Converge’s 2001 record Jane Doe is, more than anything else, a symptom. A symptom, of course, is a surface phenomenon that points to its derivation out of something deeper — something that lies at its root, concealed from view. It is the manifestation of that which remains latent. As such, it is the expression of another thing, distinct from itself, of which it is an unwitting reflex, purely epiphenomenal.
But in its very superficiality, Jane Doe simulates profundity. The illusion that results is, in fact, so perfect as to disguise its origin even from itself, lost in the night of its own paramnesia. Jacob Bannon might be the one singing on the record, but make no mistake: the words are not his own. In truth, they are words written by no one. Words that are the product of a thoroughly impersonal dynamic, generated by a mindless web of relations that inscribes itself into the consciousness of a human vessel — a human vessel which for it is nothing more than a mouthpiece, a means for expression.
In other words, Bannon is the puppet of forces beyond his comprehension. He dances to a tune that was not of his own making. Nor was this tune the making of any other member of Converge. His frenetic flailing during their songs is the enactment of a total powerlessness, the involuntary spasm of a marionette.
Very well, a symptom — but if so, a symptom of what?