Isis (band)

Infobox musical artist |
Name = Isis

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Img_capt = Isis appearing on the cover of "Decibel" in November 2006. From left to right: Aaron Turner, Aaron Harris, Michael Gallagher, Jeff Caxide, and Bryant Clifford Meyer.
Img_size = 255
Background = group_or_band
Origin = Boston, Massachusetts, USA Los Angeles, California, USA
Genre = Avant-garde metal
Experimental rock
Post-metal
Psychedelic rock
Atmospheric sludge
Years_active = 1997–present
Label = Ipecac Recordings, Robotic Empire, Hydra Head Records, Neurot Recordings, Escape Artist
Associated_acts = Agoraphobic Nosebleed, Old Man Gloom, Pig Destroyer, Red Sparowes
URL = [http://www.isistheband.com/home.aspx isistheband.com]
Current_members = Aaron Turner
Jeff Caxide
Michael Gallagher
Aaron Harris
Bryant Clifford Meyer
Past_members = Chris Mereschuk Jay Randall

Isis is a Los Angeles, California-based band, founded in Boston, Massachusetts in 1997. They have borrowed from and helped to evolve a sound pioneered by the likes of Neurosis and Godflesh, creating heavy music consisting of lengthy songs that focus on repetition and evolution of structure. As such, a great range of musical labels are used to describe their sound, including avant-garde metal, post-metal and experimental rock.

The band's most recent album, "In the Absence of Truth", was released on October 31, 2006.

History

Several sessions of experimentation in Boston, Massachusetts led friends Aaron Turner (guitar/vocals; also the owner of Hydra Head Records and its subsidiary, HH Noise Industries), Jeff Caxide (bass guitar), Chris Mereschuk (electronics/vocals) and Aaron Harris (drums) to form Isis in late 1997. As Turner states, "Isis formed as a result of the dissatisfaction with past bands of the founding members [Aaron Harris, Jeff Caxide, Aaron Turner, and Chris Mereschuk] . None of us were happy with what we were doing musically at the time, two of us lived together, we had similar tastes and similar record collections."cite web | url = http://www.feastofhateandfear.com/interviews/isis.html | title = Aaron Turner interview| work = Feast of Hate and Fear | accessmonthday = October 8 | accessyear = 2006] Isis released a demo and their first EP, "Mosquito Control", in 1998, with this line-up. After an East Coast tour in the summer of 1998 where they were joined by Randy Larsen of Cable on guitar, Mereschuk left the band. Jay Randall (now of Agoraphobic Nosebleed) soon replaced him, working on "Red Sea" (1999). However, his stay would not last; this ultimately led to the addition of Bryant Clifford Meyer of The Gersch as well as former Cast Iron Hike guitarist Michael Gallagher in 1999. After releasing their debut full-length entitled "Celestial" and its sister EP, "SGNL>05" (on Neurot Recordings), in 2000, Isis gained national underground attention in the metal/hardcore scene through tours with Cave In and Neurosis. Isis remains with this lineup to date.

For the "SGNL>05" EP, they contacted Justin Broadrick (then of Godflesh) through their friends in Neurosis to remix the title track from "Celestial", which they used as the EP's closer. Following "SGNL>05", Isis signed with Mike Patton's label, Ipecac Recordings, who have issued the band's subsequent studio albums.

Whereas "Celestial" was still deeply rooted in metal and hardcore, 2002's follow-up, "Oceanic", saw the band acquire new characteristics comparable to post-rock and ambient music, significantly aiding in the birth of the genre of post-metal in what many saw as a logical progression.cite web | last =Serba| first =John| url = http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:57d4vw9qa9xk | title = Review of "Oceanic" | work = Allmusic| accessmonthday = November 25 | accessyear = 2006] While much of the material on the album retained the band's former "metallic" intensity, this departure saw the band appeal to a far wider audience; as a result, "Oceanic" may be the group's most noted album to date, and is widely considered a turning-point in the history of the band.cite web | last = Martinelli| first = Roberto| url = http://maelstrom.nu/ezine/review_iss10_495.php | title = Review of "Oceanic" | work = Maelstrom Zine | accessmonthday = November 11 | accessyear = 2006] cite press release
title = Isis
publisher = Ipecac Recordings
date =
url = http://www.ipecac.com/bio.php?id=15
accessdate = 2006-11-11 ] cite web | last =Downey| first =Ryan J| url = http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:bfevad5ki8w5~T1 | title = (((Isis > Biography))) | work = Allmusic| accessmonthday = December 3 | accessyear = 2006] Turner himself describes it as their "quintessential album".cite web | last = Diver| first = Mike| url = http://www.drownedinsound.com/articles/1434352 | title = In The Presence Of Truth: DiS meets Aaron Turner of Isis | format = | work = Drowned in Sound | publisher = | accessmonthday = January 2 | accessyear = 2007] It was at the time their most successful release, receiving album-of-the-year accolades from "Rock Sound" and "Terrorizer" in 2002,cite press release
title = Isis > Biography
publisher = Southern Records
date =
url = http://www.southern.net/southern/band/ISIS0/biog.php
accessdate = 2006-11-11 ] In October 2003, Isis relocated to Los Angeles.

The distinctive tone of material since and including "Oceanic" had a noticeable impact on avant-garde metal,cite web | last = Lee| first = Cosmo| url = http://www.stylusmagazine.com/reviews/isis/in-the-absence-of-truth.htm | title = Review of "In the Absence of Truth" | format = | work = Stylus Magazine| publisher = | accessmonthday = November 26 | accessyear = 2006] helping develop the sound of several contemporaries; Cult of Luna, Pelican, Tides, Rosetta, and Russian Circles all cite Isis as an influence.cite web | last = Bonazelli| first = Andrew| url = http://www.decibelmagazine.com/features/nov2006/isis.aspx | title = Isis | work = Decibel Magazine| accessmonthday = November 9 | accessyear = 2006] cite web | date=2005-08-31 | url = http://www.stonerrock.com/interviews/index.asp?InterviewID=163 | title = An Interview with Donny, Rob, Benny, and Augie of Tides... | format = | work = StonerRock.com | publisher = | accessmonthday = September 20 | accessyear = 2006] This underground success attracted the attention of the likes of Mogwai,cite web | last = Young| first = Craig| url = http://www.earpollution.com/v2/vol5/interviews/isis/index.html | title = Isis | work = earpollution| accessmonthday = November 23 | accessyear = 2006] with whom they have toured on numerous occasions.

"Oceanic Remixes and Reinterpretations" was released in 2004, featuring reinterpretations of songs from "Oceanic" by a number of influential artists requested by the band. Both "Oceanic" and "Oceanic Remixes" feature female vocals by Maria Christopher of the band 27. The album featured another remix by Justin Broadrick, who has supported Isis on tours with his band, Jesu, which is signed to Hydra Head Records.

2004 saw the release of Isis' third album, "Panopticon". It signified a further progression many had predicted since "Oceanic", with a more advanced post-rock feel to the music both structurally and in terms of sound. Justin Chancellor of Tool makes an appearance on the track, "Altered Course". Overall, it was a very well received album, being awarded 'album of the year' accolades from "Rock Sound"Bennet, J. Review of "Panopticon". "Rock Sound" issue 66, November 2004. See [http://www.parasomniac.net/misc/isis-panopticon-review.php here] for an online transcription.] and reaching #47 on Billboard's Top Independent Albums charts; their first entry into any mainstream charts. [http://www.billboard.com/bbcom/retrieve_chart_history.do?model.chartFormatGroupName=Albums&model.vnuArtistId=436397&model.vnuAlbumId=794832 Isis] at "Billboard.com". Retrieved on January 13, 2006.] Before touring the USA, the band performed a free concert at the Los Angeles Museum of Contemporary Art, a manifestation of the widespread recognition the band had acquired in artistic circles since the release of "Oceanic".cite web | last = Epstein| first = Dan| url = http://www.revolvermag.com/features/2005/february/isis/index.html | title = The Art of War| work = Revolver| accessmonthday = November 9 | accessyear = 2006] Reacting to the impact of "Oceanic" and "Panopticon", "Revolver" named Isis the twelfth heaviest band of all time in December 2004."Revolver", [http://www.revolvermag.com/issues/2004/1204.table-of-contents.html December 2004 issue] ] On 23 July, 2006, they performed "Oceanic" in full at KOKO in London as part of All Tomorrow's Parties Don't Look Back season.cite web | last = Diver| first = Mike| url = http://www.drownedinsound.com/articles/745247 | title = Literally OMG: Isis to play "Oceanic" in London | format = | work = Drowned in Sound | publisher = | accessmonthday = January 2 | accessyear = 2007]

Originally set for release on August 22, 2006, "Clearing the Eye", the band's first DVD, documenting performances over the past five years throughout the world, was put on indefinite hold due to issues involving their label, Ipecac Recordings. It was eventually released on September 26, 2006. Also in September 2006, a collaboration with Aereogramme entitled "In the Fishtank 14" was released as part of a project of Dutch label Konkurrent in which two artists are given two days' studio time to write and record their work.

The band finished recording their fourth full-length album, "In the Absence of Truth", on July 9, 2006. It was released on October 31, 2006 on Ipecac. The record sees the band again evolving in a manner similar to "Oceanic" and "Panopticon", this time adding new elements of electronics, song structure, drumming complexity, and vocal techniques. It sees the emergence of a more melodic sound than before, and leanings away from previous "drone" inclinations and towards more traditional metal elements, predominantly in the heavier sections.Bennet, J. "Isis: Hear No Evil, Speak No Evil". "Rock Sound" issue 87, August 2006. 32-34. See [http://www.isisboard.com/index.php?showtopic=522 here] for an online transcription.] It was also their most commercially successful release, peaking at #6 on Billboard's Top Heatseekers chart.

Isis were the opening act for Tool's late 2006 North American tour in support of their new album, "10,000 Days". This led to increased exposure for the band, however the band members are not particularly comfortable with fame, and tend to keep their affairs private. Turner has stated that "We never imagined that Isis would become as successful or as popular as it has",cite web | last = D'Andrea| first = Niki| date=2007-02-22| url = http://www.phoenixnewtimes.com/2007-02-22/music/covert-concepts/ | title = Covert Concepts: Inside the intellectual mystery metal of Isis | format = | work = Phoenix New Times | publisher = | accessmonthday = May 12 | accessyear = 2007] and confesses: " [Fans] taking a deeply personal interest in who I am, it fucking freaks me out. And I really do feel like sometimes when I get approached, I’m retreating into my shell."

As of February 2007, the band has enlisted Justin Broadrick to mix a live performance of "Oceanic" in full, [ [http://www.hydraheadboard.com/forum/viewtopic.php?t=236 From the official Hydra Head Jesu Forum] : "Justin will now also be mixing and producing an ISIS one off performance of "Oceanic" in its entirety, performed in London as part of the ATP festival in July 2006. This is to be a DVD release with other formats TBA." Retrieved on February 9, 2007.] and there is also a possibility of a collaboration with Tim Hecker, as Turner said in an MTV interview: "We've been recording everything that we've been playing together. It was all largely improvised but based on some really basic premises and parameters. That might actually end up turning into another record for us."cite web | last = Harris| first = Chris| date=2006-08-26|url = http://www.mtv.com/news/articles/1539033/20060821/isis.jhtml?headlines=true | title = Tool Opening Act Isis Say They're Ready To Be Booed By Meatheads| work = MTV| accessmonthday = January 17 | accessyear = 2007]

A statement posted on the band's website on October 1st, 2008, stipulated that the band would be "heading into the studio in a few weeks to being working on our fifth full-length album to be released via Ipecac Recordings (USA), Conspiracy Records (UK / EU), and Daymare (JP)". Sound engineer 'Evil' Joe Barresi, whose past credits include Tool and Queens of the Stone Age, will be working on the album.

Genre

Turner cites Tool, The Melvins, Godflesh, and Neurosis as influences to Isis' sound, saying "those bands laid the groundwork for us [...] we're part of a recognizable lineage."cite web | last = Caraminica| first = Jon| date=2005-09-20|url = http://www.iht.com/articles/2005/09/19/features/heavy.php | title = The alchemy of art-world heavy metal | format = | work = The New York Times | publisher = | accessmonthday = October 20 | accessyear = 2006] Early releases were derided as imitative of predecessors Neurosis, and he admits that the comparisons weren't "completely unjustified". However, material since (and including) "Oceanic" has not been so often likened to Neurosis; in fact, it has become the case that it is Isis who are being imitated in a burgeoning post-metal scene.cite web | last = Jurek| first = Thom| url = http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:qyapqj4rojja| title = allmusic ((( "In the Absence of Truth" > Overview))) | work = Allmusic| accessmonthday = February 8 | accessyear = 2007]

In terms of categorisation, Isis have been described as post-rock, a genre which leans away from the traditional elements of choruses, verses, repetitive vocals, or fast riffs—what Turner calls "guitar theatrics."cite web | last = Berrett| first = Chuck| url = http://www.slugmag.com/modules.php?op=modload&name=News&file=article&sid=127 | title = The Inevitable Evolution of Isis | format = | work = Slugmag| publisher = | accessmonthday = October 8 | accessyear = 2006] However, post-rock has what is essentially a sound: one devoid of aggressive vocals and distorted guitars. Isis, however, have hardcore/sludge origins (especially in their pre-"Celestial" era) and hardcore-like vocals. Their music includes elements of hardcore, drone, sludge, indie, ambient music, and post-rock; yet none of these labels defines their sound fully. Critic Dan Epstein notes that "though [Isis were] originally lumped in with the hardcore and doom-metal scenes, the band has long since transcended the musical boundaries of those genres". However, their ongoing acceptance within the pantheon of hardcore music is attested to by Converge's Jacob Bannon, who has gone on record saying that "if I wanna listen to emotional music which I guess is contemporary [...] I'll listen to Isis or something like that - something that "is" emotional, powerful music."Martin, Jim. "Resistance is Fertile". "Terrorizer" issue 124, October 2004. 10.]

Turner, when asked to define Isis, described their sound as "avant-garde, drone-oriented rock, but that doesn't completely cover the bases".cite web | url = http://www.wennsrockt.de/index.php?option=com_content&task=view&id=12&Itemid=1 | title = Aaron Turner video interview | format = | work = wenn's rockt! WebTV| language=German|accessdate = August 26 | accessyear = 2006] At the same time, he is reticent about settling on one label exclusively, and steers away from the use of specific genre labels—"'heavy, atmospheric, droning, post-epic, post-metal, shoegazer blah blah blah.'" When asked how he reacts to being asked to define Isis' sound, he admits "I never know what to say. I'm almost afraid of perpetuating a new tag."Birk, Nathan T. "Isis: A Glorious Burden". "Metal Maniacs" January 2007. 8-11.] Likewise, he also describes their music using a slightly more open-ended tag: as "thinking man's metal"; however, it must be noted that this tag refers to the intellectual elements behind the music, as opposed to exclusively aural ones.

Due to the difficulty in pigeonholing, some fans and critics label Isis as "post-metal"; a portmanteau of "post-rock" and "metal", the "post" referring to a reinvention of an established concept, as in postmodernism or post hardcore. This genre is accepted to contain similar-sounding contemporaries such as Pelican, Cult of Luna and Callisto; however, Isis are usually credited with the formulation of the genre with the release of "Oceanic".cite web | last = Thompson| first = Ed|url = http://uk.music.ign.com/articles/747/747458p1.html | title = Review of "In the Absence of Truth"| work = IGN| accessmonthday = December 18 | accessyear = 2006]

The music of Isis is not suitable for mainstream release or commercial radio playtime due to extensive song length and niche appeal; as guitarist Michael Gallagher states, "we've never tried to be on the radio, and we've never tried to please others. We've simply done whatever we've wanted to do, and we've all decided to be happy with the results."cite web | last = Porosky| first = Pamela| url = http://www.guitarplayer.com/story.asp?storyCode=78 | title = Aaron Turner and Michael Gallagher interview | format = | work = Guitar Player | publisher = | accessmonthday = September 6 | accessyear = 2006]

Intellectual elements

Turner has gone on record saying "I like the idea of preserving at least a little shred of mystery and making the band to be more an entity—without hopefully sounding too pretentious — as a work of art [than a traditional rock band] ". There is a definite attitude that art and music are interchangeable and synonymous to the band; he feels that "the songwriting and the artwork come from the same place". This logic relates to visual and aural aspects as well as overt intellectualisation, through literary references and driving philosophies. Books such as "Don Quixote", "House of Leaves", "Labyrinths" and the philosophies of Jeremy Bentham all play a role in shaping the themes of Isis' releases.

There is an overt intention of progressing heavy music present in Isis' output; a desire to further the intellectual cause that pushes them forward. This is evident within the clear progression of their sound from release to release, their influence on heavy music, and their acceptance in art circles where other metal bands are not so readily embraced. Their stated goal is "not to break away from the scene that [they] came from, but to expand upon it". Publications such as "Terrorizer" attest to how Turner has completed his goal, explaining that "Aaron Turner has loosened hardcore from its geographical roots, and in the process created an intimate, yet immeasurable vision all of his own". [Ipecac Recordings. " [http://www.border.se/Press/Isis/ISIS_bio.pdf Isis: Biography 2004] ". Press release. Retrieved on February 9, 2007. (See specifically: "Terrorizer" January/February 2003.)] Turner has complained that "metal in general has long been unjustly maligned as solely the province of knuckle-dragging meatheads [...] That said, there's never been a group of musicians like there is now, who are helping to advance the form."

Themes

Most of Isis' releases revolve around a theme. While each release has its own unique theme, many of the major releases interconnect. Turner has stated: "we wanted to have albums that weren't just grab-bags of songs but rather a cohesive experience from beginning to end, from the music to the lyrics to the layout of the record."

*"Mosquito Control" introduces the first major theme, the mosquito, as well as control towers (see cover of reissue).
*The "Red Sea" offers the first glimpses of both the water and female character themes.
*"Celestial" and "SGNL>05" reintroduce the control towers and female character, as well as the mosquito through the artwork.
*"Oceanic" reintroduces the water and female themes through a specific story.
*"Panopticon" reintroduces the tower implicitly (see panopticon).
*"In the Absence of Truth" introduces the theme of Hassan I Sabbah and has many references to it in the song lyrics and song titles.

No Isis album contains an explicit , or story arc, instead focusing on themes rather than stories. As such, releases are defined by some as "pseudo-concept albums". The band see lyrics as important, but at the same time, Turner does not feel it necessary to enunciate every word.cite web | last = Locks| first = Jesse| month=March | year=2005|url = http://www.findarticles.com/p/articles/mi_m0JSE/is_291/ai_n9489177 | title = Isis | work = Thrasher Magazine| accessmonthday = December 23 | accessyear = 2006] Instead, any connections made are mainly conjecture, and the formation of a theme takes into account the album artwork, previous albums, track titles and the use of metaphor just as much as lyricism. For instance, there is a deeply developed extended metaphor linking water with the female character, obvious in the artwork of "Red Sea", "Oceanic" and "Panopticon". "Oceanic" tells a convoluted tale involving love, incest and suicide by drowning. [ [http://www.combatmusicradio.com/The_Show/TheShow061305.mp3 Combat Music Radio interview with Aaron Turner] . Retrieved on February 11, 2007.] This relates to the theme of the all-powerful female, present lyrically in every album except "Panopticon". Turner does not explicitly acknowledge an "overtly feminine theme"; however, he does state: "I just think it's interesting to include that as part of what we do, simply because metal, especially, is considered to be this very male-oriented, testosterone-driven art form, and I feel like it's important to recognize the other side of our nature. As manly as we might or might not be, we have to acknowledge that there is a feminine part of our persona, and that the world isn't made up of absolutes. To achieve balance, you have to recognize every facet of yourself and everyone else around you." "There are certain themes which reoccur in my work just because of what I'm interested in and what is aesthetically pleasing for me", says Turner. "The idea of futuristic utopias and dystopias is probably something that does consciously and subconsciously return time and time again [...] and sometimes I just can't help the fact that these themes creep into my work whether it's conscious or not".Pitchon, Avi. "The Vision Divine". "Terrorizer" issue 124, October 2004. 20-22.] The other two ongoing motifs in the lyrics and artwork are that of towers and mosquitos; overall, the overarching feeling is one of being watched; of being overpowered and overwhelmed.

"Panopticon" was an overtly political release, and arguably the clearest statement made within their music as of yet. It displayed fears of surveillance and of tacit governmental influence; its namesake, the panopticon, was Jeremy Bentham's concept for a prison system in which all the prisoners can be viewed by one guard in a central tower, without being able to know whether they are being observed or not. Bentham described the Panopticon as "a new mode of obtaining power of mind over mind, in a quantity hitherto without example." [Bentham, Jeremy. " [http://cartome.org/panopticon2.htm Panopticon (Preface)] ". In Miran Bozovic (ed.), "The Panopticon Writings", London: Verso, 1995, 29-95.] Quizzed on government conspiracies, Turner states: "I do believe that each and every day our government and the huge corporate entities of this country lie to us about numerous subjects. In this respect we are all victims of a huge conspiracy—most of those in power are only concerned with the advancement of their agendas and have no qualms about deceiving and hurting the American people."

After constantly explaining concepts and story outlines to interviewers and fans, Turner has chosen to keep the thematic basis of "In the Absence of Truth" quiet. "Through explaining the last two albums time and time again, I just started to become weary of the topic, and I started to feel like I was losing my connection to the music and the lyrics simply from having repeated it so many times, and for me, personally, it's really important to maintain that connection as much as possible. I feel there's a lot of emphasis these days placed on explaining everything in such a fashion that there's really nothing left for the listener or reader to explore themselves. It's all spelled out," Turner continues. "So it's interesting to leave some of that stuff open-ended so they have do to a little bit of legwork themselves."

Members

Current

*Jeff Caxide – bass
*Michael Gallagher – guitar
*Aaron Harris – drums
*Bryant Clifford Meyer – electronics, guitar, vocals
*Aaron Turner – guitar, vocals

Past

*Chris Mereschuk – electronics, vocals (1998-1999)
*Jay Randall – electronics (1999-2000)

Collaborators

*Maria Christopher and Ayal Naor of 27 (both of whom contributed to "Oceanic")
*Justin Chancellor of Tool (who contributed to the song "Altered Course" on "Panopticon")
*Agoraphobic Nosebleed (collaborated on a cover of Melvins' "Boris" for "We Reach: The Music of The Melvins")
*Aereogramme (Collaborated on the Konkurrent release In the Fishtank 14)

ide projects

*Old Man Gloom
*House of Low Culture
*Lotus Eaters
*Red Sparowes
*Loga
*Windmills by the Ocean
*MGR
*The Gersch

Discography

tudio albums

Chart positions

"Billboard" (North America)

Videography

* "In Fiction" [video edit, 5:37] from "Panopticon" (2004). Directed by Josh Graham. [http://www.southern.net/southern/band/ISIS0/IPC57_video link]
* "Holy Tears" [video edit, 5:13] from "In the Absence of Truth" (2006). Directed by Dominic Hailstone.
* "Clearing the Eye" [DVD] . Features live songs (including an entire live performance), "In Fiction" music video, photo galleries, original artwork, lyrics and a complete discography. This release was postponed due to issues with material, sound quality, and the deadline, but has since been released in most regions. [ [http://www.seldonhunt.com/indexx.html Seldonhunt.com] . Retrieved on February 2, 2007.

References

External links

* [http://www.isistheband.com/ Isis official website]
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* [http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:3gq8g4g9tv8z Isis] at Allmusic