Doc Coyle has publicly criticized the prevalent pretentious gatekeeping surrounding Sleep Token, drawing parallels to a familiar narrative he has witnessed repeatedly with various popular rock and metal bands over the years. The former guitarist of Bad Wolves and current member of Snot expressed his thoughts in a compelling op-ed for Metal Hammer, where he defended the masked band amidst rising criticism following the impressive commercial success of their latest album, Even In Arcadia, which has marked one of the most significant sales weeks for a rock or metal act in recent memory.

Understanding Doc Coyle’s Perspective on the Backlash Against Sleep Token

In his insightful commentary, Coyle emphasizes the positive achievements of Sleep Token while also addressing the harsh backlash they have faced. He remarks, “In spite of, or perhaps because of, this commercial triumph, the backlash has been both severe and rapid.” He observes that the discourse surrounding metalcore online has become increasingly hostile, stating, “My Twitter feed resembles a revolt against Sleep Token.” A common sentiment among critics is encapsulated in the phrase, “This band should not be allowed to be called metal anymore!” and many express a strong aversion to the fervent loyalty of their fanbase.

Coyle further highlights the absence of constructive critique, noting, “This isn’t critique – it’s antipathy, revulsion, wholesale rejection.” He points out that the underlying issue is not the artistic decisions made by the band, but rather their boldness in achieving massive popularity as a rock act with those very choices.

He also discusses how the band’s incorporation of pop influences is often weaponized against them by metal purists. Coyle asserts that numerous artists, including Bring Me the Horizon, Bad Omens, and Spiritbox, have similarly blended genres without facing the same level of scrutiny. In contrast, other acts like Opeth, Myrkur, and Devin Townsend seem to escape criticism for their genre-defying approaches simply because they do not engage with mainstream audiences.

He expresses concern, stating, “I fear that we’ve evolved into a society that is incentivized to avoid enjoying inherently enjoyable things.” Coyle praises “Caramel” as “a disturbingly excellent pop song” and shares, “I genuinely enjoy Even in Arcadia. While its standout tracks may not reach the soaring heights of ‘The Summoning’ and ‘Chokehold’ from Take Me Back to Eden, I find it to be a more fulfilling listen from start to finish.”

Addressing the Issue of Gatekeeping in the Music Community

Coyle continues his thoughtful discourse by stating, “I don’t hold any grudges against those who dislike the album or the band. What troubles me is the formation of groups that act as lynch mobs targeting popular heavy bands as a growing trend. This knee-jerk contrarianism, where individuals feel compelled to dislike what the majority embraces, is not something I find admirable.”

“History has shown us this pattern. Limp Bizkit, once the biggest band in the world in 2002, became persona non grata in just a couple of years. I witnessed them being booed while opening for Metallica in 2003. Tim Commerford, the bassist of Rage Against The Machine, even issued an apology for Limp Bizkit’s existence back then. However, now they are receiving recognition for their innovative and entertaining contributions to music. Many longtime fans are rediscovering their greatness, and an entirely new generation appreciates them without the associated stigma. Additionally, it was once fashionable to criticize Metallica for over a decade; now they are celebrated once more.”

READ MORE: Does Sleep Token’s ‘Even in Arcadia’ Live Up to the Hype? Fans Share Their Thoughts

Coyle reflects, “I am perplexed as to why we persistently engage in the same cycles of dismantling our successful acts. This is the very essence of ‘why we can’t have nice things’ in practice. Disliking bands as a trend is not admirable because attempting to be cool is, in itself, uncool. It represents another form of conformity and elitism. I believe that being a true fan is akin to embracing one’s inner nerd—passionate, obsessive, and unapologetically sincere. Regrettably, we currently reside in a culture where sincerity is often dismissed as cringe-worthy.”

The guitarist concludes with a desire to avoid being perceived as “the hall monitor scolding the kids,” yet he believes it would be healthier if we were not so driven by vocal disdain towards others. He states, “It’s just music. Just because you have the right to express disdain does not mean you must exercise that right,” Coyle advises. “Embrace your individuality. Be a nerd. And it is perfectly acceptable to occasionally be a fan of things that bring you joy.”