While She Sleeps’ career has been punctuated by constant motion and a passionate DIY ethos. The metalcore five piece still record primarily at their own studio HQ in Sheffield, design their merchandise and shoot their own music videos, an approach which means they hold a relatively unique position in the industry. In 2020 they launched the Sleeps Society subscription service via Patreon, allowing them to exist independently without the need of financial backing from record labels, further calcifying the already deep connection with their fans. On the evidence of the band’s frequently brilliant sixth album, ‘Self Hell’, it may be one of the best decisions they’ve ever made.
Perhaps the record’s most interesting element is how it manages to marry arena rock level ambitions with a clear willingness to experiment and explore new territory. There’s an unpredictable feeling to the way a lot of the songs are unfurl and from a purely musical standpoint, they’ve never sounded more confident or finely tuned as a unit. Sean Long’s impossible sounding guitar histrionics especially impress, at various points evoking the best work of Tom Morello and Matt Bellamy — even the fairly conventional ‘Wildfire’ is elevated by a tremendous melodic run at its emotional crescendo. Such virtuoso playing can sometimes threaten to overshadow proceedings, but here it serves instead as another irresistible brushstroke in the band’s ever evolving sonic palette.
The brief but decidedly epic opener ‘Peace Of Mind’ segues directly into ‘Leave Me Alone’, which quickly cycles back and forth between dizzying angular riffs, nu-metal sections, and electronica accented instrumental breaks. Accompanied by a devastating video depicting the extreme highs and heart sinking lows of a relationship, ‘To The Flowers’ is the record’s towering apex, bookended with grand tempo shifts and some of Long’s finest fretwork to date. The sweeping metal anthem ‘Dopesick’ is similarly affecting; its verses centered around a mournful guitar line before unleashing another truly gargantuan chorus. Recent single ‘Down’ judders with industrial menace and a guest appearance from Malevolence’s Alex Taylor provides a compelling counterpoint to singer Loz Taylor’s typically visceral vocals.
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As previously stated, ‘Self Hell’ does dive into more experimental planes. This is only hinted at initially, first on ‘Rainbows’ with its contorted, modulated vocals, then via the thunderous title track’s dissonant chorus tones and oscillating electronics. However, the fully conceived soundscape of ‘No Feeling Is Final’ that lands roughly midway through is a final reminder this might not be quite the Sleeps record many would have expected. Which brings us to the frankly, rather bonkers but undeniably thrilling ‘Out Of The Blue’. Another instrumental track, it morphs from a collage of jittery percussion and samples to a surging orchestral outro. ‘Enemy Mentality’ quickly follows suite, reveling in crushing riffs until drifting into a hypnotic groove reminiscent of ambient ’90s house. It’s quite the journey.
As a band, While She Sleeps has experienced a lot. On the title track, they sing of having “imposter syndrome” and being “sensory deprived.” During ‘Dopesick’, they’re “getting high on feeling low.” Yet, much like the narrative arc that inspired the record, they’ve emerged on the other side, still breathing, utilizing their pain and each member’s very own personal hell to assemble the most confident effort of their career thus far. In an interview with Kerrang Earlier this month, singer Loz Taylor described the album as “a culmination of what we’ve been through.” Culmination is perhaps the most appropriate adjective, but with everything ‘Self Hell’ has to offer, there’s enough evidence here to suggest that this is only the start.
8/10
Words: Luke Winstanley
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