Sleep Theory

Who really misses nu metal? “Misses” might be a strong word. Let’s say this instead: who doesn’t recognise the usual narrative — Rage Against The Machine? Cool. Korn? Sure, something there. Deftones? Fine. Incubus? Ok, maybe. But Linkin Park? Absolutely vile. Disturbed? Spare me. And P.O.D.? LOL, remember P.O.D.?

If you always found that take a little off-key — if you think that era, crude and naïve as it could be, actually nailed more than it gets credit for — then you’ll be pleased to know there’s more nu metal around right now than there’s been since back in the day. And just like then, there’s good stuff, garbage, and plenty in between. At the good end you’ve got Tallah (Max Portnoy’s band — yeah, that Portnoy’s kid). At the bad end, no one’s taking Sleep Token’s spot away anytime soon. In between? Indians Bloodywood — fun, ridiculous, totally un-defensible — and Norway’s Frostbit, mashing up djent (Vildhjarta-style thall) with a discount System Of A Down vibe.
Less obvious is where to file American newcomers Sleep Theory. They just dropped their debut "Afterglow" this year, and they’re already racking up 2.5 million Spotify listeners a month — no small feat in this climate.

A quick listen to singles “Fallout” and “Stuck In My Head” (both out since 2024) makes it obvious why they got noticed: they’re Linkin Park, resurrected — more so, arguably, than Linkin Park themselves these days. Same tight switch-up between clean singing, whispers, and shouting. Same sharp blend of big guitars and electronics, mic effects, even scratching (when’s the last time you heard that on a new record?). Same just-dark-enough vibe, wildly dynamic arrangements, catharsis turned up to eleven. Same undeniable — and to some, borderline annoying — melodic gift. That unholy knack for welding those choruses right onto your brain, leaving you with a head full of hooks that all sound kinda alike, but damn if they don’t stick.

So yeah, if the most popular nu metal band ever didn’t do it for you, these capable heirs probably won’t change your mind. But if there’s even a chance? Well — let’s be fair — Sleep Theory aren’t exact clones of their forebears. Sure, they named one of their earliest tracks “Numb,” but they don’t lean as heavily on electronics. They don’t rap (pity — Shinoda was good). And in contrast, they show real comfort with hardcore and adjacent scenes (especially metalcore, but also emo and nearby zones). “Numb,” with its stop’n’go riffs and soaring vocals, bridges verse and chorus in ways that land them squarely in 3rd Wave Emo territory — think Saosin, Bring Me The Horizon, or even Fall Out Boy. “III” doubles down with floods of palm-muted djent-core. And “Parasite,” loaded with trancey synth layers, veers into near-electronicore à la Enter Shikari — at least until the big Chester Bennington-channeling hook drops back in.

The risk of sameness is always lurking, but they do work to keep things varied. The title track’s big, shamelessly sugary symphonic section proves the Memphis quartet aren’t about staying in safe genre boxes. And frontman (and driving force) Cullen Moore is a veteran — literally — who grew up on his dad’s R&B, left the army to chase music, and decided he’d found the right bassist the moment he heard him play Paramore’s “My Heart.” He’s launching this band down a very familiar path — convincingly so, let’s be fair — but there’s no guarantee he’ll stay there for long.

(English version created with AI-assisted translation)

03/07/2025