睡眠代币的作品提醒人们，神秘是艺术体验的重要组成部分

睡眠代币的作品提醒人们，神秘是艺术体验的重要组成部分。

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?

蒙面金属带的睡眠令牌是在同等程度上是一个迷恋和审查的主题。随着他们的单曲“焦糖”继续在英国的前十名中绘制榜单，我们发现自己在思考一个没有简单答案的问题：我们对信息的永恒追求是否威胁着我们喜欢的艺术的本质？

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.

我们习惯于在英国官方排行榜上前十名的上梯队中看到Ed Sheeran的“ Azizam”和Sabrina Carpenter的“忙碌的女人”。但是最近，图表上还有另一个出现，这是最佳意义的异常。在流行巨人和无所不在的Sheeran曲目中，Sleep Smot Stoken的“焦糖”一直在冷静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.

英国乐队以其替代金属声音和蒙面表演而闻名，一直在欧洲远远超越欧洲。随着Billboard在Hot 100中突出显示它们，并在4月6日的全球首次亮相时指出了“焦糖”，因此Sleep Motken一直在席卷音乐市场，声称全球可见性，波士顿和布鲁克林之间最晦涩的面具蒙面的束带只能梦想的梦想 - 比几个拥挤的地下室，甚至更多的是一个无与伦比的tumblr tumblr标签。

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，在这里，他们毗邻流行巨人，没有晋升，访谈或舞台上的戏ban。睡眠代币像一个长期时代的坚忍表演者一样运作：他们出现，扮演场景，而偶尔闯入最佳的舞蹈，最能描述为Joy Division-quice式的抽搐和有氧运动慢跑之间的十字架，并在没有提供任何背景的情况下离开。

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.

现在，我们习惯于将其置于黑暗中。沉默似乎已经工作了一段时间。自2016年以来，睡眠代币就一直很活跃，发行了三张专辑，并在不到十年的时间内播放数百场现场表演，而无需踏入众议员的无风度。

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

但是，在最近震惊了乐队粉丝群的最新发展中，成员们被吸引了，揭示了他们的真实身份。

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，金属纯粹主义者谴责睡眠代币为“想象的巨龙”，从来没有给一个踏入流行世界的乐队而只是为了发现自己对副社会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，我们以前没看过蒙面的表演者并设法让他们的神秘呼吸了吗？达夫特朋克（Daft Punk）几十年来一直独自一人。只要他愿意，奥维尔·佩克（Orville Peck）一直是一双眼睛和露齿的南方笑容，直到最近才决定揭露他在百老汇歌舞表演中的角色。

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.

仔细检查揭示了对比。愚蠢的朋克是寒冷的家伙制作寒冷的音乐。奥维尔·佩克（Orville Peck）开放又温暖，慷慨地花费了面试的货币，并通过他的房子里炫耀自己的鞋架。在保持一定程度的不可企业的同时，Orville和Daft Punk都很容易缠绕着自己的头 - 这是睡眠代币无法提供的妥协。他们从不邀请记者进入他们的房屋，从未摆出过青少年时尚的封面。他们不愿意与新闻界保持任何沟通，使公众对撒旦恐慌的永不掩饰的尘埃，感到不安，几乎被引起揭露真相的所有硬尘已经怀疑，而没有能够详细说明他们希望在那里找到的东西。

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在与摄影师和记者建立界限时一直在反对这种权利。 “我们让您;我们拥有您”避免了长期以来一直困扰着娱乐行业，但是很少有领域像音乐和促销团队在艺术家处于正面和中间时保持在阴影中的音乐一样受到影响。即时性是一把双刃剑：在推动相关性时，在某些情况下，它不容忍缺乏透明度，而通常仅用于大多数亲密关系。

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.

虽然不是完全不合理的 - 可以理解的是，粉丝们对支持“错误”的人保持警惕，但这种对清晰度的渴望无法现实地实现。即使知道艺术家的名字，粉丝群​​也只有一组字母，什么也没说服他们的道德品格。除非我们愿意对每个艺术家的背景进行彻底的调查，否则我们可能需要考虑不舒服的可能性：我们可能永远不会知道。从公众的角度来看，睡眠代币的doxxing在Google图像上产生了少数肤浅的数据和歌手船只的几张模糊照片，这几乎是令人失望的结果，这些结果本来应该是道德上的胜利。

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，我们承受的潜在损失是具体和有形的。长期以来，艺术一直是流浪者的避风港，孤独，敏感的避风港 - 世界上每个人都可以看到的乌托邦角。将这个前提留在五月