Samantha

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George Lever [Sleep Token producer 2016-2021]: The starting point was removing this idea of the music you listen to being related to the person making it. By being anonymous, the listener is forced to relate to what they're actually hearing.

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James Monteith [Tesseract guitarist/publicist at Hold Tight PR]: I was approached by Tom Quigley, who was a scene regular and ran a few blogs at the time. He said he was working with this new band, would we maybe be interested in doing their press? We ended up talking for an hour, and he rolled out the whole concept, the imagery and everything about it... other than the music.

George: The lore/narrative was pretty loose still, but it definitely existed.

James: There was nothing specific as such, more this idea of creating an occult vibe and feeling, led by this prophet-like character who leads a religion.

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George: A lot of the first EP was actually us trying stuff out. We recorded the drums on a whim at Monnow Valley Studio in Wales. I introduced him to one of my friends, who actually still drums in them now.

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James: We always got requests [for interviews], but the band said from the start they were anonymous and wouldn't do them. It helped create more curiosity because nobody could get access to them.

Matt Benton [Metal Hammer writer]: You can't do an introductory piece without an interview. We managed to get an agreement for an email interview with Metal Hammer. Even then, the band knew they didn't want a voice.

Matt: It's one of only a few interviews they've ever done. It's something I'm glad exists, because it's like getting the Word Of God.

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George: I had freedom to offer interpretations of what I was hearing. It was a very fortunate combination of personalities and ideals. There was never any, 'We're going to take over the world' -type chat. It was more, 'Do we like this? Let's do more of that.'

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Nathan Barley Phillips [co-founder of Basick Records]: Trying to keep some sense of anonymity was a real mission. Particularly getting them to and from the stage [at Great Escape festival 2018] without anyone seeing who they were.

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George: We did Sundowning in three months - we went from demo to final master being released in just 12 weeks. We didn't have days off; we'd do seven in the morning until seven, eight or even nine at night every day for three months. We were in each other's pockets; we'd go to the gym together, swim, do the sauna... All this stuff to recover from being sat down all the time. There was a lot of time to spend holistically being friends making this record. We didn't know how to make this thing, but we had a confidence that we'd get there in the end. That's my favourite three-month period of my life.

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George: We started making [TPWBYT] and the first day was when lockdowns began. Tomb... was tough for all of us emotionally. There were lifestyle pressures as a result of the lockdown that made it not very conducive to making art that is supposed to be welcoming. A lot of those songs are, in one way or another, about love, love being lost or remorse, they are compassionate tales that are designed to bring the listener towards the artist. It's hard to do that when it feels like the world is going to end.

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Matt: I've got friends in merchandising and they say Sleep Token shift more merch than any other UK heavy band - more than even Iron Maiden.

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Nathan: Bands like Ghost and Sleep Token aren't successful because they wear masks. They're successful because they write great music. Masks don't mean anything if the music isn't any good.