神秘呼吸了嗎？達夫特朋克（Daft Punk）幾十年來一直獨自一人。只要他願意，奧維爾·佩克（Orville Peck）一直是一雙眼睛和露齒的南方笑容，直到最近才決定揭露他在百老匯歌舞表演中的角色。

A closer inspection reveals the contrast. Daft Punk were chill guys making chill music. Orville Peck is open and warm, generously spending the currency of interviews and walking Vanity Fair through his house to show off his shoe rack. While maintaining a level of unattainability, both Orville and Daft Punk remained appeasingly easy to wrap one’s head around — a compromise that Sleep Token didn’t offer. They never invited a reporter into their houses, never posed for a cover of Teen Vogue. Their reluctance to maintain any communication with the press left the public, already suspicious of all hard music in the never-settling dust of Satanic Panic, feeling uneasy, almost provoked to uncover the truth — without being able to elaborate on what exactly they were hoping to find there.

仔細檢查揭示了對比。愚蠢的朋克是寒冷的傢伙製作寒冷的音樂。奧維爾·佩克（Orville Peck）開放又溫暖，慷慨地花費了面試的貨幣，並通過他的房子裡炫耀自己的鞋架。在保持一定程度的不可企業的同時，Orville和Daft Punk都很容易纏繞著自己的頭 - 這是睡眠代幣無法提供的妥協。他們從不邀請記者進入他們的房屋，從未擺出過青少年時尚的封面。他們不願意與新聞界保持任何溝通，使公眾對撒旦恐慌的永不掩飾的塵埃，感到不安，幾乎被引起揭露真相的所有硬塵已經懷疑，而沒有能夠詳細說明他們希望在那裡找到的東西。

It’s the kind of entitlement Chappell Roan has been speaking up against while establishing boundaries with photographers and journalists. The "we made you; we own you" refrain has long haunted the entertainment industry, but few areas were affected by it as much as music where the management and promotion teams are staying in the shadows while the artist is front and center. Immediacy is a double-edged sword: while driving relatability and, in some cases, commercial reach, it does not tolerate the lack of transparency in a way usually only reserved for most intimate relationships.

Chappell Roan在與攝影師和記者建立界限時一直在反對這種權利。 “我們讓您;我們擁有您”避免了長期以來一直困擾著娛樂行業，但是很少有領域像音樂和促銷團隊在藝術家處於正面和中間時保持在陰影中的音樂一樣受到影響。即時性是一把雙刃劍：在推動相關性時，在某些情況下，它不容忍缺乏透明度，而通常僅用於大多數親密關係。

While not entirely unreasonable — fans are understandably wary of supporting the "wrong" people — this desire for clarity cannot realistically be fulfilled. Even knowing the artists' names, the fanbase is left with a mere set of letters that say nothing of their bearers' moral character. Unless we are willing to conduct a thorough investigation into every artist's background, we may need to reckon with the uncomfortable possibility: we may simply never know. Sleep Token’s doxxing yielded, from the public’s perspective, a handful of superficial data and a couple of blurry photos of the vocalist, Vessel, on Google Images — an almost disappointing outcome of something that should have felt like a moral victory.

雖然不是完全不合理的 - 可以理解的是，粉絲們對支持“錯誤”的人保持警惕，但這種對清晰度的渴望無法現實地實現。即使知道藝術家的名字，粉絲群​​也只有一組字母，什麼也沒說服他們的道德品格。除非我們願意對每個藝術家的背景進行徹底的調查，否則我們可能需要考慮不舒服的可能性：我們可能永遠不會知道。從公眾的角度來看，睡眠代幣的doxxing在Google圖像上產生了少數膚淺的數據和歌手船隻的幾張模糊照片，這幾乎是令人失望的結果，這些結果本來應該是道德上的勝利。

The potential losses that we stand to bear, on the other hand, are concrete and tangible. The arts have long been a safe haven for the outcast, the lonely, the sensitive — a utopian corner of the world where everyone could feel seen. Leaving this premise behind may

另一方面，我們承受的潛在損失是具體和有形的。長期以來，藝術一直是流浪者的避風港，孤獨，敏感的避風港 - 世界上每個人都可以看到的烏托邦角。將這個前提留在五月