Jakarta, SERU.co.id – The name Isyana Sarasvati has been the subject of widespread discussion regarding allegations of satanism, sparked by the “one-eye” symbol featured in her latest music project. Some netizens have interpreted the visuals in her recent work as symbols associated with a cult or sect.
In response, her husband has urged the public not to jump to conclusions without properly understanding the artist’s work.
Many social media users have claimed that the symbols in the song “Babel” and the visual concept for the chapter “Abadhi” contain elements linked to a specific sect. One prominent example is the appearance of the “one-eye” symbol in the video for the project Eklektiko: This is Abadhi. This symbol has been connected by some to conspiratorial imagery.
Addressing the controversy, Isyana’s husband, Rayhan Maditra Indrayanto, finally spoke out. He highlighted how music works are often misinterpreted by the public.
“One of the greatest tests for a musician is when a work born from honesty is interpreted in a way far removed from the creator’s intent. Assumptions often arise faster than the willingness to understand the message behind the work,” he wrote in a thread on @rayhanmaditra, as quoted on Sunday (March 8, 2026).
Rayhan also noted that this debate is unfolding during the month of Ramadan. He expressed hope that society would respond with greater wisdom and avoid slander or unfounded accusations. Isyana later reposted his statement on her Instagram Stories.
Background: Isyana’s Evolving Musical and Visual Style
Controversy is also tied to Isyana’s evolving musical style in recent years. Previously known for light pop songs, she has increasingly experimented with more complex, dramatic, and sometimes heavier sounds.
This shift is clearly evident in her album Eklektiko, released in May 2025. The album is a major conceptual project celebrating Isyana’s life journey at age 32. Eklektiko is divided into four main chapters: Lunora, Mamiu, Cecilia, and Abadhi.
In her explanations, Isyana has emphasized that the project represents her artistic freedom, achieved after years of musical exploration. She describes her creations as no longer bound by specific theories, styles, or genres.
The final chapter, Abadhi, is presented as a reflection on a life full of contrasts—light and dark, calm and chaos—which ultimately shapes an understanding that life is not simply black and white.
Beyond the music, Isyana’s recent visual aesthetic has also shifted toward a stronger dark tone. Some fans associate this style with Gothic influences, a subculture in art characterized by dark colors, dramatic makeup, and mysterious visual concepts. (aan/rhd)
