Isis

[Black Dahlia]

otprilike

[Perfection Of Vanishing]

Smaraju, pa na kvadrat.

[Buddha]

pa sta ces onda ovde?

[KRANG]

ma daj.. kreator smara pa na kvadrat.. kod isis-a mi samo smetaju vokali.. malo..

[Buddha]

stigao mi danas Panopticon

mnogo lep omot, papir je onaj fini kao za razglednice

[Kent]

But unlike Godspeed You! Black Emperor, a band whose artistic integrity (in the literal rather than figurative sense) remains protected to the point of a near media-blackout, Isis retain psysical contact and verbal communication with the world while remaining audibly - and artistically - autonomous. And that is what makes 'Panopticon' so completely satisfying. Like Tool's 'Aenima' or Radiohead's 'OK Comptuer' - ostensibly "artsy" albums that have been embraced by the mainstream - 'Panoticon' is both immediately enjoyable and instantly recognisable as a substantial artistic work and a significant cultural contribution. Sadly, Isis will probably never enjoy the commercial or economic success of Tool or Radiohead - primarily because eight-minute songs with little or no vocal accompaniment don`t tend to fare well in the short-attention-span theater of the pop pantheon. But then again, Isis probably wouldn`t write eight-minute songs if all they wanted was a few million dollars apiece and an arse-kissing from Jools Holland.

[Buddha]

respect.

 

odakle je to, tj. ko napisa?

[Buddha]

konacno se pojavio i review na allmusic-u

 

If the glacial dynamics of previous metal and hardcore abstractions Celestial and Oceanic didn't prove that Isis was a heavy band in every sense, then Panopticon should do the trick. The title comes from 18th century philosopher Jeremy Bentham's prison design, which was later referenced by Michael Foucault in the 20th century. The idea is that a centrally placed guard or watcher can keep track of a large number of prisoners, and it excited Bentham and concerned Foucault. Heavy stuff for a metal band, huh? Both are quoted in the liner notes, bookended by aerial industrial photos laying out society's open sprawl. It fits perfectly with the epic music on the disc itself, which is as angular as post-rock forefathers Slint and as cosmically expansive as Neurosis, yet closer to the intensity of hardcore than either of them. Panopticon has the same cagey wall of noise as Oceanic, although the end product here is a little more polished. Aaron Turner is still howling and growling, but he's less reluctant to actually sing, just as the music is more inclined to stretch out into Pink Floyd's velvet atmospherics, which were a part of Oceanic, too, but just not as pronounced as they are here. Turner's lyrics are impenetrable, buried in the mix, but when they do pop through the haze of guitars and electronics they're appropriately weighty and tied to the omniscient paranoia of the title.

 

dobio samo 4 zvezdice, lameri. boo.

[Guest]

E Budahnilo ako nemаš šta drugo da radiš, aj prepiši textove sa Panopticona pošto ih nema nigde na netu

[Buddha]

nema ih ni u omotu

[Buddha]

ALBUM OF THE MONTH>HEAVY WATER

 

ISIS

Oceanic

Ipecac

 

Worlds as all-encompassing as this aren't easy to come by. In the Terrorizer universe, perhaps only Nick Cave and Michael Gira (Steve Austin makes a brave attempt with Today Is The Day's latest) are quite as adept as Aaron Turner in forging such a close bond between the intimate and the epic, in creating the most fully realised, universal environments from the most individual, most idiosyntratic of perspectives. But in Aaron Turner's case - and I'm sure he won't thank me for saying this - he's rapidly becoming something very special indeed; our most trustworthy post-millennial guide, in that the world Isis' latest inhabits sounds to these anxious ears like an acute diagnosis of our times. Because as much as a band like Skullflower amplified the waning signal of the 20th century, so Turner's work keeps rhythm with the ambiguous birth throes of the 21st. Whether with Isis, Old Man Gloom, or even his cover art for OMG and fellow Bostonians Cave In, all beautifully annonated scrapbooks of imaginated worlds, it all grows out of a common thread - a sense of having overshot, of trying to navigate the present when all your most familiar co-ordinates are echoes from another time.

That's not to say that 'Oceanic' isn't entirely without parallel; throughout its ebbs, flows, rising tides, relapses and rushes, you can hear the languid travelogues of Drowning Pool (the original, early 90s Californian alchemists, not the recently bereaved nu-metallers) leading into 'The Other', the lambent chimes of Labradford resonating throughout 'False Light', and rising up from 'Maritime's intricate, fledging eddies, even a nod to the woozy, sawing riffs of Echo & The Bunnymen's 'The Cutter'. But all these are ghosts flickering at the peripheries; more than anything, Isis are haunted by their hardcore heritage.

If 2000's full-length debut 'Celestial' carefully picked away at hardcore's crust to reveal a gilded chassis beneath, 'Oceanic' has jettisoned its most central tenet; its awareness of its roots. This isn't NYHC, it's 'NowhereHC, still taking up on the tentative inch-recoil-and-holler instigated by Fugazi, but here it doesn't offer any reassurance of grounding, it sounds cast adrift and bereft, more aftershock than assertion. On opener 'The Beginning And The End' the riffage is all post-coital thrusts and refrains, dissolving into radiant melancholia, like embers trailing upwards from a dying fire; on the following 'The Other', taken to the end of its tether as it frays into an inconsolable searchlight pulse.

'Oceanic' sounds as though it's in the process of exhausting all its reference points, allowing itself to pass through into limbo and gradually transform itself, butterfly-style, dreaming of what it's going to become next. The midpoint track, '-' is something of a Passover, all bubbling, aquatic depths, abandoned frequencies and lapping shores, depositing you at the aforementioned 'Maritime' and through to the mesmeric rebirth that is 'Weight', building up from the most fragile of timbres as Cave In-style panoramic percussion breathes life into a stunning, heart-in-mouth ascension, chords rising up on a successive updrafts and shedding their ballast as though they're undergoing a hallowed rite of purification. And as the closing tracks, 'From Sinking' and 'Hym' are shot through with their migratory charge, this densely entwined network of departures, passages and cathartic uprisings will entrance even the most battle-hardened among you.

If you aren't breathless with anticipation by now, 'Oceanic' will certainly leave you. A far-flung, tantalisingly unfinished masterpiece.

 

[9.5] Jonathan Selzer

 

Terrorizer magazine, issue 104, nov2002

[Kent]

Arhiva...daj za Pan odatle

[Buddha]

nemam, jebiggah..

ako neko ima nek se javi.. dobrovoljno se javljam da prepisem text za isti

[Kent]

Onaj moj je iz rock sounda najnovijeg... dobili su 10 i to je prvi put da vidim da neko dobije tu ocenu tu... cult of luna je u istom dobila 9, a mare 8... mrzelo me da prepisujem celu recenziju...

[Buddha]

ma nisi ni morao, ubo si poentu

 

a ovaj iz terrorizer-a je stvarno ono, recnik u ruke pa prevodi sta je sve rekao pa pokusaj da shvatis

[Kent]

Ma svi su Englezi takvi... Ali, barem slusaju dobru muziku (a i prave )

[Buddha]

ne, EDIT: "Svi Englezi su ludi."

[Buddha]

[Buddha]

[Buddha]

[Buddha]

evo i dobre slike za SGNL>05 ogromna je

LINK

[Buddha]

a evo i link specijalno za can'tishu LINK

Edited November 21, 2004 by slowdiver

[Buddha]

jos jedan review, ovaj je sa ultimate metal-a.

 

 

Wow, I don’t even know where to begin. Remember how Oceanic was magnificent? Do you remember thinking that Isis would have to do a whole lot to surpass their previous release? Well, suffice it to say, Panopticon clobbers the band’s entire discography.

 

“So Did We” jumps right in with the group’s patented sound and vocals. The aforementioned song gets mellow about thirty seconds after commencement. As you know, Isis’ passages are usually winding and filled with contained intensity; furthermore, have you stumbled upon a band that builds to a climax better than these guys? I also enjoy the steady drumming, which makes it nominally easier to weld with the track’s groove(s). “Backlit” is a sullenly beautiful piece that funnels into a haggard, confident composition. “In Fiction” retains a mysterious feel to its beginning, but convincingly sprawls outward, as does “Wills Dissolve.” “Syndic Calls” is perhaps more experimental than anything else on Panopticon. Perhaps not. In any case, I fell for the guitar parts that cut in and out, circa the 2:00 mark. “Altered Course” is a bit more raw than typical, and “Grinning Mouths” is most assuredly solid. Negatives include: songs that meander a little too much at times, length of certain tracks may put you out, and that’s about it.

 

Needless to say, Panopticon will definitely grace many top-albums-of-the-year lists, and rightfully so. Not only is the music phenomenal, but also the glossy, liner notes are cool and the artwork is worth mention. In sum, I believe Isis have let loose the best album of their meek career. So, agree or flame away.

 

9/10

[Kent]

Pazi kad im je i Mojo dao 4/5. To me skroz zacudilo poznajuci njihovu strogocu.

 

Panopticone, Panopticone, jeb`o si sve keve

[BodyRemover]

vezano s englezima sto prave dobru mjuzu.

 

dobio sam tip da je novi embrace hit godine i verovatno top10 engleskih albuma zauvek.

 

potrazicu kad se setim. ako ima neko - jos bolje!

 

 

poz