Isis lets Panopticon terrorize

Jeremy Bentham is not in Isis. He did, however, realize the idea of the panopticon, a circular prison in which the overseer can watch all of the inmates without being seen himself. Whether Aaron Turner, Isis' front man, is making an attempt at constructing a panopticon or being the overseer himself is a question impossible to answer. The newest Isis album, Panopticon, is a conceptually rich, integral album that elucidates a new sense of direction for a band that has always experimented and moved forward.

In 2001 Isis found themselves releasing their first full length, the hefty and hard to swallow Celestial, a blend of the band's already defined sludgecore sound with electronics and noise. Celestial is an album that forces the listener into a new solar world of repeating drum patterns and constant riffs. It was the first showing of the band's growing dynamic, less aggressive tendencies. 2002's Oceanic found the band in the depths of the sea, with songs and lyrics concentrating on a waterfront approach. Like an orgasm underwater, the guitar riffs explode with intensity and the drums provide a subtle kick in the ass that has been long lost in experimental metal. With an air of annoyance Turner mentions, "Of course we are subconsciously influenced by the music we hear ... but we are still constrained by the moniker of Isis. What we've listened to manifests itself and helps us grow as musicians."

Perhaps Isis does manage to become both the prisoner and the guard in a circular prison, bridging gaps that they've made for themselves and dedicating so thoroughly the idea of the complete that they've walled themselves into one of the most frightening and interesting soundscapes to grace the silver side of the media. Panopticon managed to bring new light to a band that was thought to have already achieved their magnum opus. "We've received positive feedback from sources we trust, and to be honest I'm sort of waiting for the whiplash," Turner said.

Isis is one of the few bands in this decade that is capable of bringing a story, an idea, a sentence and an oeuvre to life. They have accomplished, with great accuracy, the idea of theme, something that was left behind in the 80s and 90s. Turner suggests that, "The music comes first and it works as inspiration and guidance towards a theme." This suggestion, the "intentional shift" towards cohesiveness, is what makes Isis an important band to watch. Lyrics, although often integrated after the music is realized, play an important role in understanding the band's goal. Turner feels the need to help the listener along with quotations interlaid within the album's artwork. Like quotes that start chapters in novels, Turner gives us a hint into what Isis' lyrics may be rooted. "There are two aspects to the quotes, first, I am still self-conscious about the lyrics ... many of which are fragmented and are seen as abstract. Two, it articulates ideas that are inviting the listener into new things."

Rock and roll has never been a medium that has received a hearty respect from philosophers and literary critics. With the integration of the ideas of Foucault, Orwell and Bentham into their music, Isis has forced those purists to take a second look at a genre that they may have forgotten. Like Rush and Ayn Rand, Isis has taken to using the tales of others to elucidate a new common enemy. Although not nearly has bizarre as Neil Peart's tale of communist control, Turner's lyrics offer a harsh criticism of universal affliction throughout their albums. The idea of a panopticon culture being frightening enough, the music that surrounds the words is the defining aspect of Isis. "In the past it was one or two people who would come up with the riffs to a song, now it's all of us working together, which has helped in having a more cohesive sound," Turner said. The structuring of an Isis song is analogous with the migration of ducks in the winter. It is a clear and solid progression that evidences a cohesive strategy among the writers. It's this maturity in their songwriting that has helped this band move to where they are today. "As we've all grown as musicians we have a clear idea of what the next step is." Listening to Celestial, Oceanic and Panopticon back to back is clear evidence of Isis' progression, and the next-step theory seems to harden in the cement with Panopticon. The art of Isis as musicians being set aside, the art of Aaron Turner himself brings a provocative new level in the arena.

Designing all the artwork himself, in the same style and order that the lyrics come, Turner has managed to infiltrate himself into the band's mechanics in ways that few people can pull off. "Like the lyrics, the artwork comes from the music, it's an inspiration and guidance." For Turner it all works together; music, lyrics, and art seamlessly draw themselves together in one cohesive jacket of media. On top of that, Turner's work as label-head of Hydrahead Records (which he produces a large portion of the artwork for) as well as his inclusion in some 1,300 side projects (most notably Old Man Gloom, Lotus Eaters and House of Low Culture) showcases his desire and ambition at creating a complete all-around character. He is, to put it heavily, a modern Renaissance man.

Shove all this art and shit in a blender and you get Isis. The moniker. The men. The sound of something new on the horizon, just about to bleed itself on to the streets in a free-for-all of abstract noise sludge. A boundless, total experience that leaves the hearts of those watching pounding in anticipation, yeah that's a cliché way to word it, but I'll be damned if you say your heart don't skip some beats upon catching Isis live.

Isis is playing at Rock Island on November 23 with These Arms Are Snakes and Autokinoton.

Some would have you believe Thorin Kloswoski is "like a Geiger counter pointed at a Chernobyl drunk." Ask him what the hell that means at thorin@thedanceprogram.net