that he “wanted it to be something that was subtle, but not obvious straight away.” Sound In describing the album's sound, critics often referred to bands operating on similar sonic strata as Isis. Allmusic reviewer Wade Kergan noted: “[t]he sound 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”, while an Uncut review stated that Panopticon operates at “the rarely-explored mid-point between My Bloody Valentine and Slayer”. Furthermore, its sound was compared to that of High on Fire, Tool, A Perfect Circle, Mogwai, Sigur Ros, Pink Floyd, The Cure, Godspeed You! Black Emperor and Ride by various reviewers. Many reviewers compared the album with Isis' seminal previous record, Oceanic, often noting a 'progression'. Turner himself stated: “I do agree that it is a natural progression from Oceanic. It absolutely is an evolution and a step forward.” Sonically, compared with Oceanic, “the drums and vocals are submerged, the riffs intricately monolithic” and there is an increased prominence lent to electronics and synths; this led to it being characterised as “a little more polished”. As with all Isis releases, the lyrics are almost indecipherable; something of which Turner is conscious, as well as its implications. “Even if you are a native speaker it is sometimes impossible to figure the lyrics out properly. I'm conflicted about that from time to time. But then I always think that I'm giving enough with the text that's included, the artwork and the imagery that gives people some clue to get into it. But leaves it open ended in a certain degree about the intention behind it. [...] While making an album it also is music first for us and lyrics second.” Writing for Decibel, Andrew Bonazelli noted that although only 30 percent of the lyrics were understandable, they were “extremely thoughtful”. Many critics tied the album's conceptual roots with its sound; it was described as “[evoking] a sense of creeping voyeurism”. Some noted, though, that this notion is ‘subverted’ by the album's sound. As Mike Diver of Drowned in Sound explains in a glowing review, “['Panopticon' is] a misleading title; nothing terrifying emerges from the multiple layers of sound. Indeed, as far as Isis records go, this is positively joyous”. Similarly, its feel, likened to contemporaries Pelican's 2005 record The Fire in Our Throats Will Beckon the Thaw, is described by