The writing process consisted mostly of an individual starting the core of an idea for a song at home then either pairing off with someone else or bringing it to everyone where it was worked on and refined until everyone was satisfied”.

[1] According to Turner, the album's inception and sound were organic, rather than engineered: “[w]e were interested in exploring ambient spaces a lot more—and these things tend to dictate a longer structure.

It wasn't a conscious decision on our part; I guess it's just the nature of the style we write in.”[2] After having worked with members of 27 as guest musicians on previous full-length Oceanic, for Panopticon Isis turned to Justin Chancellor, bassist of tour-mates Tool.

But he also has some interesting facets of his own musical personality that we thought would blend well with our style.”[2] Wavering Radiant, Isis' 2009 final album, features Adam Jones, also of Tool, as a guest musician.

[3] Recording took place at Paramount Studios, Los Angeles, California, from June to July 2004,[4] with the album being produced by long-time collaborator Matt Bayles.

[4] The album was recorded onto analogue tape initially; after returning to the studio post-release in order to retrieve the master reels, half of them were discovered to be missing, presumed stolen.

Their world tour took in a long stretch in the United States, dates in Australia, a spate in Japan with Converge and Mastodon and a further lengthy spell in Europe.

Its feel is described by Lee Wang of PopMatters as utilising a narrative mode similar to the cult 1962 French science fiction movie, La jetée; he also brings attention to the video's blue-and-black palate, much as is used on the album artwork, "simulating" black-and-white.

For instance, the design was invoked by Michel Foucault (in Discipline and Punish) as metaphor for modern "disciplinary" societies and its pervasive inclination to observe and normalise.

I can see why Bentham found the design to be inspirational and possibly rewarding, but it also strikes me as this completely insidious and manipulative idea at the same time, a way of controlling and segregating individuals – which is the focal point of Foucault’s essay.

Although reviewers have read political intonations into the album's ostensible themes,[18] deeming it “unashamedly prog in its ambition and dimensions”,[19] Turner is reluctant to admit to such an agenda.

And also I think my lyrics are so abstract and fragmented sometimes that I feel like those things are a better representation of what I'm writing about than printed lyrics might be.”[1] Despite his denial that Panopticon is politically motivated, Turner does refer to the then-incumbent George W. Bush administration's tenure as a source of inspiration; about how Bentham's essay bore relevance to “hit home in terms of how [it] is treating its own citizens outside and within the country.”[2] Beyond the macroscopic, Turner has admitted that this album is more personal than previous releases.

[22] Turner noted that the connection between the artwork and the theme was “certainly intentional”, further stating that he “wanted it to be something that was subtle, but not obvious straight away.”[11] In describing the album's sound, critics often referred to bands operating on similar sonic strata as Isis.

[23] Furthermore, its sound was compared to that of High on Fire, Tool, A Perfect Circle, Mogwai, Sigur Ros,[24] Pink Floyd, The Cure,[19] Godspeed You!

It absolutely is an evolution and a step forward.”[1] 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;[22] this led to it being characterised as “a little more polished”.

[27] Similarly, its feel, likened to contemporaries Pelican's 2005 record The Fire in Our Throats Will Beckon the Thaw, is described by Andrew Bonazelli as ‘triumphant’.

As Michael Chamy noted in his review for the Austin Chronicle, it does not "reach the heights or descend to the depths of Oceanic, but it's an amazing journey to a place unlike any other.

[32] Nick Green highlighted "Wills Dissolve" as a standout track,[19] whilst Drowned in Sound's Mike Diver selected "Backlit" and "Altered Course" as “two of the most emotionally engaging rock songs of a decade, or more”.

[27] Chamy deemed "Altered Course" “a masterfully constructed glacial flow, with Aaron Harris' heavy drumming keeping the mast pointed through the crushing turbulence”.